For 693 reviews, this critic has graded:
  • 46% higher than the average critic
  • 2% same as the average critic
  • 52% lower than the average critic
On average, this critic grades 2.6 points higher than other critics. (0-100 point scale)

Mike Scott's Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 100 A Single Man
Lowest review score: 20 The Identical
Score distribution:
  1. Negative: 46 out of 693
693 movie reviews
    • 39 Metascore
    • 40 Mike Scott
    As with its gooey, smoochy predecessors, The Lucky One is, beneath it all, a fairy-tale romance, just one with modern trappings.
    • 57 Metascore
    • 40 Mike Scott
    Those who connected with "The Best Exotic Marigold Hotel" last year or the lesser "Quartet" earlier this year likely will find things to appreciate about Williams' film, given its similar senior citizen angle and general sense of niceness and decency.
    • 67 Metascore
    • 40 Mike Scott
    Has potential to be fun and meaningful, but it's not exactly a novel idea. In fact, it feels like a literary-minded "Lars and the Real Girl," the 2007 dramatic comedy that starred Ryan Gosling as a man who falls in love with a sex doll, and which coasted along on its charm and smarts.
    • 60 Metascore
    • 40 Mike Scott
    One only wishes they were able to deliver these performances in a movie that felt more like a true celebration of Mandela's life -- and less like homework.
    • 51 Metascore
    • 40 Mike Scott
    It's not only shameless, it detracts from what this movie could have been, and still is when the self-promoting Harvey shuts up.
    • 56 Metascore
    • 40 Mike Scott
    Steadman is a fascinating talent with a fascinating process and a fascinating perspective on the world. Maybe somebody will make a definitive documentary about him one day. Unfortunately, For No Good Reason isn't it.
    • 50 Metascore
    • 40 Mike Scott
    As a collective thing, though, those moments add up to a messy, all-over-the-map movie that toys with big, existential thoughts, but it doesn't have a coherent enough story with which to drive them home.
    • 34 Metascore
    • 40 Mike Scott
    That's perhaps the best word to describe Baggage Claim: contrived. And predictable, as it doesn't take a rocket scientist to figure out which tall, dark and handsome fellow she'll end up with.
    • 75 Metascore
    • 40 Mike Scott
    There must also be a spark, a sense of life, a compelling reason for being. If a film doesn't have those -- which The Invisible Woman doesn't -- well, it might as well be invisible.
    • 40 Metascore
    • 40 Mike Scott
    The violence in Homefront is violence purely for entertainment's sake.
    • 32 Metascore
    • 40 Mike Scott
    With a scattered, meandering script, a stable of throwaway characters and an almost laughably drawn-out ending, it's all amounts to standard movie-of-the-week fare dressed up in Sunday-go-to-meeting clothes.
    • 58 Metascore
    • 40 Mike Scott
    Alas, in Cronenberg's hands, it just comes across as cold and lifeless and exhausting.
    • 71 Metascore
    • 40 Mike Scott
    Sleepwalk With Me is a decent film -- even if its not one that lingers.
    • 40 Metascore
    • 40 Mike Scott
    The end result is still not a very good film, but it is one that boasts some enjoyable moments -- but only if you find yourself with two hours to kill.
    • 40 Metascore
    • 40 Mike Scott
    Amid it all, Snead does a nice job of laying out the history of video games. If nothing else, there's a lot of information here. But there's also a lot of information on the Wikipedia entry for "video games." All in all, I'd rather be playing "Madden 15."
    • 34 Metascore
    • 40 Mike Scott
    It's the kind of cinematic cotton candy that youngsters will gobble up. Even more importantly, it's relatively quick, painless stuff when compared to so many other pint-sized entertainments out there.
    • 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.
    • 61 Metascore
    • 40 Mike Scott
    Just don't think too hard -- or at all, really -- or else you run the risk of realizing that Fast & Furious 6 is running on little more than fumes, with just a shot or two of nitrous.
    • 47 Metascore
    • 40 Mike Scott
    You can color me unimpressed.
