For 839 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: 100 127 Hours
Lowest review score: 20 Walk of Shame
Score distribution:
  1. Negative: 52 out of 839
839 movie reviews
    • 63 Metascore
    • 60 Mike Scott
    Even when Laggies strains against its contrived conceit, his (Rockwell) chemistry with Knightley goes a long way in classing up the joint and making Shelton's film feel just deep enough to pass muster.
    • 67 Metascore
    • 60 Mike Scott
    It wasn't until Gibney's film was already largely shot that the truth caught up to Armstrong.
    • 65 Metascore
    • 60 Mike Scott
    The result is a film that feels breezy at times, but also grounded in a sense of emotional honesty.
    • 46 Metascore
    • 60 Mike Scott
    Here's a movie that is far from perfect, far from seamless and far from unassailable. But it manages to be a fun diversion anyway -- and one that will likely leave audiences hungry for more.
    • 76 Metascore
    • 60 Mike Scott
    Not all of the stand-up scenes in Obvious Child are quite as funny. At least one is meant to be bad. Another is meant to be poignant but just ends up coming off as a touch weird and emotionally false.
    • 81 Metascore
    • 60 Mike Scott
    Sometimes the nuts-and-bolts of the story threaten to snag, most often on conversations about the very specific details of Locke's largely humdrum job. It's those moments in particular that keep Locke from ever quite shaking the feeling that it's a gimmick film.
    • 63 Metascore
    • 60 Mike Scott
    Free Fire frequently becomes a messy blur of ricochets and one-liners. Fortunately, the cast is appealing enough -- and the characters interesting enough -- to use those one-liners to maximum effect, thus holding things together reasonably well.
    • 63 Metascore
    • 60 Mike Scott
    What the Cairns brothers have created is something rare for a horror film: Not only does it get the job done without making you want to shower after it's all over, but they've created multi-dimensional characters who inhabit a believable and expansive environment. In so doing, they've also created a bloody good bit of twisted fun.
    • 64 Metascore
    • 60 Mike Scott
    While Infinitely Polar Bear makes an admirable argument that mental illness is something to be managed rather than dreaded like a death sentence, it's hard not to feel as if Forbes' film perhaps paints too rosy of a portrait of what can be a devastating condition to families.
    • 60 Metascore
    • 60 Mike Scott
    Trumbo isn't monotonous, but it falls short of genius.
    • 72 Metascore
    • 60 Mike Scott
    Straight Outta Compton doesn't shy entirely from the uglier side of the N.W.A. story, including the claims that their music and their lifestyles glorified thug life, perpetuated gun violence, advocated drug use and reveled in misogyny. Instead, Gray's film owns it.
    • 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.
    • 86 Metascore
    • 60 Mike Scott
    What Anderson's talky and willfully opaque film doesn't have, however, is an unfailingly compelling story to tell.
    • 58 Metascore
    • 60 Mike Scott
    It's an uplifting, even enchanting, smile-inducer.
    • 58 Metascore
    • 60 Mike Scott
    Ends up being the kind of movie we don't see a whole lot anymore: an emotionally grounded and quietly meaningful crowd-pleaser that functions as a lovely antidote to the recently ended summer blockbuster season.
    • 47 Metascore
    • 60 Mike Scott
    At worst, though, the film's faintly sleazy bait-and-switch tactic robs the film of its biggest asset -- its sense of fun.
    • 53 Metascore
    • 60 Mike Scott
    Thanks to Rochefort and Folch, as well as Trueba's delicate direction, it still manages to be an embraceable journey, one with its own quiet -- and artistic -- rewards.
    • 61 Metascore
    • 60 Mike Scott
    One gets the feeling that Thompson left a lot on the table with The Jeffrey Dahmer Files, that it could have been something more, something bigger, something elaborate. And that may be true. But the film that Thompson did choose to make - one that is both simple but effective -- is fascinating in its own right.
    • 65 Metascore
    • 60 Mike Scott
    Billed as a dramatic comedy, and it lives up to that billing, even if it tends more toward chuckles than guffaws. In other words, one thing it's not is "It's Complicated," Streep's previous -- and often riotous -- relationship dramedy.
    • 66 Metascore
    • 60 Mike Scott
    Seizing the role, and the screen, Gelber actually makes us care what happens to his surly, thoroughly unlikable character.
    • 80 Metascore
    • 60 Mike Scott
    The result is a satisfyingly gritty tale, more grounded in reality than many entries in the franchise.
    • 31 Metascore
    • 50 Mike Scott
    An unapologetic B-movie, Dylan Dog: Dead of Night tries mightily to cover its flaws with a peppering of humor -- much of it supplied courtesy of Dylan's zombie sidekick, played by Sam Huntington -- and an at-times fun "Buffy the Vampire Hunter" vibe.
    • 58 Metascore
    • 50 Mike Scott
    What we're left with is a thoroughly mediocre, shrug-generating disappointment -- and one that certainly doesn't feel like it should have cost more than a third of a billion dollars to make and market.
    • 51 Metascore
    • 50 Mike Scott
    Rather than "Greased Lightning," we get a holding pattern -- which is better than a crash-landing, but still ...
    • 52 Metascore
    • 50 Mike Scott
    She could stand to learn a lesson herself, from another magical governess -- you know, the one about the spoon full of sugar.
    • 36 Metascore
    • 50 Mike Scott
    There are entertaining moments along the way, and some likeable characters.
    • 43 Metascore
    • 50 Mike Scott
    The ending of Dear John feels manufactured and patently false. Seyfried tries to sell it, but you can tell that she's having a hard time believing the words coming out of her mouth.
    • 58 Metascore
    • 50 Mike Scott
    More than just corny. Eclipse is boring.

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