For 626 reviews, this critic has graded:
  • 48% higher than the average critic
  • 2% same as the average critic
  • 50% lower than the average critic
On average, this critic grades 3.4 points higher than other critics. (0-100 point scale)

Mike Scott's Scores

  • Movies
Average review score: 63
Highest review score: 100 Blue Valentine
Lowest review score: 20 The Paperboy
Score distribution:
  1. Negative: 44 out of 626
626 movie reviews
    • 62 Metascore
    • 63 Mike Scott
    If there's a prevailing problem with director Richard Loncraine's bit of period fluff, it's that many of the characters encountered along the way are a touch too cartoonish to resonate meaningfully with audiences.
    • 85 Metascore
    • 63 Mike Scott
    If you appreciate historical melodrama, you could do worse than Vincere.
    • 46 Metascore
    • 63 Mike Scott
    As fun as it is at times -- particularly early on -- the longer The Sorcerer's Apprentice goes on, the more the magic wears off.
    • 56 Metascore
    • 63 Mike Scott
    Getting two biographies on the same person in such a short window is unusual. What's even more unusual is that both suffer from the same flaw.
    • 64 Metascore
    • 63 Mike Scott
    As with most Ferrell projects, there's nothing profound going on in The Other Guys. It's just a bit of good, stupid fun, had at the expense of an uber-formulaic genre that has long been ripe for the spoofing. But it also works.
    • 50 Metascore
    • 63 Mike Scott
    The Lottery Ticket doesn't hit the comedy jackpot, but it doesn't roll snake eyes, either. In my book, that's a winner.
    • 61 Metascore
    • 63 Mike Scott
    A reasonably well-made biopic, with crowd-pleasing moments, but one that -- despite that title -- isn't really about the animal.
    • 65 Metascore
    • 63 Mike Scott
    There are some nice surprises in store, as well, but the longer Madden's story goes on, the more manufactured things tend to feel.
    • 80 Metascore
    • 63 Mike Scott
    This is a film custom-made for dog lovers.
    • 56 Metascore
    • 63 Mike Scott
    One major reason it succeeds is because of 11-year-old actress Bailee Madison, who brings a wonderful believability to her role as the girl at the center of the film.
    • 65 Metascore
    • 63 Mike Scott
    It represents the rare lead role for Mackie, and he seizes the opportunity, convincingly playing the part of a soft-spoken former Black Panther.
    • 46 Metascore
    • 63 Mike Scott
    How do you know when a romantic comedy just isn't working? Key indicators are that your audience doesn't get goose bumps in the inevitable third-act reunion. They don't get misty-eyed. In short, they don't really care.
    • 82 Metascore
    • 63 Mike Scott
    A beautifully uncomplicated story, really -- about the love between daddies and their little girls.
    • 47 Metascore
    • 63 Mike Scott
    As clearly calculated and self-consciously cutesy as it is, it's also tender and meaningful stuff -- and far more watchable than other recent attempts to capture the existential angst of adolescence. ("The Art of Getting By.")
    • 42 Metascore
    • 63 Mike Scott
    Once the real story hits its stride, it's easy to get lost in Sanctum.
    • 56 Metascore
    • 63 Mike Scott
    These characters are so likeable, and so well-portrayed, that it's easy to go along with it all.
    • 50 Metascore
    • 63 Mike Scott
    A predictable but painless pastiche of high school drama clich├ęs that will give its intended tween audience a lot to squeal about -- and leave their parents reminiscing quietly about how good films from '80s icon John Hughes were.
    • 41 Metascore
    • 63 Mike Scott
    Hop
    A slick and sweet film all on its own, a harmless bit of fun that fills the Easter-movie void.
    • 45 Metascore
    • 63 Mike Scott
    Best of all, here there be fun.
    • 70 Metascore
    • 63 Mike Scott
    It's a decent comedy, mind you, one with its fair share of chuckles. But it's really more amusing than it is fall-out-of-your-seat funny.
    • 50 Metascore
    • 63 Mike Scott
    A film that is neither great nor horrible. Favreau does enough things right in Cowboys & Aliens to churn out a mostly enjoyable bit of mindless summertime action, just not enough to come close to rivaling his 2008 crowd-pleaser "Iron Man."
    • 59 Metascore
    • 63 Mike Scott
    Burger's film would have been better had he ended it about three minutes earlier than he does -- a move that would have given his movie at least a dash of profundity.
    • 59 Metascore
    • 63 Mike Scott
    It's a fun one to talk about -- if only for the opportunity to shake your head in amused disbelief at what you just saw.
    • 75 Metascore
    • 63 Mike Scott
    So what is Bridesmaids? A boozy wedding comedy? A touching character story? A paean to friendship? At turns, it's each -- making it a wedding movie with a commitment problem and giving Feig's scattered film a rudderless quality between the laugh lines.
    • 41 Metascore
    • 63 Mike Scott
    Breezy but forgettable.
    • 49 Metascore
    • 63 Mike Scott
    The actors never stray too far from their comfort zones, resulting in a sporadically funny but mostly bland crime comedy that only occasionally feels fresher or more memorable than that cold pizza you scarfed for breakfast Monday morning.
    • 56 Metascore
    • 63 Mike Scott
    Intermittently interesting, but well-intentioned, it almost makes up for "The Tourist."
    • 58 Metascore
    • 63 Mike Scott
    Plotwise, though, Brewer's Footloose is anything but loose. In fact, it's rigidly loyal to the original, to the point of slavishness.
    • 45 Metascore
    • 63 Mike Scott
    As it turns out, though, the most troubling part of the film for me wasn't the rape scene, or the siege scene or the Southern stereotypes. Rather, it was the audience's reaction to Marsden's chilling spasms of bloody violence as he defends his home. Rather than breaking out in hives, many in the audience broke out in laughter.
    • 70 Metascore
    • 63 Mike Scott
    There's plenty of melodrama, plenty of whispered intensity, plenty of dramatic pauses in his story. There also are a few bizarro -- and, in some cases, unnecessary -- detours. But when it's all said and done, there's no real call for any emotional investment on the part of his audience.