For 714 reviews, this critic has graded:
  • 46% higher than the average critic
  • 3% same as the average critic
  • 51% lower than the average critic
On average, this critic grades 2 points higher than other critics. (0-100 point scale)

Mike Scott's Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 100 127 Hours
Lowest review score: 20 Only God Forgives
Score distribution:
  1. Negative: 46 out of 714
714 movie reviews
    • 71 Metascore
    • 40 Mike Scott
    Sleepwalk With Me is a decent film -- even if its not one that lingers.
    • 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.
    • 53 Metascore
    • 40 Mike Scott
    Pros and cons aside, Sinister has the benefit of arriving in the thick of Halloween season, right when movie-goers are most hungry for a few scares. And they'll get them from Derrickson's film, too.
    • 40 Metascore
    • 40 Mike Scott
    Few people will be surprised by how it all unfolds or by how it all ends. This is a movie about lightweight entertainment and heavyweight fighters, not a movie about surprises.
    • 30 Metascore
    • 40 Mike Scott
    The resulting film, despite its occasional outbursts of action and tension, is less an action film than a psychological thriller, although even there it fumbles the ball.
    • 54 Metascore
    • 40 Mike Scott
    Lillard's film ends up being more unsatisfying than anything else. His "Fat Kid" might rule the world, but it doesn't quite rule the screen.
    • 52 Metascore
    • 40 Mike Scott
    Part 2 really is a continuation of "Part 1," both from a story standpoint and from an artistic standpoint.
    • 68 Metascore
    • 40 Mike Scott
    One only wishes that Ewing and Grady had chosen to dig deeper as they explored it.
    • 55 Metascore
    • 40 Mike Scott
    Never elevated beyond much more than mere presidential puffery.
    • 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.
    • 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.
    • 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.
    • 35 Metascore
    • 40 Mike Scott
    The result is exactly what you would expect from a concept whose odometer has been running for so long: uneven laughs, sparked largely by spurts of shock comedy but marred by a general sense of familiarity.
    • 48 Metascore
    • 40 Mike Scott
    It's done with affection, so it's hard to begrudge Hill for indulging in a postcard cliché or two. After all, it - like Hill's movie as a whole - certainly beats a bullet to the head.
    • 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.
    • 51 Metascore
    • 40 Mike Scott
    This is the sort of movie that Charles Bronson would have made back in the day, and indeed a shot of Johnson standing in a sporting goods store, contemplating a wall of shotguns as he gets ready to get busy, could have come from any "Death Wish."
    • 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.
    • 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.
    • 51 Metascore
    • 40 Mike Scott
    For 91 minutes of its briskly paced 94-minute running time, the film works as a tightly wound bit of pins-and-needles storytelling. Then, Anderson lets it all unravel in a three-minute stretch of cheap writing that not only betrays the characters he worked so hard to develop, but that also thumbs its nose at any audience members with a brain.
    • 58 Metascore
    • 40 Mike Scott
    What we end up with is an arm's-length film that feels more haunted than haunting -- and one that audiences will want to forget rather than remember.
    • 55 Metascore
    • 40 Mike Scott
    The Croods does a lot of things well -- even if it does none of them extraordinarily. The end result is a solidly middle-of-the-road bit of animation -- but the kind that is easily forgotten as soon as something more evolved, and original, comes along.
    • 35 Metascore
    • 40 Mike Scott
    Niccol and Meyer -- who co-produces this, her first post-"Twilight" film -- choose to trade away any shred of the ripe social subtext that has made other body-snatcher films so rich. In its place: the kind of supernatural, star-crossed romance that generates so much swooning from Team "Twilight."
    • 41 Metascore
    • 40 Mike Scott
    If you currently own a G.I. Joe toy or if you've dressed like a ninja at least twice since Halloween, you're going to find a lot to "hooah" about in "G.I. Joe: Retaliation."
    • 57 Metascore
    • 40 Mike Scott
    Because while it can boast of some truly extraordinary special effects -- stomach-churning, face-hacking, arm-slicing visual effects, the kind that are sure to titillate the gleefully twisted -- this Evil Dead is far more gruesome than awesome.
    • 81 Metascore
    • 40 Mike Scott
    No
    You'd think that a movie about such a dynamic moment and such a vibrant ad campaign would be more dynamic and vibrant.
    • 40 Metascore
    • 40 Mike Scott
    What Leonie is missing, however -- in its script, in its performances, really in everything about it -- is any hint of sparkle, any sort of compelling hook on which to hang its hat.
    • 69 Metascore
    • 40 Mike Scott
    There's not much meat to the story. So while the picture on the menu suggests filet mignon, we really get mostly fish-and-chips stuff.
    • 45 Metascore
    • 40 Mike Scott
    This is a tragedy, not a comedy.
    • 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.

Top Trailers