For 789 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 point higher than other critics. (0-100 point scale)

Mike Scott's Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 100 District 9
Lowest review score: 20 Peeples
Score distribution:
  1. Negative: 49 out of 789
789 movie reviews
    • 79 Metascore
    • 75 Mike Scott
    A punch-drunk tale whose fitful ramble from Jerry Springer-style family seaminess to "Rocky"-like triumph is elevated enormously by knockout performances.
    • 79 Metascore
    • 80 Mike Scott
    Here is a film that not only entertains, but also educates and -- thanks to Jodo's deep confidence and energetic artistic optimism -- one that also inspires.
    • 79 Metascore
    • 60 Mike Scott
    Another feather in the cap of Saulnier, who -- now with two impressive features under his belt as director -- is emerging to become one of the more intriguing new voices in Hollywood.
    • 79 Metascore
    • 80 Mike Scott
    Makes for riveting viewing. Dawn of the Planet of the Apes is among the more brisk 2 hours and 10 minutes I've spent in a theater in some time -- and it's easily the most rewarding of this year's summer tentpole films.
    • 79 Metascore
    • 80 Mike Scott
    The result is a movie built upon big ideas -- and timely ones, too, delivering a message of understanding in this frustrating age of great intolerance -- but also a great story and, thanks to Lee, a wonderfully satisfying cinematic journey.
    • 79 Metascore
    • 88 Mike Scott
    Without subtitles this time, it also stands a very real chance of migrating out of America's art houses and into its multiplexes, where it can sink its teeth into a whole new audience.
    • 79 Metascore
    • 88 Mike Scott
    Bong's film starts out as a comedy, transforms into a quirky Agatha Christie whodunnit and finishes with an unpredictable Hitchcockian flourish.
    • 79 Metascore
    • 100 Mike Scott
    All music docs are not created equal. Yes, some are formulaic. But some are beautiful, some are singular, some are marvels of storytelling. And some, like Searching for Sugar Man, are all three.
    • 79 Metascore
    • 75 Mike Scott
    Arriving with a savage grace, director Darren Aronofsky's nightmare-come-to-life Black Swan cements his reputation not only as one of the more daring filmmakers of his generation, but also as an actor's director of the first order.
    • 78 Metascore
    • 75 Mike Scott
    With its emphasis on relationships and character, Drive can best be described as a thinking man's action film -- or at least, it could if it didn't ultimately feel so oddly slight. As it is, for all of its positives, it functions mostly as a guilty pleasure rather than as a movie that resonates the way, say, "Blue Valentine" does.
    • 78 Metascore
    • 60 Mike Scott
    Enough Said isn't without the occasional minor formulaic element or the odd narrative contrivance here and there (starting, it must be said, with its very setup). It is, after all, a romantic comedy.
    • 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.
    • 78 Metascore
    • 75 Mike Scott
    A dramatic comedy that is light on plot but generous in spirit, a leisurely, understated film that underscores the ever-present modern guilt while -- oddly, given the weightiness of that central conceit -- boasting a satisfying buoyancy.
    • 78 Metascore
    • 75 Mike Scott
    It's a film for patient moviegoers. But for those moviegoers, it stands to be a rewarding experience.
    • 78 Metascore
    • 100 Mike Scott
    A captivating portrait of the frailty and the failures of humanity.
    • 78 Metascore
    • 80 Mike Scott
    Under the Skin is, in short, a film that does just that: gets under one's skin, shining a light on what it means to be human -- even if what we end up seeing is something less than comforting.
    • 78 Metascore
    • 60 Mike Scott
    Doesn't rise as much as it flounders and frustrates, in what would appear to be a case of a filmmaker prioritizing ego over efficiency, and engaging in generally muddled storytelling.
    • 78 Metascore
    • 75 Mike Scott
    An Ireland-set charmer oozing with a satisfying intelligence and driven by the considerable charisma of Brendan Gleeson ("Harry Potter and the Deathly Hallows").
    • 78 Metascore
    • 60 Mike Scott
    It's a theme Mary Shelley brought us in "Frankenstein," which was first published in 1818. That was almost 200 years ago. And while Ex Machina replaces the stitches and neck bolts with gears and fiber-optics, it all feels an awful lot like the same story.
    • 78 Metascore
    • 60 Mike Scott
    It's a difficult watch, with its scenes of robbery, rape, murder and assorted other personal assaults, as well as a downright agonizing portrayal of an abortion procedure. This is not a story of hope or of redemption. It is a story of cruelty and despair.
    • 78 Metascore
    • 75 Mike Scott
    Director David Yates picks up where he left off with "Order of the Phoenix," assembling a nicely paced and artfully shot adventure.
    • 78 Metascore
    • 88 Mike Scott
    The only waste would be if people didn't go see it.
    • 78 Metascore
    • 75 Mike Scott
    The movie documents much more than a talent competition -- it documents a political movement.
    • 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.
    • 77 Metascore
    • 80 Mike Scott
    Favreau's family-friendly fable, a blend of old-school storytelling charm and new-school animation techniques.
    • 77 Metascore
    • 60 Mike Scott
    There's a good reason why the true-crime film The Imposter is a documentary: If someone tried to pass off this bizarre Texas tale as fiction, nobody would believe it.
    • 77 Metascore
    • 100 Mike Scott
    A singularly enjoyable and moving film.
    • 77 Metascore
    • 100 Mike Scott
    It's a tremendously moving drama, filled with heartbreak, humor and, more importantly, humanity.
    • 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.
    • 77 Metascore
    • 60 Mike Scott
    Baumbach, however -- while not entirely past that particular cocktail of curmudgeonly emotions -- demonstrates an ability to laugh at his own apparent age hang-ups.

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