    • 59 Metascore
    • 40 Mike Scott
    To be fair, in its best moments, The Best Man Holiday is more enjoyable than even a well-wrapped steam iron, functioning as it does as passable light entertainment -- but only just.
    • 65 Metascore
    • 40 Mike Scott
    Along the way, Krokidas' story becomes a touch schizophrenic, at times a coming-of-age story, a love story, a crime drama and a literary drama. It's hard to say which it functions as best, as none are given too much time to germinate before Krokidas moves on to the next.
    • 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.
    • 57 Metascore
    • 40 Mike Scott
    The problem is, the second half of the film -- when it's time for it to get down to business -- isn't nearly as compelling as the first. As a result, the impact of Cahill's story is muted as the payoff just doesn't feel rewarding.
    • 72 Metascore
    • 40 Mike Scott
    And let's be honest: Hawking and Wilde's romance is lovely in its own way. But his scientific work? That's important. That's staggering. That's life-changing, not just for him, but for all of us. And The Theory of Everything? Despite that title, and despite those performances, it just doesn't feel like any of those things.
    • 34 Metascore
    • 40 Mike Scott
    Is it funny enough to make for a wholly satisfying feature-length film? No, not really. Like so many films of Ferrell's, Get Hard feels rushed and uneven.
    • 33 Metascore
    • 40 Mike Scott
    Unfortunately, the longer this Annie goes on, the more steam it loses.
    • 52 Metascore
    • 40 Mike Scott
    It is nothing if not a nice film. But it's little more than that.
    • 62 Metascore
    • 40 Mike Scott
    It's all fairly standard rom-com stuff.
    • 52 Metascore
    • 40 Mike Scott
    Regardless of how well-argued it is, when watching a film feels this much like homework, that's not likely to happen.
    • 64 Metascore
    • 40 Mike Scott
    When a film's clichés are so obvious that its cast points them out for you, you've got to wonder how hard it's really trying.
    • 43 Metascore
    • 40 Mike Scott
    There's a lot of eye candy in what ends up being a slick, breathless and at-times enjoyable sci-fi update. Unfortunately, it's what Wiseman forgets to do that makes the biggest difference in his film -- and which keeps it from becoming much more than a glossy missed opportunity.
    • 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.
    • 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.
    • 45 Metascore
    • 40 Mike Scott
    There's a germ of a good story there, and Intruders isn't without the occasional tense moment. But unfortunately Hollowface is as undeveloped as the other characters in Intruders, which is the film's biggest flaw of all.
    • 41 Metascore
    • 40 Mike Scott
    Here's a film that tries to strike a "Beverly Hills Cop" balance between crime drama and screwball comedy -- but that balance, it should be noted, isn't an easy one to strike.
    • 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.
    • 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.
    • 61 Metascore
    • 40 Mike Scott
    As well-shot and well-acted as it is, one can't help feeling there's a good movie in there somewhere. Unfortunately, it's buried beneath such an avalanche of extraneousness and artistic posing.
    • 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.
    • 37 Metascore
    • 40 Mike Scott
    Once the opening credits end, it turns out The Nut Job"= is far more "Romper Room" than "Step Brothers."
    • 52 Metascore
    • 40 Mike Scott
    Any improvements over the original RoboCop are mere window dressing, more a superficial function of technical advances in filmmaking than of any sort of storytelling prowess or fresh narrative ideas.
    • 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.
    • 45 Metascore
    • 40 Mike Scott
    This is a tragedy, not a comedy.
    • 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."
    • 27 Metascore
    • 38 Mike Scott
    Grant and Parker's talents are wasted on a boring, made-for-TV story punctuated by a contrived, throwaway third act.
    • 33 Metascore
    • 38 Mike Scott
    The really annoying thing about Jack Black's Gulliver's Travels is not so much that it's a bad movie -- it is bad, but only run-of-the-mill bad, not epic-misfire bad -- but that the movie sullies a piece of literature that has endured for nearly 300 years for the sake of a cheap kiddie flick that'll be forgotten in a month.
