For 837 reviews, this critic has graded:
  • 43% higher than the average critic
  • 2% same as the average critic
  • 55% lower than the average critic
On average, this critic grades 0.1 points lower than other critics. (0-100 point scale)

Mike Scott's Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 100 Hugo
Lowest review score: 20 Endless Love
Score distribution:
  1. Negative: 52 out of 837
837 movie reviews
    • 69 Metascore
    • 60 Mike Scott
    The Birth of a Nation is ultimately involving as a cinematic history lesson. It is its flashes of modern relevance, however, in which it scores most effectively.
    • 68 Metascore
    • 60 Mike Scott
    Unlike most enforcers in the movies, Jacky isn't just a brainless slab of meat.
    • 68 Metascore
    • 80 Mike Scott
    Katniss is gritty, she's flinty, she's intimidating -- and she doesn't have to compromise one iota of her femininity for it. And Ross' movie tells her story wonderfully.
    • 68 Metascore
    • 75 Mike Scott
    Boasting a rock-solid academic architecture, Bhutto is a film bursting at the seams with gravitas.
    • 68 Metascore
    • 75 Mike Scott
    The engine that really makes Crazy Stupid Love go is the same one that has made Ficarra and Requa's films to this point so appealing: While they thrust their characters into outrageous situations, they always keep things grounded in real, relatable emotion.
    • 68 Metascore
    • 80 Mike Scott
    With Deepwater Horizon, Berg strikes an unlikely but impressively delicate balance. On one hand, his film honors the men and women killed and injured in the explosion off Louisiana's coast. At the same time, it works just as well as a fast-moving and absorbing disaster drama.
    • 68 Metascore
    • 63 Mike Scott
    Potiche never becomes funny enough or interesting enough.
    • 68 Metascore
    • 75 Mike Scott
    Being a fan of the character is not a prerequisite for enjoying the film.
    • 68 Metascore
    • 60 Mike Scott
    As with everything in which he appears, Schreiber is one of the best things about the movie.
    • 68 Metascore
    • 60 Mike Scott
    Flaws aside, the journey will be largely worth it for audiences, particularly for fans of the genre.
    • 68 Metascore
    • 60 Mike Scott
    Even if it doesn't provide all the answers, "The East" asks some pretty darn good questions.
    • 68 Metascore
    • 80 Mike Scott
    A highly enjoyable -- and, for better or for worse, a very Tarantino -- movie.
    • 68 Metascore
    • 80 Mike Scott
    That's not to say the sobering Take This Waltz is nearly as emotionally agonizing as "Blue Valentine." Still, it's every bit as truthful in its examination of the evolution, and subsequent devolution, of love.
    • 68 Metascore
    • 60 Mike Scott
    The result is a hoot, as Nelson breathes comic life into the proceedings with an effortless, unselfconscious joie de vivre.
    • 68 Metascore
    • 40 Mike Scott
    John Wick makes a few feeble attempts at witty repartee, but, in the end, Leitch and Stahelski's film feels like an unintentional parody of itself.
    • 68 Metascore
    • 80 Mike Scott
    The Way, Way Back is way, way good -- and a welcome breath of fresh air at the summertime box office.
    • 68 Metascore
    • 80 Mike Scott
    Here's a film that feeds the heart and the soul.
    • 68 Metascore
    • 40 Mike Scott
    One only wishes that Ewing and Grady had chosen to dig deeper as they explored it.
    • 68 Metascore
    • 50 Mike Scott
    Unfortunately, on the way to delivering that message, it becomes weighted down by its own dreary self-importance.
    • 68 Metascore
    • 80 Mike Scott
    It's not a perfect film. There's still room for Cianfrance to grow as a storyteller. But it is entirely rewarding -- and I, for one, can't wait to see where he takes us next.
    • 68 Metascore
    • 88 Mike Scott
    A surprisingly uplifting examination of life and loss.
