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 The Hottest State
Score distribution:
  1. Positive: 33 out of 92
  2. Negative: 19 out of 92
92 movie reviews
    • 62 Metascore
    • 67 Scott Brown
    Gibson stages the movie episodically, as a series of quiet actors' moments; his direction is scrupulous, tasteful, and, I'm afraid, rather sodden. By the end, he wrings a tear or two, but more from the story's sentimental outline than from anything he does to fill it in.
    • 77 Metascore
    • 67 Scott Brown
    12:08 East of Bucharest is a shrewdly built comedy, but the characters are broad-verging-on-cheap unholy hick fools.
    • 67 Metascore
    • 67 Scott Brown
    Danny Boyle's glittering, deadpan, nihilistic little thriller.
    • 37 Metascore
    • 58 Scott Brown
    The story is so bored with itself, it collapses -- but the diverse troupe of dance talents at least makes it an eclectic slide.
    • 45 Metascore
    • 58 Scott Brown
    A few gags are brilliantly staged, but most have a smug, collegiate take-it-or-leave-it quality that makes full-on belly laughter feel optional.
    • 33 Metascore
    • 58 Scott Brown
    What does satisfy is the pleasantly becalming presence of "Deep" costar LL Cool J. He's fast becoming Liv Ullmann to Harlin's Bergman.
    • 57 Metascore
    • 58 Scott Brown
    It's a canned clip reel of Heartwarming Sports Comedy, intermittently redeemed by its easygoing boomer vibe. And at its center is the redoubtable Bernie Mac, nicely aged, as he says, ''like USDA beef.''
    • 46 Metascore
    • 58 Scott Brown
    By far, the most shocking carnage is Tilly carving up her persona. What a doll.
    • 35 Metascore
    • 58 Scott Brown
    Hide and Seek, despite early signs of higher goals, is a factory-standard box of shocks.
    • 64 Metascore
    • 58 Scott Brown
    Pooh's Heffalump Movie is a harmless little ''ex-po-tition'' (to use a Pooh-ism). Still, making this your kids' first Pooh experience would be like weaning them on New Coke.
    • 59 Metascore
    • 58 Scott Brown
    Feel-good ethnocomedy.
    • 36 Metascore
    • 58 Scott Brown
    The whole thing feels like a half-day of community service, which Lawrence walks through good-naturedly.
    • 23 Metascore
    • 58 Scott Brown
    While sloppier than the sloppiest of seconds, is laudable in one important regard: Its obsession with the male body.
    • 48 Metascore
    • 58 Scott Brown
    Thing is Woody Allen on a third-grade reading level. Neurosis abounds, but awareness doesn't, and certain ''jokes'' demand additional therapy.
    • 40 Metascore
    • 58 Scott Brown
    In the ranks of improbable gymnastics coaches, Nick Nolte falls just below the cartoon version of Mr. T.
    • 49 Metascore
    • 58 Scott Brown
    A threadbare crazy-quilt of Spanish sex comedies, Queens wants desperately to be "Women on the Verge of a Big Gay Wedding."
    • 33 Metascore
    • 58 Scott Brown
    Once again, we're treated to loosely aligned scenes of half-formed characters getting a faceful of director Takashi Shimizu's croaking, implacable, and, yes, still scary housewife-geist.
    • 58 Metascore
    • 58 Scott Brown
    Here's yet another self-consciously ''Almodóvarian'' confection, studded with small odes to the glory of self-creation.
    • 33 Metascore
    • 58 Scott Brown
    Werewolves are tame with overuse, and movies like Blood and Chocolate -- where moments of inspiration vie in vain with Goth cliché -- play like underlit "Charmed" reruns.
    • 34 Metascore
    • 58 Scott Brown
    A strange, sprained, but sprightly fusion of "The Usual Suspects" and the "Tragic Mulatto," Slow Burn wants badly to turn its standard neo-noir into a nuanced racial chiaroscuro.
    • 32 Metascore
    • 58 Scott Brown
    The sheer, animal idiocy beaming from their faces in the opening credits of The Brothers Solomon creates the film's only moment of uncalculated comic joy.
    • 43 Metascore
    • 50 Scott Brown
    The film's generic feminism pales beside its bloated sense of privilege, only underlined by a nonstop cabaret of sideshow acts.
    • 56 Metascore
    • 50 Scott Brown
    It's a soothing stoner tableau, a fine dropout fantasy.
    • 43 Metascore
    • 50 Scott Brown
    So what disturbed me? It was the Shetland pony, which sports both Dustin Hoffman's pipes and his "I Heart Huckabees" toupee, and will haunt my nightmares forever.
    • 26 Metascore
    • 50 Scott Brown
    Amusingly, Supercross puts up a fierce anticorporate front, lauding the self-financed ''privateer'' over the ''factory'' cyclist. If this is a joke, few will get it.
    • 45 Metascore
    • 50 Scott Brown
    The CG is on the rubbery side, and the backdrops are jarringly 2-D. But Valiant isn't so hard to look at -- it's hard to listen to.
    • 39 Metascore
    • 50 Scott Brown
    Cry_Wolf is underscored with idiot adolescent excitement (and gets extra absurdist points for casting Jon Bon Jovi as an educator).
    • 41 Metascore
    • 50 Scott Brown
    Deeply odd films are often deeply personal ones, and Constellation, a dazed, inchoate drama about a mixed-race Alabama family, tells a story that's clearly close to the heart of writer-director Jordan Walker-Pearlman.
    • 34 Metascore
    • 50 Scott Brown
    Terrified of puppets? Enjoy being scared? Then you'll be half-satisfied with Dead Silence, a rote horror pantomime.
    • 46 Metascore
    • 50 Scott Brown
    Anthony, with his famished thousand-yard stare, turns in a delicate -- perhaps too delicate -- performance more informed by the shadow of Lavoe's death than the spark of his art. And his shrill domestic scenes with Lopez feel small and squalid, as we wait restlessly for the band to play us out.

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