    • 23 Metascore
    • 38 Mike Scott
    But Jack and Jill? Oh, Al.
    • 83 Metascore
    • 38 Mike Scott
    Dumont's fans might find this latest exercise enjoyable, but his style of filmmaking is an acquired taste. I doubt those without that taste are going to acquire it here.
    • 42 Metascore
    • 38 Mike Scott
    Rather than a moving story of sisterly love, we get little more than a grandly appointed disappointment.
    • 66 Metascore
    • 38 Mike Scott
    Beautifully shot, but terribly dull.
    • 52 Metascore
    • 38 Mike Scott
    It feels more like a poor man's "Poltergeist, " minus the static-filled TV.
    • 22 Metascore
    • 38 Mike Scott
    Even if The Bounty Hunter is more plot-driven than your standard romantic comedy, it's never quite as funny as it should be.
    • 40 Metascore
    • 38 Mike Scott
    The school freak, played by Mary-Kate Olsen, misses a chance to really have some fun as this story's wicked witch.
    • 28 Metascore
    • 38 Mike Scott
    Little more than a glorified situation comedy. The problem is, it's all situation and no comedy.
    • 36 Metascore
    • 38 Mike Scott
    It is fluffy, yes, but it also is ugly and annoying and something you neither want nor need.
    • 76 Metascore
    • 38 Mike Scott
    Almodovar lets his movie become boring, and insufferably so.
    • 51 Metascore
    • 38 Mike Scott
    You can't just cast an appealing actress in the lead role -- in this case Queen Latifah ("Valentine's Day, " "The Secret Life of Bees") -- and expect her to do all the heavy lifting.
    • 36 Metascore
    • 38 Mike Scott
    Right off the bat, things start falling apart for Wiesen's film. While Highmore is more than capable of playing smart and tender, he has yet to figure out how to believably portray so much as a shred of the danger or rebelliousness required for this role.
    • 44 Metascore
    • 38 Mike Scott
    A message movie that struggles mightily to make an impact but never comes close to capturing the gritty realism on which any blues singer builds his career.
    • 30 Metascore
    • 38 Mike Scott
    Clever story? Pass. Originality? Nah. A smidgen of real humor to keep parents entertained along with the kiddies? Smurf you.
    • 43 Metascore
    • 38 Mike Scott
    Anthony Hopkins still does elegant menace better than anyone.
    • 34 Metascore
    • 38 Mike Scott
    For movie-goers who like a little cleverness with their comedy, however, one word: N-opa.
    • 38 Metascore
    • 38 Mike Scott
    In the end, Carpenter offers a reasonably nice payoff to this whole misfire.
    • 22 Metascore
    • 25 Mike Scott
    I guess I can't call the movie sexist as it was largely produced, directed and written by women. So I'll settle for calling it dull, corny and amateurish instead.
    • 35 Metascore
    • 25 Mike Scott
    Most of the time, however, Post Grad just coasts along, flat as a mortar board, and as forgettable as a ... oh, I forgot already.
    • 40 Metascore
    • 25 Mike Scott
    Early on in The Slammin' Salmon, a customer sends back a plate of undercooked fish. I can't imagine a better metaphor for a movie that is named after a fish and that is as half-baked as this one is.
    • 43 Metascore
    • 25 Mike Scott
    A movie that wears its heart on its sleeve.
    • 20 Metascore
    • 25 Mike Scott
    Red Riding Hood needs a better agent.
    • 31 Metascore
    • 25 Mike Scott
    A textbook example of ye olde two-joke movie.
    • 30 Metascore
    • 25 Mike Scott
    The characters aren't fully formed enough to care about, the humor is baseball-bat dull, and the story - such as it is - is never treated as anything more than a half-hearted means to get the audiences from one spectacular snuffing to the next.
    • 45 Metascore
    • 20 Mike Scott
    This is the kind of film that feels like a dream - but not in the good way. Rather, it resembles a dream in that it is made up of disjointed, loosely connected bits of surrealist craziness - ideas that might have seemed interesting in the twilight hours but that don't come close to standing up to the light of day.
