For 92 reviews, this critic has graded:
  • 60% higher than the average critic
  • 3% same as the average critic
  • 37% lower than the average critic
On average, this critic grades 7.3 points lower than other critics. (0-100 point scale)

Scott Brown's Scores

  • Movies
  • TV
Average review score: 52
Highest review score: 91 So Much So Fast
Lowest review score: 0 Sleepover
Score distribution:
  1. Positive: 33 out of 92
  2. Negative: 19 out of 92
92 movie reviews
    • 67 Metascore
    • 91 Scott Brown
    Zathura is a rarity: a stellar fantasy that faces down childhood anxieties with feet-on-the-ground maturity.
    • 79 Metascore
    • 91 Scott Brown
    So Much So Fast (spanning five years) elegantly presents both a critique and a celebration of American optimism.
    • 72 Metascore
    • 83 Scott Brown
    Blessed with excellent turns by Angela Bassett and Laurence Fishburne, this feel-gooder revels in its hip-to-be-square hyperliteracy, and neatly exceeds its own PSA-ness, practically amounting to a black, preteen "Good Will Hunting."
    • 74 Metascore
    • 83 Scott Brown
    The film is a furious full-court press, its subjects aflame with the kind of passion only youth can furnish.
    • 46 Metascore
    • 83 Scott Brown
    Beerfest panders shamelessly to the 15-year-old in this 30-year-old... without assuming he is a 15-year-old. It's R-rated puerility for actual immature grown-ups.
    • 73 Metascore
    • 83 Scott Brown
    Ken Takakura, a great rain-creased oak of an actor, delivers a quietly massive performance.
    • 62 Metascore
    • 83 Scott Brown
    As a documentary, Jesus Camp could lose its haunted-house score and contrapuntal Air America refrains and still deliver its message: that, here and elsewhere, fundamentalism is no longer content with a separate peace. It wants the meat.
    • 66 Metascore
    • 75 Scott Brown
    The collection can be summed up in four words I never thought I'd see together: science-fiction chamber music.
    • 47 Metascore
    • 75 Scott Brown
    Refreshingly, it's actually about action, albeit arbitrary action, and how it defines us and keeps us alive.
    • 47 Metascore
    • 75 Scott Brown
    For anyone zombified by creaky thriller clich├ęs, Skeleton is a fine little shot in the head.
    • 74 Metascore
    • 75 Scott Brown
    Jaw set but never stiff, he (Fillion) gets both the Whedon wit and the Whedon grandiloquence between cheek and gum, and gives the whole enterprise the heft of a real saga.
    • 53 Metascore
    • 75 Scott Brown
    A deliriously, defiantly unfocused headrush, Stick It is primarily an exercise in exercise.
    • 48 Metascore
    • 75 Scott Brown
    Step, under the sure hand of director-choreographer Anne Fletcher, quickly discovers its own virtuoso charms. Two of them are its leads.
    • 61 Metascore
    • 75 Scott Brown
    Here, he's (Damon) the ultimate enigma machine, a man willing to erase himself for his country. Does that make him a hero? The Good Shepherd is too closemouthed to let on.
    • 74 Metascore
    • 67 Scott Brown
    The somewhat rococo songs and earthy pop-art animation tread a very fine line between heady and headachy.
    • 29 Metascore
    • 67 Scott Brown
    There are some genuinely clever moments of physical comedy, and the inevitable crudeness is offset by winning whimsy. Without has all the freshness of moldering Playboys stashed under a mattress, but it evokes what few boys-will-be-boys larks can: chumminess.
    • 47 Metascore
    • 67 Scott Brown
    Teetering on an abyss of meta-wackiness, The Last Shot -- a movie about movie fakery, based on a true story about a fake movie -- succeeds modestly where, by all rights, it should fail miserably.
    • 78 Metascore
    • 67 Scott Brown
    The music's sensational, but you keep waiting for the pledge number to flash up.
    • 62 Metascore
    • 67 Scott Brown
    The flick is best in its bittier moments (watch for the stellar cameos), and there's nothing to trouble the tots.
    • 56 Metascore
    • 67 Scott Brown
    For the Western viewer, the cultural divide acts as a saccharine filter, and Kamikaze, a cult hit in Japan, becomes a mesmerizing lesson in otherness.
    • 71 Metascore
    • 67 Scott Brown
    Aims for the junior stargazer in a release coinciding with NASA's new moon-by-2018 initiative. The movie is unmistakably a pitch, and an honorable one.
    • 51 Metascore
    • 67 Scott Brown
    Coffey, a tart comic mind who should cast his net farther from the 405, pads his story with more and more familiar degradations, and Watts plays each one to the hilt.
    • 47 Metascore
    • 67 Scott Brown
    Writer-director Alison Murray picks at a hard, true hurt in this zombie melodrama of defloration, but nothing beyond that hurt really comes into focus.
    • 47 Metascore
    • 67 Scott Brown
    Accepted's winning dumbness and breezy bons mots save it from the pit.
    • 43 Metascore
    • 67 Scott Brown
    Feast isn't quite demented enough to reach Raimi-an heights, but Gulager uses parts of the monster-movie buffalo even the buffalo didn't know existed.
    • 57 Metascore
    • 67 Scott Brown
    As for our heroine (Lohman), her archetypal struggle with crusty Pa (uncrusty Tim McGraw) feels attitude-heavy and life-lesson-light.
    • 72 Metascore
    • 67 Scott Brown
    For 20 years, Megumi's family doesn't know where she is; when they find out, the frustrations and uncertainties only mount. But as thickets of history and culture are (too) neatly avoided, the viewer is also left in the dark.
    • 70 Metascore
    • 67 Scott Brown
    East of Havana picks at these politico-philosophical threads rather than pulling them, and the sense of a larger movement is fleeting. There's a beat, but we never quite see who's dancing to it.
    • 47 Metascore
    • 67 Scott Brown
    The characters are perfectly evolved screwups and the premise has potential. It lacks only the discipline of a 30-minute episode -- or a YouTube video.
    • 54 Metascore
    • 67 Scott Brown
    The plot can't be summarized: Let's just say that crazy s--- happens, and occasionally, you laugh.

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