    • 68 Metascore
    • 60 Mike Scott
    12 O'Clock Boys is reminiscent of the Ross brothers' far more lyrically shot 2012 film "Tchoupitoulas," which tagged along with three New Orleans boys for a night of exploration and boundary-testing in the French Quarter. The setting is different in Nathan's film, and Nathan doesn't commit as fully as the Rosses did to visual artistry. But there are thematic similarities, to be sure.
    • 68 Metascore
    • 60 Mike Scott
    Can it be considered a comic masterpiece on the same level as "Animal House," that mother of frat-house comedies? Not by a long shot.
    • 68 Metascore
    • 63 Mike Scott
    The result is a film that is equal parts fluff and tough.
    • 68 Metascore
    • 75 Mike Scott
    The whole thing is kind of comforting in a damn-the-torpedoes, laugh-at-what-scares-you-most kind of way.
    • 67 Metascore
    • 100 Mike Scott
    More than anything this is an intelligent film, a satisfying bit of old-school sci-fi suspense.
    • 67 Metascore
    • 60 Mike Scott
    An enjoyable diversion, a lightweight bit of philosophizing that blends humor with the bittersweet. It won't likely stick in your memory for too terribly long.
    • 67 Metascore
    • 60 Mike Scott
    The real point of This is The End, however, is to make people laugh -- and it accomplishes that. Often, in fact -- and satisfyingly.
    • 67 Metascore
    • 80 Mike Scott
    Open-ended and decidedly un-Hollywood, it is faintly dissatisfying, especially coming on the heels of such as engaging and crisply presented story. But it offers movie-goers a wonderful opportunity to roll it all around in their heads and discuss it, even debate it, as they drive back to that cozy little cult compound they call home.
    • 67 Metascore
    • 75 Mike Scott
    The result is a documentary that is as interesting as it is irresistible.
    • 67 Metascore
    • 60 Mike Scott
    It wasn't until Gibney's film was already largely shot that the truth caught up to Armstrong.
    • 67 Metascore
    • 60 Mike Scott
    The sort of movie you should go see with someone you love. You should also hold their hand during the movie. And be thankful that that hand is there.
    • 67 Metascore
    • 88 Mike Scott
    Both taut and satisfyingly relevant, it presents a portrait of a compromised elections system -- one that should give the left wing, the right wing and the fringe-dwelling nutjobs something they can all agree on. Namely: We're in deep doo-doo.
    • 67 Metascore
    • 63 Mike Scott
    There isn't a whole lot of nuance in writer-director Rachid Bouchareb's unapologetically political movie. As such, it doesn't take much brainpower for a viewer to stay a step or two ahead of his plot the entire way.
    • 67 Metascore
    • 60 Mike Scott
    Furious 7, formulaic or not, knows exactly what kind of movie it is. It is a superhero movie without the tights. It is a comic-book franchise without the radioactive spider bite. It is, plain and simple, an automotive "Avengers."
    • 67 Metascore
    • 75 Mike Scott
    Rarely is an actress asked to do so much with so little -- and even rarer does that actress succeed as well as Clarkson does.
    • 67 Metascore
    • 88 Mike Scott
    That character flaw makes for some great shock-fueled laughs in Lewis' film -- Giamatti does full-on comic rage as well as anyone.
    • 67 Metascore
    • 75 Mike Scott
    An up-tempo and upbeat concert documentary that celebrates, rather than mourns, the last hurrah of a pop-culture touchstone.
    • 67 Metascore
    • 75 Mike Scott
    Slowly becomes a thoughtful and interesting deconstruction and demythologizing of American celebrity.
    • 67 Metascore
    • 60 Mike Scott
    An enchantment, plain and simple. And while it won't make many forget Disney's iconic animated version, it certainly joins it as one of the more enjoyable re-tellings of this classic tale.
    • 67 Metascore
    • 60 Mike Scott
    A satisfyingly fresh take on a character we all only thought we knew well.
    • 67 Metascore
    • 40 Mike Scott
    Has potential to be fun and meaningful, but it's not exactly a novel idea. In fact, it feels like a literary-minded "Lars and the Real Girl," the 2007 dramatic comedy that starred Ryan Gosling as a man who falls in love with a sex doll, and which coasted along on its charm and smarts.
