For 704 reviews, this critic has graded:
  • 46% higher than the average critic
  • 2% same as the average critic
  • 52% lower than the average critic
On average, this critic grades 2.2 points higher than other critics. (0-100 point scale)

Mike Scott's Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 100 Moon
Lowest review score: 20 Walk of Shame
Score distribution:
  1. Negative: 46 out of 704
704 movie reviews
    • 47 Metascore
    • 40 Mike Scott
    This is a movie that confuses teary with sweet. Mopey with sad. Discomfort with humor. And, worst of all, it confuses weird with odd.
    • 57 Metascore
    • 40 Mike Scott
    Eva
    For one to succeed, it should have a certain "emotional intelligence" of its own. It should have a soul. It should bring something new to the conversation. And while Eva dips a toe into those waters, it never really invites its audiences to dive in head-first.
    • 49 Metascore
    • 40 Mike Scott
    Not only did Hughes shoot a handful of prominent scene-setting exteriors in the Big Apple itself, but he does an exceptional job of camouflaging his New Orleans scenes.
    • 52 Metascore
    • 40 Mike Scott
    LUV
    Thank goodness for Rainey. Even when the story feels false, he never does, operating with an open-faced sense of easy honesty that is missing from much of the rest of the film.
    • 63 Metascore
    • 40 Mike Scott
    On the one hand, there's a thrill in such experimentalism. On the other, it doesn't always deliver a fully satisfying moviegoing experience.
    • 39 Metascore
    • 40 Mike Scott
    If not for the "Fast and Furious" franchise, Need for Speed probably wouldn't exist outside of the video game series that inspired it.
    • 64 Metascore
    • 40 Mike Scott
    With no real beginning and no real ending, the unsatisfying "Mockingjay Part 1" is essentially all middle -- one big, stretched out, watered-down second act. The result is a handsome film, but also a talky one that takes a while to hit its storytelling stride and that, once there, repeatedly stalls to fill time.
    • 60 Metascore
    • 40 Mike Scott
    The result is a film that is engrossing for stretches, that will raise your hackles -- and maybe the hair on the back of your neck -- especially if you believe in the vital role journalism plays in a free society. At the same time, though, it also feels a bit like a by-the-numbers affair.
    • 73 Metascore
    • 40 Mike Scott
    I wouldn't expect many people to remember Cold in July come September, when the movie-award season gets underway. But as a guilty-pleasure May release? You could do far worse.
    • 49 Metascore
    • 40 Mike Scott
    It won't stick to your ribs in the way, say, a shank will -- but it probably won't leave you looking for a way to escape the theater, either.
    • 60 Metascore
    • 40 Mike Scott
    What the Duplasses end up with is a film that is amusing at times, a touch repetitive at others, but one that never quite shakes the feeling that it is something of an unfinished thought. And perhaps something they've also grown beyond.
    • 60 Metascore
    • 40 Mike Scott
    While The Last Five Years isn't a bad movie, neither does it fall into the "must-see" category.
    • 54 Metascore
    • 40 Mike Scott
    Never coalesces into anything memorable, much less meaningful.
    • 29 Metascore
    • 40 Mike Scott
    The Best of Me is full-on Nicholas Sparks, through and through, checking all the boxes in the by-now well-established formula. It's just not the best of Nicholas Sparks.
    • 54 Metascore
    • 40 Mike Scott
    Lacks any real sense of vitality. And no matter how worthwhile a film's message is, it's difficult for audiences to care if the path to the payoff so often feels like a slog.
    • 68 Metascore
    • 40 Mike Scott
    One only wishes that Ewing and Grady had chosen to dig deeper as they explored it.
    • 54 Metascore
    • 40 Mike Scott
    The problem is, Draft Day doesn't really capture that sense of urgency until late in the film.
    • 65 Metascore
    • 40 Mike Scott
    What Monsters University fails to do, though, is to scare up any real emotion.
    • 78 Metascore
    • 40 Mike Scott
    It's that end -- the film's final sobering five minutes -- in which Blue Jasmine is at its most effective. Credit is due there to Blanchett's table-setting performance in it and in the hour and half preceding it. It's also due to the courage Allen displays as a storyteller in ending this particular story in the way it has to end.
    • 17 Metascore
    • 40 Mike Scott
    There are lulls to be had here, but there is a smattering of laughs, too -- and some pretty good ones, at that. If, that is, you'll give yourself permission to laugh at Wayans and company's lowest-common-denominator antics.
    • 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.
    • 55 Metascore
    • 40 Mike Scott
    So we get no zippy, Tony Stark-flavored one-liners. No comic-relief characters. No nonsense. But that means we also get no up, up and away, either.
    • 43 Metascore
    • 40 Mike Scott
    There's no sense of pacing here, as would be the case in a single feature-length narrative in which a wise filmmaker would vary the intensity level. Instead, what we get is a ceaseless visual and emotional assault. That makes for an exhausting movie-going experience. This is by no means a feel-good film. This is a feel-bad film -- and at times a feel-icky film.
    • 55 Metascore
    • 40 Mike Scott
    The result is a film with a scattered feel. That's particularly true in the film's rushed third act, as it skips around all herky-jerky, cramming in resolutions to the various conflicts but never quite giving any of them adequate time to gel.
    • 49 Metascore
    • 40 Mike Scott
    Thoroughly, and disappointingly, pedestrian.
    • 52 Metascore
    • 40 Mike Scott
    Beautiful Creatures is still an unabashed imitator, hewing closely to the "Twilight" blueprint. Some might go so far as to call it a blatant ripoff, as the differences between the two are cosmetic at best.
    • 55 Metascore
    • 40 Mike Scott
    Never elevated beyond much more than mere presidential puffery.
    • 48 Metascore
    • 40 Mike Scott
    At some point, Lee as a storyteller must step in to move things along, to dig the rudder deep into the narrative waters and steer this ship. The destination is almost irrelevant - just steer it somewhere.
    • 52 Metascore
    • 40 Mike Scott
    Part 2 really is a continuation of "Part 1," both from a story standpoint and from an artistic standpoint.
    • 61 Metascore
    • 40 Mike Scott
    There's no "place" in this place, no clear destination -- and no real payoff in a film that stands a cinematic curiosity but little more.

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