For 132 reviews, this critic has graded:
  • 50% higher than the average critic
  • 3% same as the average critic
  • 47% lower than the average critic
On average, this critic grades 2 points higher than other critics. (0-100 point scale)

Jay Scott's Scores

  • Movies
  • TV
Average review score: 61
Highest review score: 100 Cinema Paradiso
Lowest review score: 0 Basic Instinct
Score distribution:
  1. Positive: 78 out of 132
  2. Negative: 34 out of 132
132 movie reviews
    • 80 Metascore
    • 100 Jay Scott
    Cinema Paradiso converts you to the credo that art can indeed be holy.
    • 86 Metascore
    • 100 Jay Scott
    David Cronenberg's gelid masterpiece.
    • 74 Metascore
    • 100 Jay Scott
    A classic... Edward Scissorhands is a sharp salute to the oddball in all of us.
    • 80 Metascore
    • 100 Jay Scott
    May be less than the sum of its parts, but its parts are more impressive than most other wholes around.
    • 78 Metascore
    • 100 Jay Scott
    May be the best war movie ever made...Different is Kubrick's artistry and control, and his almost perverse, but philosophically progressive, refusal to impart to chaos a coherent narrative contour.
    • 89 Metascore
    • 100 Jay Scott
    No so-called serious gangster film has ever been more fun, or less dangerous, or more intrinsically feminist, than GoodFellas. Even "I Married the Mob" was scarier.
    • 66 Metascore
    • 100 Jay Scott
    A masterpiece, but of a unique kind... A gorgeously filmed, supremely well-acted, intricately written film noir about now.
    • 86 Metascore
    • 100 Jay Scott
    Estimates of the movie's costs range between $35-and $70-million; whatever the price, it was not too much to pay. As gods go, Superman is one of the godliest; his movie is one of the best.
    • 77 Metascore
    • 100 Jay Scott
    Kramer vs. Kramer is one of the most sensitive and least judgmental film about relationships ever made in the United States.... One of the important films. [15 Dec 1979]
    • The Globe and Mail (Toronto)
    • 79 Metascore
    • 100 Jay Scott
    Terms of Endearment is the rare commercial picture that sets audiences to laughing hysterically and crying unashamedly, sometimes within consecutive seconds, and then shoos them out of the theatre in contented emotional exhaustion. [23 Nov 1983]
    • The Globe and Mail (Toronto)
    • 62 Metascore
    • 100 Jay Scott
    Kurt Russell has never seemed more clever, Mel Gibson more vulnerable nor Michelle Pfeiffer more goddess-like. Once upon a time, before the pictures got small and the hills were obscured by smog, the Hollywood sign read: "Hollywoodland." That was back when Tequila Sunrise, an intelligent, escapist epic for adults, wouldn't have seemed the anomaly it seems today. [2 Dec 1988, p.C1]
    • The Globe and Mail (Toronto)
    • 79 Metascore
    • 100 Jay Scott
    The relationship between man and beast develops slowly and mystically - the island interlude, utterly without dialogue, lasts 50 minutes, and is one of the most sustained, lyrical, rapturous sequences in the history of motion pictures, a visual symphony whose beauty cannot be oversold. [15 Mar 1980]
    • The Globe and Mail (Toronto)
    • 68 Metascore
    • 100 Jay Scott
    The Witches of Eastwick is an uproarious and entirely successful attempt to examine the differences between the sexes by couching the examination in mythological terms. [12 June 1987]
    • The Globe and Mail (Toronto)
    • 93 Metascore
    • 88 Jay Scott
    Days of Heaven is so unapologetically beautiful, so calculatingly gorgeous, it is certain to arouse resentment in the minds of those who find visual hedonism a sin in movies, and to arouse suspicion, if not outrage, in those who require that movies have heart. [22 Sept. 1978]
    • The Globe and Mail (Toronto)
    • 75 Metascore
    • 88 Jay Scott
    A non-stop, shoestring trip with more adventures and a helluva lot more smarts than you'll find in most American movies...All in all, there's more plain fun to be had here in 10 minutes than in a whole hour on the road with that jerk Indiana Jones.
    • 93 Metascore
    • 88 Jay Scott
    Mesmerizing.
    • 60 Metascore
    • 88 Jay Scott
    Inoffensive in its simplicity; its high, if naive, spirits send viewers out into the all too real streets clothed in the glow of a fantasy well-spun.
    • 78 Metascore
    • 88 Jay Scott
    The virtue of Midnight Run is not that it does anything new; the virtue is that it does everything old so well.
    • 73 Metascore
    • 88 Jay Scott
    A loopy, loving nine innings full of comic curve balls, emotional home-runs and euphoric, summertime music.
    • 52 Metascore
    • 88 Jay Scott
    It's an unpredictable, mesmerizing journey nearly every shady second of the way.
    • 51 Metascore
    • 88 Jay Scott
    The intelligence and wit of this glass-slipper heart-of-gold fantasy are shocking.
    • 72 Metascore
    • 88 Jay Scott
    The treatment of the Sioux is not only sympathetic, it's ethnographically exact. Neither Noble Savages nor Red Injuns, the natives in Dances With Wolves are differentiated human beings about to undergo cultural genocide.
    • 92 Metascore
    • 88 Jay Scott
    The intensity of the film verges on the intolerable.
    • 57 Metascore
    • 88 Jay Scott
    Ragtime itself twinkles with delight - perhaps only an immigrant, and a recent one, could have made this film, which looks squarely at the social problems gnawing at North America but which finds, within them and without them, cause for hope. [20 Nov 1981]
    • The Globe and Mail (Toronto)
    • 68 Metascore
    • 88 Jay Scott
    Hair is entertaining - even fabulously entertaining - because it is so strange, so young, so innocent, so beneficent and adolescent, so lovable and so loving; it is entertaining because it is - all of it is - so impossible, so remote, so inconceivable in any place anywhere outside of a Hollywood musical. [28 Mar 1979]
    • The Globe and Mail (Toronto)
    • 73 Metascore
    • 88 Jay Scott
    Demme not only gives the script's nuttiness its due, he adds to it by filling the frame in virtually every scene with silliness - a motorcycle- riding dog, a harpsichordist, a man wearing a T-shirt that reads, "I don't love you since you ate my dog." [7 Nov 1986]
    • The Globe and Mail (Toronto)
    • 74 Metascore
    • 88 Jay Scott
    This happy daydream contains Coppola's most assured work since "Apocalypse Now;" save for its modesty, it is in no way inferior to his masterpiece, "The Godfather" Saga. [12 Aug 1988]
    • The Globe and Mail (Toronto)
    • 63 Metascore
    • 88 Jay Scott
    The most amazing thing about this amazing movie may be that in the end it communicates the large uncertainties and small hopes of a twisted, inarticulate adolescent boy perfectly, and wordlessly. [14 Oct 1983]
    • The Globe and Mail (Toronto)
    • 82 Metascore
    • 88 Jay Scott
    Never before has Allen been able to integrate comedy and pathos as deftly as he does in Manhattan. [28 Apr 1979, p. 17]
    • The Globe and Mail (Toronto)
    • 79 Metascore
    • 88 Jay Scott
    The Fly is a mass-market, horror- film masterpiece that is also a work of art; it is the very movie the timorous feared "Aliens" would be - a gruesome, disturbing, fundamentally uncompromising shocker that accesses the subconscious. [15 Aug 1986]
    • The Globe and Mail (Toronto)