For 940 reviews, this critic has graded:
  • 43% higher than the average critic
  • 2% same as the average critic
  • 55% lower than the average critic
On average, this critic grades 2.1 points lower than other critics. (0-100 point scale)

Mike Scott's Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 100 A Prophet
Lowest review score: 20 The Identical
Score distribution:
  1. Negative: 60 out of 940
940 movie reviews
    • 76 Metascore
    • 70 Mike Scott
    Admirably, though, Gibney resists the temptation to climb on his soapbox to deliver some pointed political message. He gives his audience more credit than that.
    • 80 Metascore
    • 80 Mike Scott
    This isn’t just a film. It’s a cultural treasure – and, given its unlikely journey – a minor miracle.
    • 60 Metascore
    • 40 Mike Scott
    Frustratingly, whenever it begins to get going and pulses begin pounding, Harper brings things to a screeching halt by introducing flashback sequences to tell us the backstory of Jones’ invented character.
    • 90 Metascore
    • 80 Mike Scott
    Uncut Gems boasts a kinetic energy that, by the time the closing credits roll, will make you feel like you went to the gym rather than the movie theater.
    • 78 Metascore
    • 80 Mike Scott
    It’s an impressive cinematic accomplishment and a dandy bit of storytelling to boot.
    • 68 Metascore
    • 60 Mike Scott
    It does enough things right, and generates enough powerful moments, to make it an effective social-justice drama.
    • 80 Metascore
    • 60 Mike Scott
    A freshly drawn slice-of-life drama inspired by Perrier’s own real-life experiences as an online “cam girl,” it deals with decidedly uncomfortable subject matter — the introduction of a 19-year-old young woman into sex work — but it doesn’t approach any of it with judgment or shame.
    • 74 Metascore
    • 80 Mike Scott
    Burning Cane is all about Youmans and his uncommon vision, which would be impressive coming from a filmmaker of any age. Making it all that much more exciting is the fact that this is just the beginning.
    • 70 Metascore
    • 60 Mike Scott
    An admirably full portrait of a film that reflects, with thrilling discomfort, the darker recesses of our minds.
    • 64 Metascore
    • 40 Mike Scott
    As pleasant as the Downton Abbey movie is, it’s hard not to wish for something more substantive, more memorable.
    • 80 Metascore
    • 80 Mike Scott
    It triggers a sense of awe, for the pure, natural beauty it allows us to witness; for the raw, ruthless power it captures; and for its towering display of artistry.
    • 69 Metascore
    • 40 Mike Scott
    Don't get me wrong: Gyllenhaal is a great actor, one who exhibits a rare blend of strength and pathos. But not even he can elevate that kind of lazy writing.
    • 53 Metascore
    • 60 Mike Scott
    An amusingly meta B-movie send-up that -- largely thanks to its deadpan sensibilities -- manages to offer an entertaining riff on the zombie comedy, even if it doesn't particularly contribute anything ground-breaking to it.
    • 38 Metascore
    • 40 Mike Scott
    Yes, it's flashy. But it's not flashy enough. It's got its moments of humor, but it's not funny enough. And it flirts with cleverness, but -- you guessed it -- it's nowhere close to being clever enough.
    • 59 Metascore
    • 60 Mike Scott
    Consequently, while it's stocked with moments of heartfelt appreciation for the craft, it plays more like a 17th century soap opera than anything else.
    • 53 Metascore
    • 60 Mike Scott
    Ma
    Spencer makes sure few people will ever forget Ma. She’s the primary reason this genre exercise works to the extent that it does, taking what easily could have been an early-summer eye-roller and turning into a genuinely enjoyable guilty-pleasure thrill ride.
    • 48 Metascore
    • 40 Mike Scott
    It's an oddly inert film that suffers from its lack of focus on the stories that stand as Tolkien's chief literary contributions.
    • 50 Metascore
    • 40 Mike Scott
    What we end up with is a film that contains many fine moments -- the young Bolden's discovery of rhythm, an imagined discussion on musical improvisation between Bolden and clarinetist George Baquet, a look at racial politics of the day -- but those moments don't quite coalesce into a consistently satisfying whole.
    • 41 Metascore
    • 60 Mike Scott
    A solidly intense creepout. Granted, it doesn't do anything to rewrite the horror rulebook in any significant way. This won't be remembered as a horror classic by any stretch. "The Exorcist" it is not.
    • 49 Metascore
    • 60 Mike Scott
    As an unapologetic genre exercise, it's also fairly harmless, painless stuff. Thanks largely to the work of its cast, which does more with Tracy Oliver and director Tina Gordon's decidedly uneven, underdeveloped script than anybody has a right to hope for, Little ends up being mostly enjoyable in its own lightweight, empty-calorie and entirely unexpected way.
    • 43 Metascore
    • 60 Mike Scott
    But even if moviegoers' eyes will roll from time to time, Aftermath is so nicely acted, and so handsomely shot, that those eyes won't likely look away.
    • 39 Metascore
    • 60 Mike Scott
    I'm not sure how much of The Dirt is good, old-fashioned hyperbole. Good lord, I hope a lot of it is, although I'm sure the band -- the members of which wrote the book on which the film is based in addition to serving as co-producers -- would swear everything in it is true.
    • 79 Metascore
    • 40 Mike Scott
    Any character study must also bring us, and its main character, on a journey. And that's where Gloria Bell, for all of its assets -- and for all of the critical acclaim being heaped upon it -- ultimately stumbles.
    • 54 Metascore
    • 40 Mike Scott
    While director Rupert Wyatt's film has a handful of things going for it -- alien invaders, bursts of action, sociopolitical subtext, a stern-faced John Goodman -- it is missing one key element: a soul.
    • 67 Metascore
    • 20 Mike Scott
    It's not that Climax is a poorly made movie. It's that it's an abjectly mean movie. Some would try to excuse it as arthouse cinema. In reality, it's frighthouse cinema. And that's not meant as a compliment. The ultimate message, at least in this case: Just say no -- to Noé.
    • 54 Metascore
    • 60 Mike Scott
    It's undeniably a B-movie in disguise, leaning heavily on formula and well-established movie tropes to tell a familiar story.
    • 70 Metascore
    • 80 Mike Scott
    Like Paddleton itself, Romano's performance isn't flashy. It isn't dripping with self-awareness or desperation. Rather, it's quietly, subtly beautiful. And it deserves to be seen.
    • 53 Metascore
    • 60 Mike Scott
    Director Robert Rodriguez and his crew do a magnificent job of world-creating, thanks to impressive technical wizardry. Actress Rosa Salazar also brings the lead character to life with sweet (though lethal) charm...It struggles under the weight of the rangy, multi-pronged narrative before effectively cheating moviegoers by leaving them with a cliffhanger ending.
    • 75 Metascore
    • 60 Mike Scott
    Jon S. Baird's lovingly crafted film is much more "fine" than "mess."
    • 31 Metascore
    • 40 Mike Scott
    That's not to say The Last Laugh is a flat-out terrible movie, necessarily. It's just a tame, unimaginative one -- a low-budget cinematic shrug that has nothing new to offer.

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