    • 66 Metascore
    • 75 Mike Scott
    The result is a movie that, in its best moments, is delightful. It does lose a significant amount of steam halfway through -- likely due in part to its two hours of running time.
    • 66 Metascore
    • 60 Mike Scott
    Age of Ultron -- for all the eye candy and mindless entertainment it has to offer -- stays safely within the franchise's established parameters. Here, there are no real surprises.
    • 66 Metascore
    • 75 Mike Scott
    If you're a mom or dad bringing your own little primates to the movie, that's a good thing.
    • 66 Metascore
    • 75 Mike Scott
    There's a certain triteness to the overarching message -- secrets will keep us apart, and the truth will set us free -- but the kind of sweetness and earnestness that's on display in City Island makes such quibbles easy to forgive.
    • 66 Metascore
    • 60 Mike Scott
    Seizing the role, and the screen, Gelber actually makes us care what happens to his surly, thoroughly unlikable character.
    • 66 Metascore
    • 40 Mike Scott
    Some of those detours are fun ideas - like Marty's O. Henry-esque tale of the Amish psychopath. Mostly, though, they feel out of place, like so much filler that distracts from the half-developed main story. Call me crazy, but I need more from my movie.
    • 66 Metascore
    • 60 Mike Scott
    Watching it, one gets the feeling that Coppola knows these vampiric types all too well. What unfolds feels like a cross between "Lifestyles of the Rich and Famous" and "Natural Born Killers," and a film that is far more disapproving than glamorizing of the go-go-go Los Angeles lifestyle -- but fascinating nonetheless.
    • 66 Metascore
    • 50 Mike Scott
    The truth, however, is that for much of Soderbergh's film, it's all as yawn-inducing as its premise.
    • 66 Metascore
    • 75 Mike Scott
    Spurlock banks on his charm and likability -- and it's that charm and likability that make The Greatest Movie Ever Sold so much fun to watch.
    • 66 Metascore
    • 75 Mike Scott
    It's all good, goofy fun.
    • 66 Metascore
    • 60 Mike Scott
    Visually stunning.
    • 66 Metascore
    • 75 Mike Scott
    It's easy to forget that you're watching a sci-fi film at all. That's because it's just a shade or two from not even being a sci-fi film.
    • 66 Metascore
    • 60 Mike Scott
    Making it even more intriguing is the fact that the whole thing is, extraordinarily, inspired by a true story.
    • 66 Metascore
    • 38 Mike Scott
    Beautifully shot, but terribly dull.
    • 66 Metascore
    • 80 Mike Scott
    A very human story and a very well-told one -- which, in the end, makes it very hard to forget.
    • 66 Metascore
    • 60 Mike Scott
    Is Premium Rush a two-wheeled "French Connection"? No, not by a long shot. (Although it does include a racing-beneath-the-el-train homage.) But when it comes to lightweight, synapse-free action fare, Premium Rush delivers.
    • 66 Metascore
    • 75 Mike Scott
    Part "The Great Escape" and part "Lawrence of Arabia, " Weir's epic The Way Back is ambitious in scope, grand in vision and rich with examples of the resilience of the human spirit.
    • 66 Metascore
    • 60 Mike Scott
    The problem is that the film must re-establish a great deal of mythology, much of which is already familiar to most moviegoers. Unfortunately, Webb's film never quite makes usshake the feeling that we've done all this before.
    • 66 Metascore
    • 60 Mike Scott
    The music, of course, is the engine that makes the whole exercise go, tapping into a genre-spanning collection of tunes, but every bit as important to the film's success is its unexpected humor, which flirts with raunchy but stops juuuust short of crossing any lines that would have earned it an R rating.
    • 65 Metascore
    • 60 Mike Scott
    Billed as a dramatic comedy, and it lives up to that billing, even if it tends more toward chuckles than guffaws. In other words, one thing it's not is "It's Complicated," Streep's previous -- and often riotous -- relationship dramedy.
    • 65 Metascore
    • 60 Mike Scott
    As she tells that story, Asante gets a little lost in the weeds here and there in the political machinations, which don't always make for a riveting narrative and tends to slow the film's forward momentum. Even as it does, the love story between Seretse and Ruth serves nicely as the film's foundation.
