For 760 reviews, this critic has graded:
  • 44% higher than the average critic
  • 3% same as the average critic
  • 53% lower than the average critic
On average, this critic grades 1.7 points higher than other critics. (0-100 point scale)

Mike Scott's Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 100 Mud
Lowest review score: 20 Peeples
Score distribution:
  1. Negative: 47 out of 760
760 movie reviews
    • 75 Metascore
    • 60 Mike Scott
    Granted, it's not a movie that will stick with many viewers for any extended time after the closing credits roll. But, sort of like Pop Rocks and Coke, it's enjoyable while it does its fizzy, burbly thing.
    • 55 Metascore
    • 60 Mike Scott
    Unlike in some of his other recent films, Shyamalan never overreaches this time. Instead, he keeps things simple and focuses on the story at hand.
    • 59 Metascore
    • 60 Mike Scott
    Once Learning to Drive gets up to speed it hums along nicely.
    • 77 Metascore
    • 60 Mike Scott
    What we end up with is a sweet, feminist character study that shows off Weitz's deft hand as a writer while doubling as a perfect showcase for Tomlin.
    • 61 Metascore
    • 60 Mike Scott
    Guggenheim's film makes it clear that she is funny. She is humble. And, beneath her extraordinary sense of purpose, she is an ordinary kid.
    • 77 Metascore
    • 60 Mike Scott
    Ryan Reynolds and Ben Mendelsohn, and their casting in the lead roles pays off in spades. In fact, they're the primary reasons Mississippi Grind works as well as it does.
    • 81 Metascore
    • 60 Mike Scott
    Bridge of Spies, with its stop-and-go momentum, is also more merely interesting than it is full-on riveting. It's still quite good stuff, but despite its impressive pedigree... it doesn't feel as if it's quite the sum of all of its parts.
    • 42 Metascore
    • 60 Mike Scott
    An imperfectly executed but still perfectly enjoyable film.
    • 60 Metascore
    • 60 Mike Scott
    Granted, there's comfort to be found in the familiarity of Mendes' film, which makes an effort to look back while also advancing the series. But there's a fine line between paying homage to the past and merely repeating it.... Spectre often crosses that line.
    • 80 Metascore
    • 60 Mike Scott
    The result is a satisfyingly gritty tale, more grounded in reality than many entries in the franchise.
    • 60 Metascore
    • 60 Mike Scott
    Trumbo isn't monotonous, but it falls short of genius.
    • 56 Metascore
    • 60 Mike Scott
    Concussion is at its best when it's digging into the science of Omalu's work, chronicling his discovery and his subsequent David-vs.-Goliath fight to get people to acknowledge that he was right. Less effective is the portrayal of the personal toll his fight cost him.
    • 81 Metascore
    • 60 Mike Scott
    Few of the characters feel fully fleshed out. McKay's Big Short also lacks a certain nuance in its third act, when McKay's agenda becomes abundantly, ham-handedly clear. Still, it's hard not to be outraged by what is learned.
    • 58 Metascore
    • 60 Mike Scott
    Drama is one thing. Resonance is another. Without digging deeply enough, "The Finest Hours" seems content to capture the former while ignoring the latter.
    • 28 Metascore
    • 50 Mike Scott
    It feels like a desperate attempt at edginess -- and desperation is never becoming, whether in real-life romance or in a romantic comedy.
    • 32 Metascore
    • 50 Mike Scott
    Unlike it's "Transformers" cousin, the story is appealingly straightforward, and the movie is chock-a-block with breathless action sequences.
    • 76 Metascore
    • 50 Mike Scott
    Doesn't boast enough universal meaning to make it truly sing.
    • 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.
    • 56 Metascore
    • 50 Mike Scott
    As well-intended as it is, writer-director Max Mayer's film lacks focus.
    • 65 Metascore
    • 50 Mike Scott
    A better title: "Coco Before She Was Interesting."
    • 57 Metascore
    • 50 Mike Scott
    That it's all true might make it more heart-tugging, but it doesn't make it any more interesting.
    • 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.
    • 43 Metascore
    • 50 Mike Scott
    The ending of Dear John feels manufactured and patently false. Seyfried tries to sell it, but you can tell that she's having a hard time believing the words coming out of her mouth.
    • 38 Metascore
    • 50 Mike Scott
    It has a sweet quality, and Forest Whitaker gets a chance to show off his comic chops.
    • 48 Metascore
    • 50 Mike Scott
    It's neither a good movie nor a bad movie. It's just a movie.
    • 68 Metascore
    • 50 Mike Scott
    Unfortunately, on the way to delivering that message, it becomes weighted down by its own dreary self-importance.
    • 34 Metascore
    • 50 Mike Scott
    Even at its worst moments, it's better than "awful." But at its best, it's never comes close to "incredible."
    • 33 Metascore
    • 50 Mike Scott
    Built on spasms of explosive summertime action interspersed throughout a vacant shell of an origins story, animator-turned-director Jimmy Hayward's first stab at directing a live-action film ends up feeling like one great, big missed opportunity.
    • 58 Metascore
    • 50 Mike Scott
    More than just corny. Eclipse is boring.
    • 45 Metascore
    • 50 Mike Scott
    Sure, it's an interesting scene as he (Stone) chews the fat with Raul Castro, and coca leaves with Bolivia's Evo Morales. But his South of the Border can't be taken seriously, muchacho -- and if you think it can, well, I've got a primo cigar factory in Havana to sell you.

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