For 900 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 1.5 points lower than other critics. (0-100 point scale)

Mike Scott's Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 100 Harry Potter and the Deathly Hallows: Part 2
Lowest review score: 20 When We First Met
Score distribution:
  1. Negative: 58 out of 900
900 movie reviews
    • 79 Metascore
    • 80 Mike Scott
    Here, Lowery isn't trying to convince us of anything, other than the fact that he's got a dandy of a story to tell. Then, he proceeds to deliver it.
    • 43 Metascore
    • 40 Mike Scott
    While the improvised interplay of the talented cast -- especially between Hart and Haddish -- help keep things moving along, watching Night School ends up largely being an exercise in waiting for something genuinely inspired to happen. It never does.
    • 60 Metascore
    • 40 Mike Scott
    As for that murder scene, it's undoubtedly the part of the film that will get people talking the most. Clearly and meticulously taking its cues from the widely circulated photos of the crime scene, it is dramatic, it is attention-getting and it is memorable. It is, in other words, everything that the rest of Lizzie is not.
    • 64 Metascore
    • 60 Mike Scott
    While the film is ostensibly about nutria, the real stars are the locals who help tell the story -- and who, by displaying their grit, their smiles, their dialect, their pride -- transform the film as much into a South Louisiana ethnography as an environmental call to arms.
    • 59 Metascore
    • 60 Mike Scott
    Even if Demange has a tendency to go on too long about details that don't really matter to the narrative while shortchanging those that do, he peppers White Boy Rick with enough resonant moments, and flashes of humor, to keep it on the rails, chugging forward to the inevitable train wreck.
    • 67 Metascore
    • 60 Mike Scott
    In addition to being the rare modern romantic comedy that manages to nail both the "romantic" and the "comedy" with equal aplomb, Juliet, Naked is also a wonderful, welcome late-summer fling, the kind that can be enjoyed with no regrets and no apologies before harsh reality resumes once more.
    • 83 Metascore
    • 80 Mike Scott
    In addition to being the most accessible and purely enjoyable of Lee's film in years, it's also one of his most important.
    • 60 Metascore
    • 40 Mike Scott
    It's still, however, a long way from the Hundred Acre Wood that most "Pooh" fans remember so fondly.
    • 89 Metascore
    • 80 Mike Scott
    A sweet, thoughtfully composed story, and a darn fine film, to boot.
    • 66 Metascore
    • 60 Mike Scott
    Like the work of Callahan, Don't Worry, He Won't Get Far On Foot is dark, it is irreverent, it is often willfully offensive. But there's also an admirable frankness at work there, an honestly that helps keep things rolling forward -- even when its own wheels occasionally get stuck in the sand.
    • 60 Metascore
    • 40 Mike Scott
    Mamma Mia! Here We Go Again is not a Meryl Streep movie. She's featured prominently on the movie's posters. She's all over the trailer. But no matter what the studio wants you to believe, the above-the-title star of 2008's original "Mamma Mia!," and the most celebrated actress of her generation, gets all of about five minutes of screen time in the sequel.
    • 50 Metascore
    • 60 Mike Scott
    Fuqua's storytelling here isn't as expert and efficient as McCall is when he's forced into action, but it's good enough. Bottom line: He and The Equalizer 2 still deliver on their promise of a badass Denzel doing badass things for all the right reasons.
    • 88 Metascore
    • 80 Mike Scott
    A memorable emotional journey -- and reminds us once more why Granik is such an intriguing filmmaker to watch.
    • 75 Metascore
    • 80 Mike Scott
    What McDonald ends up with is a film that serves both as tribute and as cautionary tale, and one that functions well as both.
    • 51 Metascore
    • 30 Mike Scott
    While it has its moments of passable action -- ends up feeling every bit as toothless as its dinosaurs are toothy.
    • 85 Metascore
    • 100 Mike Scott
    Fred Rogers dared to make a case that all children are precious and that there might be more productive ways to entertain and educate them than with popguns and pies in the face. More importantly, he decided to do something about it.
    • 85 Metascore
    • 40 Mike Scott
    Admittedly, I'm in the minority here, with many other critics swooning over First Reformed and the big questions it raises. Regardless, the biggest question I had after watching it was simple: What the hell did I just witness?
    • 52 Metascore
    • 20 Mike Scott
    The new Superfly is, simply, a terrible movie. It is slick, and it boasts action, hot tunes and style to spare. But beyond the polish that a deep-pocketed studio backer can buy -- in this case, Sony's Columbia Pictures shingle -- this is a shamefully hollow movie that fails on multiple levels.
    • 58 Metascore
    • 60 Mike Scott
    This isn't a movie that pretends to be profound. It's meant purely as B-movie entertainment, and -- also like the "John Wick" films -- it's fully aware of that.
    • 92 Metascore
    • 80 Mike Scott
    While those aforementioned blockbusters offer a welcome dose of escapism, The Rider traffics in something considerably more affecting: authenticity.
    • 68 Metascore
    • 40 Mike Scott
    Most real horror fans, however, will likely be left wondering where the heat is.
    • 75 Metascore
    • 100 Mike Scott
    By the time Tully hits its homestretch -- and its nicely played third-act revelation -- it all ends up making perfect, beautiful sense. In the process, Tully becomes the sweetest, funniest, most insightful portrayal of post-partum depression you're likely to see for some time.
    • 86 Metascore
    • 60 Mike Scott
    Granted, it takes a while to get to that point. Nearly an hour, in fact. That's owed to Zvyagintsev's penchant for long, lingering shots, which emphasizes mood over kinetic energy, and which also at times creates a drag on the narrative. That mood, however -- tragic, hopeless, heartbreaking -- is expertly created.
    • 82 Metascore
    • 100 Mike Scott
    While Isle of Dogs can be enjoyed simply for its surface pleasures -- its unique story, its singular voice and its gorgeous animation -- there are elements there that will appeal to those who want to dig deeper. That includes an argument in favor of an aggressive and adversarial press, as well as a fairly glaring distrust of government.
    • 88 Metascore
    • 100 Mike Scott
    I keep finding myself wanting to compare it to 1964's "Dr. Strangelove," Stanley Kubrick's Cold War comic masterpiece -- which, as any movie buff will tell you, is exceptionally high praise. In this case, it's also warranted.
    • 49 Metascore
    • 40 Mike Scott
    You won't feel like a hostage watching it. But don't be surprised if you feel a little as if you're doing homework.
    • 53 Metascore
    • 60 Mike Scott
    Camp's handsomely shot new Benji manages to find that sweet spot between wholesome and enjoyable. It is cute without seeming desperate, nostalgic without feeling dated, values-based without being preachy, and sweet without being (too) cloying.
    • 86 Metascore
    • 60 Mike Scott
    While those flaws might conspire to keep A Fantastic Woman from being unassailably fantastic as a whole, there's no denying that it is fantastically timely, and touching to boot.
    • 36 Metascore
    • 20 Mike Scott
    To be fair, though, even if all three actors had brought their A game, the half-baked story behind When We First Met is so formulaic and so uninspired that it would still be a forgettable film.
    • 65 Metascore
    • 40 Mike Scott
    With lesser performances, its rangy story could have easily gotten lost in its own histrionics. As it is, though, they elevate Cooper's script, helping to make Hostiles better than it might otherwise have been.

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