    • 65 Metascore
    • 40 Mike Scott
    Unfortunately, Franklin isn't quite as successful at capturing the depth of the traditions for which Anaya's source material is so well known.
    • 65 Metascore
    • 63 Mike Scott
    There are some nice surprises in store, as well, but the longer Madden's story goes on, the more manufactured things tend to feel.
    • 65 Metascore
    • 60 Mike Scott
    It's in the film's Africa-set scenes -- at the film's start and again in its closing 25 minutes or so -- when The Good Lie is at its best. This is where the story is at its most moving and rewarding.
    • 65 Metascore
    • 60 Mike Scott
    The result is a film that feels breezy at times, but also grounded in a sense of emotional honesty.
    • 65 Metascore
    • 50 Mike Scott
    Parnassus is a cold film that delights in dancing along that fine line separating "fantastical" and "nonsensical." Then, when a movie is supposed to hit things home -- in that all-important third act -- it lands with a thud on the wrong side.
    • 65 Metascore
    • 63 Mike Scott
    For her part, Stewart has Jett down pat: her strut, her slouch, her sexiness. This is a performance that goes far beyond Jett's shag haircut.
    • 65 Metascore
    • 40 Mike Scott
    Along the way, Krokidas' story becomes a touch schizophrenic, at times a coming-of-age story, a love story, a crime drama and a literary drama. It's hard to say which it functions as best, as none are given too much time to germinate before Krokidas moves on to the next.
    • 65 Metascore
    • 63 Mike Scott
    What Noyce and company don't seem to realize is that there's a huge difference between a superspy and a superhuman.
    • 65 Metascore
    • 75 Mike Scott
    It's fun, and it's funny, and -- the best part -- it comes carrying a "yeehaw"-inducing sense of a treasure found.
    • 65 Metascore
    • 75 Mike Scott
    The movie is quietly affecting, as Rush offers a moving and rewarding yarn about the need to move on in the face of personal tragedy, and about the strength of human connections.
    • 65 Metascore
    • 80 Mike Scott
    Speaking of good storytelling, Hancock knows a thing or two about that. Not only does the "Blind Side" director deftly navigate the double narrative of Saving Mr. Banks, but his film is also a visual treat.
    • 65 Metascore
    • 40 Mike Scott
    What Monsters University fails to do, though, is to scare up any real emotion.
    • 65 Metascore
    • 80 Mike Scott
    What sets Deadpool apart is its overall genre-busting tone, which blends a wealth of meta humor, the wisecracking Reynolds' significant skills with a one-liner, and a genuinely funny script that isn't afraid to offend anyone.
    • 65 Metascore
    • 63 Mike Scott
    What it does have going for it are its lead actors -- Brand and Hill both know exactly how to deliver a punch line -- and a lead character who represents one of the best bits of rock 'n' roll satire since "This Is Spinal Tap."
    • 65 Metascore
    • 88 Mike Scott
    With Knuckle, Palmer offers a thorough -- and extraordinarily compelling -- portrait of the Travellers.
    • 65 Metascore
    • 50 Mike Scott
    A better title: "Coco Before She Was Interesting."
    • 65 Metascore
    • 75 Mike Scott
    It's sadly and tenderly honest -- and so are Hansard and Irglova, as they generously and matter-of-factly open up to the camera.
    • 65 Metascore
    • 88 Mike Scott
    Built as it is around horrifying moments of intimate violence, the stark British drama Tyrannosaur can be a hard movie to watch. At the same time, though, it's hard to stop watching once it gets going.
    • 65 Metascore
    • 40 Mike Scott
    Unfortunately, Brice appears more interested in ramping up the outrageousness and keeping his audiences guessing than in crafting a meaningful story. And so while his film is nothing if not unpredictable, that comes at the cost of the sort of emotional impact for which his film seems to be aiming.
    • 65 Metascore
    • 63 Mike Scott
    It represents the rare lead role for Mackie, and he seizes the opportunity, convincingly playing the part of a soft-spoken former Black Panther.
