For 840 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 War Horse
Lowest review score: 20 The Great Wall
Score distribution:
  1. Negative: 52 out of 840
840 movie reviews
    • 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
    Baumbach, however -- while not entirely past that particular cocktail of curmudgeonly emotions -- demonstrates an ability to laugh at his own apparent age hang-ups.
    • 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
    Calvary is most assuredly not a comedy. It is a weighty, powerful drama -- albeit one with comic moments -- that dabbles in weighty, powerful themes.
    • 77 Metascore
    • 100 Mike Scott
    The House I Live In is not a comfortable film to consider in any respect, but without discomfort it's hard to feel anger - and without anger, it's hard to imagine that anything will ever be done about it.
    • 77 Metascore
    • 100 Mike Scott
    A winner, through and through.
    • 77 Metascore
    • 88 Mike Scott
    A movie with a message, but the subtle kind; it's whispered wisdom, wrapped up in a story of mystery, of love, of regret, of repentance and redemption.
    • 77 Metascore
    • 80 Mike Scott
    It's R-rated because it has grown-up things to say -- things about mortality, aging, guilt, regret, and about what happens when superheroes, tired of being superheroes, start thinking very dark, very human thoughts.
    • 76 Metascore
    • 38 Mike Scott
    Almodovar lets his movie become boring, and insufferably so.
    • 76 Metascore
    • 50 Mike Scott
    Doesn't boast enough universal meaning to make it truly sing.
    • 76 Metascore
    • 60 Mike Scott
    Beneath all that genre eye candy, though, resides a smart and moving story that, after a somewhat slow-moving first hour, builds nicely to become an emotionally engaging drama.
    • 76 Metascore
    • 63 Mike Scott
    It continuously feels less like straight-up reportage and more like a fan film, one built on equal parts idol worship and wishful thinking.
    • 76 Metascore
    • 80 Mike Scott
    It's called Chico & Rita, but their film could just as easily have been titled "Chico & Cuba." In both cases, it's a film are about a long-lost love, and in both cases it is steeped in such a pitch-perfect sense of place -- and affection -- that you can almost smell the cigar smoke as it unfolds.
    • 76 Metascore
    • 80 Mike Scott
    World War II dramas might be common enough, but, amid them all, Lore stands as an uncommon entry in the genre.
    • 76 Metascore
    • 75 Mike Scott
    Complemented by striking, well-conceived visuals, in Fukunaga's hands Bronte's tale of love and woe becomes one well worth repeating.
    • 76 Metascore
    • 88 Mike Scott
    Seeing Brannaman work in the warm, sun-dappled documentary Buck makes it clear why he was such a perfect fit for Redford's film: Few people can handle horses the way Brannaman does.
    • 76 Metascore
    • 80 Mike Scott
    It is fast, it is fun.
    • 76 Metascore
    • 40 Mike Scott
    The wholesomeness and embraceable spirit of Their Finest will likely strike a chord with the sort of moviegoer who is drawn to such a film. But that doesn't mean it's as good a film as it could have been.
    • 76 Metascore
    • 80 Mike Scott
    Still, none of that holds back Bahrani's film from becoming a thought-provoking treatise on the self-perpetuating and dehumanizing nature of greed, which more often than not spawns desperation in others, which in turn spawns greed, which spawns more desperation, which spawns greed ...
    • 76 Metascore
    • 60 Mike Scott
    Imbued as it is with a sense of discomforting truth, it is a worthwhile examination of human nature -- and one with a message well worth heeding.
    • 76 Metascore
    • 63 Mike Scott
    The quietly moving drama Martha Marcy May Marlene must be thought of as an "arrival" film. That is, for all that it has going for it (and, it must be said, against it), if it is remembered for anything it will be for introducing a 22-year-old newcomer named Elizabeth Olsen.

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