For 852 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 0.4 points lower than other critics. (0-100 point scale)

Mike Scott's Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 100 The Broken Circle Breakdown
Lowest review score: 20 That's My Boy
Score distribution:
  1. Negative: 53 out of 852
852 movie reviews
    • 50 Metascore
    • 60 Mike Scott
    It is a reasonably clever, fairly high-concept 'toon that boasts a satisfying emotional component.
    • 55 Metascore
    • 60 Mike Scott
    The resulting coming-of-age story isn't necessarily an uplifting one. It is harsh. It is melancholy. It is sometimes uncomfortable to watch and predictable here and there. But it also boasts a feeling of authenticity.
    • 86 Metascore
    • 60 Mike Scott
    This is a film your preschooler will sit through, and attentively. Better yet, parents who appreciate the artistry of a well-made animated film also stand to be swept up in what is a delightful little tale.
    • 50 Metascore
    • 60 Mike Scott
    If nothing else, True Story is the kind of movie that will spark spirited discussion among moviegoers prone to digging and searching for the truth -- whatever that might be.
    • 62 Metascore
    • 60 Mike Scott
    Big Eyes is not dissimilar to the Keane paintings at its center. That is, it's by no means flawless, but there's an odd attraction there, something intriguing that draws you in and makes you want to find out if there's anything worthwhile there. You can say what you will about Keane's work, but in the case of Burton's film, these "Eyes" have it.
    • 73 Metascore
    • 60 Mike Scott
    Witching and Bitching -- though perhaps a bit overlong, and prone to meandering -- is unapologetic about what it is: a crazy, just-for-fun film that revels in its own bad taste.
    • 49 Metascore
    • 60 Mike Scott
    Most normal people will not see this as a "pleasant" film -- I hope that's the case, anyway -- but it certain makes you feel something.
    • 73 Metascore
    • 60 Mike Scott
    Michell's is a film with somewhere to go -- and that journey is one well worth taking.
    • 66 Metascore
    • 60 Mike Scott
    Is Premium Rush a two-wheeled "French Connection"? No, not by a long shot. (Although it does include a racing-beneath-the-el-train homage.) But when it comes to lightweight, synapse-free action fare, Premium Rush delivers.
    • 71 Metascore
    • 60 Mike Scott
    Far more often than not, Lee's talented ensemble -- who really do look like they're having a blast together -- generate more laugh-out-loud moments than lulls, all of which help make Girls Trip work nicely as a mood-elevating mid-summer diversion.
    • 73 Metascore
    • 60 Mike Scott
    It does double duty, working equally well as a superhero movie and as a teen comedy.
    • 72 Metascore
    • 60 Mike Scott
    The result is the kind of movie that can be counted on to put a smile on the face of even the casual Beatles fan. In other words: a good laugh.
    • 58 Metascore
    • 60 Mike Scott
    While it's enjoyable enough to watch, there's no slam-dunk takeaway here.
    • 74 Metascore
    • 60 Mike Scott
    It's that sort of singular imagery that ultimately rescues Lowery's film. Yes, it's a flawed movie, but it also is a downright lovely one.
    • 62 Metascore
    • 60 Mike Scott
    42
    Aesthetically, Helgeland's film -- while highly polished -- is straight-forward stuff, hewing so closely to the prescribed genre conventions as to border on unimaginative.
    • 54 Metascore
    • 60 Mike Scott
    It's a dark, troubled world that O'Brien has created, and one that's not without its occasional predictabilities. (As soon as you see Christopher Lloyd in the cast, you know he'll figure into the plot at some point. And you'd be right.) Still, it's one that -- like "Stranger Things" -- proves hard to resist.
    • 53 Metascore
    • 60 Mike Scott
    Despite its adoption of that trendy (and more than a little tired) shooting style, there's an old-fashioned charm to Earth to Echo.
    • 59 Metascore
    • 60 Mike Scott
    Once Learning to Drive gets up to speed it hums along nicely.
    • 60 Metascore
    • 60 Mike Scott
    Against all odds, Gifted nicely accomplishes what it sets out to do.
    • 61 Metascore
    • 60 Mike Scott
    Dawson, who to this point has largely built her career playing supporting characters, seizes the opportunity to stand center-stage, all but taking over the film.
    • 41 Metascore
    • 60 Mike Scott
    It's no "Das Boot," but Battleship is a boatload of popcorny fun.
    • 55 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.
    • 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.
    • 42 Metascore
    • 60 Mike Scott
    It's an uneven but fairly enjoyable ride, one that benefits from Statham's cool, capable presence.
    • 56 Metascore
    • 60 Mike Scott
    It keeps you guessing, it keeps the tension ratcheted up, and it offers a dose of breathless -- if sometimes brainless -- suspense.
    • 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.
    • 68 Metascore
    • 60 Mike Scott
    Flaws aside, the journey will be largely worth it for audiences, particularly for fans of the genre.
    • 68 Metascore
    • 60 Mike Scott
    12 O'Clock Boys is reminiscent of the Ross brothers' far more lyrically shot 2012 film "Tchoupitoulas," which tagged along with three New Orleans boys for a night of exploration and boundary-testing in the French Quarter. The setting is different in Nathan's film, and Nathan doesn't commit as fully as the Rosses did to visual artistry. But there are thematic similarities, to be sure.
    • 68 Metascore
    • 60 Mike Scott
    As with everything in which he appears, Schreiber is one of the best things about the movie.
    • 75 Metascore
    • 60 Mike Scott
    Thanks to Gere -- and occasional flashes of gaudy but well-deployed visual style from Cedar -- those contrivances never threaten to overtake the rest of the film.

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