    • 29 Metascore
    • 20 Mike Scott
    What we end up with is a meandering mishmash of tasteless jokes and a tendency for extended non sequitur riffs.
    • 31 Metascore
    • 20 Mike Scott
    Nobody has an excuse for being surprised by how low Sandler and company stoop in That's My Boy.
    • 25 Metascore
    • 20 Mike Scott
    This is an alternate-history rock 'n' roll saga. It is not Elvis, but Elvis-ish.
    • 58 Metascore
    • 20 Mike Scott
    The fight sequences are briskly choreographed at least, gruesome though they are -- and, to be honest, that goes a long way in a film such as this. In fact they may be the only reason to see it, other than the chance to see Van Damme in full Col. Kurtz mode, all face-painted and droopy-eyed and bat-poop crazy.
    • 52 Metascore
    • 20 Mike Scott
    Unimaginative and painfully generic.
    • 49 Metascore
    • 20 Mike Scott
    In the half-baked American Reunion, though, they might have accomplished what no previous chapter has: They might have just killed it.
    • 48 Metascore
    • 20 Mike Scott
    There's really nothing definitive about Emperor. Or memorable, for that matter.
    • 25 Metascore
    • 20 Mike Scott
    It so shamelessly borrows from so many other movies, and then does absolutely nothing to add to them -- nothing to raise the bar, nothing to make it more interesting, and really nothing to make it the least bit appealing.
    • 55 Metascore
    • 20 Mike Scott
    In other words, For a Good Time is not a good time. For that, you'll have to dust off your Nintendo and reacquaint yourself with "The Legend of Zelda" -- and hope that one of these days somebody can give "Bridesmaids" some real competition.
    • 19 Metascore
    • 20 Mike Scott
    Lazy and stupid and unwilling to put forth the effort needed to distinguish itself even from a mediocre Internet video, it all amounts to a forgettable, slapdash bit of comedic nothingness.
    • 47 Metascore
    • 20 Mike Scott
    It features predictable humor and an underdeveloped story.
    • 51 Metascore
    • 20 Mike Scott
    No, Funeral Kings isn't quite dead on arrival -- but it's not too far from needing life support.
    • 38 Metascore
    • 20 Mike Scott
    It's also deeply flawed, an emotionally exhausting film with a payoff that is limited at best, and a bit self-indulgent to boot. So while Haggis has proven himself a first-rate filmmaker and storyteller, by his standards, Third Person is little more than a second-rate effort.
    • 25 Metascore
    • 20 Mike Scott
    Even when it's at its best, Walk of Shame is rarely more than merely amusing. On the other hand, when it's at its worst, it's nothing short of insulting, thanks to its willingness to engage in the kind of gross stereotyping that treads uncomfortably close to racist territory.
    • 38 Metascore
    • 20 Mike Scott
    Unfortunately, Think Like a Man Too never takes the time to elevate any of those characters to beyond mere cardboard cutouts.
    • 45 Metascore
    • 20 Mike Scott
    But artistically interesting only takes a film so far. What it needs are laughs- - or at least a compelling narrative. It's got neither -- with the result being a film that arrives as dead as a certain parrot from a certain skit. One of the funny ones.
    • 47 Metascore
    • 20 Mike Scott
    The chief problem with such gimmick films -- including Maniac -- is that storytelling so often takes a back seat to the gimmick du jour, resulting movie that can be interesting from a technical perspective but not nearly as compelling as one would want.
    • 30 Metascore
    • 20 Mike Scott
    This is supposed to be a movie about obsession. Instead it's just cupcake meets beefcake, with a big glass of milk on the side. And that's one Valentine's Day dinner you can easily pass up.
    • 37 Metascore
    • 20 Mike Scott
    What they're missing here is a story good enough to warrant visiting the same uncomfortably dark place and characters worth caring about. Instead, what we get is a film that boasts tons of atmosphere and flashes of Refn's visual style -- as well as an admirably unhinged performance from Kristen Scott Thomas -- but little else.

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