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 Wild
Lowest review score: 20 That's My Boy
Score distribution:
  1. Negative: 46 out of 693
693 movie reviews
    • 58 Metascore
    • 75 Mike Scott
    A movie with undeniable melancholy underpinnings, but Bertuccelli wisely avoids overdoing the drama to nurse cheap tears from her audience.
    • 74 Metascore
    • 75 Mike Scott
    It also is a film that does the impossible: It lubes its audiences' mental gears and sets them to spinning without insulting anyone and without issuing threats of eternal damnation. Subtlety, thy name is Vera. Can I get an "amen"?
    • 64 Metascore
    • 75 Mike Scott
    It is an inspiring, well-assembled portrait of one man's love for his autistic 6-year-old son and the measures he's willing to go to help the boy -- and the family -- cope with his neurological challenges.
    • 79 Metascore
    • 75 Mike Scott
    Precious is painful, it is harrowing, it is emotionally exhausting. It is also a singular film, one that is as difficult to compare to another as it is to forget.
    • 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.
    • 67 Metascore
    • 75 Mike Scott
    The result is a documentary that is as interesting as it is irresistible.
    • 58 Metascore
    • 75 Mike Scott
    A heartwarming -- and at times heartbreaking -- post-"Juno" road comedy for grownups.
    • 63 Metascore
    • 75 Mike Scott
    But lowbrow or not, it is, like, totally tubular in its own right. To the max. Fer sure.
    • 60 Metascore
    • 75 Mike Scott
    Not the deepest stuff, but thought-provoking all the same -- and entertaining to boot.
    • 39 Metascore
    • 75 Mike Scott
    So what we have is a movie that will make at least two important groups happy. New Orleans boosters can cheer Green Lantern for its local roots and for the possibility that the inevitable future installments could return to town. And the purists can cheer, knowing that Campbell and crew have done Green Lantern justice.
    • 80 Metascore
    • 75 Mike Scott
    As a result, the slickly produced Food, Inc. is more deeply unsettling than it is out-and-out stomach-turning.
    • 66 Metascore
    • 75 Mike Scott
    There's a certain triteness to the overarching message -- secrets will keep us apart, and the truth will set us free -- but the kind of sweetness and earnestness that's on display in City Island makes such quibbles easy to forgive.
    • 73 Metascore
    • 75 Mike Scott
    It's great, gruesome fun, a well-written and fantastically cast romp.
    • 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.
    • 53 Metascore
    • 75 Mike Scott
    Still, it's not the iconic, be-all-end-all that Scott was certainly hoping for.
    • 74 Metascore
    • 75 Mike Scott
    Unfortunately, for the bulk of the film's running time -- its first two-thirds or so -- Davis and Heilbroner oversaturate viewers with scene-setting material, describing the climate for gay men and lesbians in the 1950s and 1960s.
    • 67 Metascore
    • 75 Mike Scott
    Slowly becomes a thoughtful and interesting deconstruction and demythologizing of American celebrity.
    • 50 Metascore
    • 75 Mike Scott
    Anonymous starts admirably quickly, but Emmerich repeatedly forgets to look over his shoulder to see if his audience is keeping track of which stringy-haired Calvin Klein model is which.
    • 88 Metascore
    • 75 Mike Scott
    Imagine Norman Rockwell had he been more of a realist than a nostalgist.
    • 55 Metascore
    • 75 Mike Scott
    Lee keeps things afloat with an appealing air of levity, including a fun but restrained use of split-screen, an homage to the 1970 doc, as well as cameos by that movie's Port-O-San guy and its peace-sign-flashing nuns.
    • 65 Metascore
    • 75 Mike Scott
    It's sadly and tenderly honest -- and so are Hansard and Irglova, as they generously and matter-of-factly open up to the camera.
    • 61 Metascore
    • 75 Mike Scott
    Among them, Polanski's four-person cast boasts four Oscars and eight more nominations, so these are big-league actors who are capable of carrying a film such as this through its occasional miscalculations.
    • 60 Metascore
    • 75 Mike Scott
    It's his film's metamorphosis into something else -- something every bit as dark, and every bit as intriguing -- that will keep viewers planted in their seats, and, at times, perched on the edges of them.
    • 52 Metascore
    • 75 Mike Scott
    A gritty spy thriller directed by relative newcomer Daniel Espinosa, and a film that -- despite the occasional misstep -- ends up being a taut, suspense-filled ride.
    • 62 Metascore
    • 75 Mike Scott
    The whole thing is such a rare visual treat -- such a tres magnifique cinematic spectacle -- that those flaws are easy to overlook. Jeunet's film is hard to resist.
    • 75 Metascore
    • 75 Mike Scott
    Sprinkled throughout, there is also a handful of wonderfully amusing song-and-dance numbers, written by Bret McKenzie.
    • 86 Metascore
    • 75 Mike Scott
    It is a thoughtful film, a serious one, and one that is sneakily affecting.
    • 63 Metascore
    • 75 Mike Scott
    Cera exudes a geeky charm and tender vulnerability that's hard to resist -- probably because he's far easier to relate to for most of us than we'd like to admit.
    • 57 Metascore
    • 75 Mike Scott
    The result: a fun and sweet romantic comedy that lands comfortably on the smart side of vacant, along the way offering a pleasant and satisfying holiday diversion for the grown-ups in the room.
    • 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.

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