    • 65 Metascore
    • 88 Mike Scott
    Boasting a rich look and an engrossing storyline, it's the rare "to-be-continued" film that doesn't leave its audience feeling cheated.
    • 64 Metascore
    • 75 Mike Scott
    If nothing else, Garcia's movie is a brave one, with its unflinching look at adoption, which -- as overwhelmingly compassionate an act as it is -- often leaves behind deep emotional scars.
    • 64 Metascore
    • 63 Mike Scott
    What most saw as entirely charming behavior others saw as a nuisance. After all, a playful whale has a way of unwittingly damaging rudders and outriggers and outboard motors and such. Worse, wildlife officials saw Luna's behavior as potentially dangerous, for the people he encountered -- and for the whale himself.
    • 64 Metascore
    • 60 Mike Scott
    The film's message -- about how the Internet is sabotaging our real-life relationships -- doesn't resonate with absolute clarity, but Disconnect does a much more effective job than anyone could hope to do in 140 characters or less.
    • 64 Metascore
    • 80 Mike Scott
    Songs such as "We Shall Overcome," "Wade in the Water" and "This Little Light of Mine" are powerful to begin with. Listening to them, music-video-style, over footage shot during the era, however, elevates them.
    • 64 Metascore
    • 63 Mike Scott
    It's not a perfect film, mind you. It's too long by a quarter, and actor-turned-director Charles Martin Smith ("The Untouchables") lets any sense of real structure slip away in the film's crowded third act.
    • 64 Metascore
    • 40 Mike Scott
    More seriously -- and substantively -- "A Late Quartet" was a quiet but thoughtful meditation on the power, and the necessary pain, of human connections. By comparison, Quartet is a flimsy bit of cinematic puffery that takes every obvious path on its way to its even more obvious "seize-the-day" message.
    • 64 Metascore
    • 40 Mike Scott
    When a film's clich├ęs are so obvious that its cast points them out for you, you've got to wonder how hard it's really trying.
    • 64 Metascore
    • 60 Mike Scott
    Still, it's all enjoyable enough, playing out like a cross between "Pride and Prejudice" and "Amistad" -- and a welcome change of pace for those trying to avoid the radioactive spiders and time-traveling mutants that have otherwise invaded the summer movie season.
    • 64 Metascore
    • 50 Mike Scott
    While this nouveau Fright Night does a reasonable job of maintaining the fun spirit of the original film, between the blood splatters and vamp stakings, it never builds on what the original had to offer -- and thus never quite makes a convincing case for its own existence.
    • 64 Metascore
    • 60 Mike Scott
    You might love it or you might hate it, but you won't soon forget it -- and you won't be able to say you've seen a movie quite like Swiss Army Man before.
    • 64 Metascore
    • 60 Mike Scott
    His (Andrew Dominik) film delivers when it matters, especially with its crystallizing final lines. Not only do they wrap a bow on what ends up being a treatise on the uglier side of capitalism, but they stand among the most memorable closing lines in recent Hollywood history.
    • 64 Metascore
    • 60 Mike Scott
    While Infinitely Polar Bear makes an admirable argument that mental illness is something to be managed rather than dreaded like a death sentence, it's hard not to feel as if Forbes' film perhaps paints too rosy of a portrait of what can be a devastating condition to families.
    • 64 Metascore
    • 60 Mike Scott
    This is a jazz movie, both in style and in substance, and so, rather, his goal is to try to capture the fog-like essence of Miles.
    • 64 Metascore
    • 80 Mike Scott
    It's an engrossing film, rich with action and emotion.
    • 64 Metascore
    • 50 Mike Scott
    If there's a breath of fresh air in it all, it's in the form of the young actress Jessica Barden playing a smoking, swearing, Tom Sawyer-flavored teenage delinquent determined to add some life to her excruciatingly boring rural existence.
    • 64 Metascore
    • 75 Mike Scott
    As engrossing as The Young Victoria is, this isn't a movie that will stay with you very long. Mostly that's because Blunt's character does little by way of evolving.

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