For 127 reviews, this critic has graded:
  • 49% higher than the average critic
  • 3% same as the average critic
  • 48% lower than the average critic
On average, this critic grades 1.9 points higher than other critics. (0-100 point scale)

Jay Scott's Scores

  • Movies
Average review score: 61
Highest review score: 100 Dead Ringers
Lowest review score: 0 Twin Peaks: Fire Walk with Me
Score distribution:
  1. Positive: 74 out of 127
  2. Negative: 33 out of 127
127 movie reviews
    • 93 Metascore
    • 88 Jay Scott
    Mesmerizing.
    • 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]
    • 92 Metascore
    • 88 Jay Scott
    The intensity of the film verges on the intolerable.
    • 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.
    • 86 Metascore
    • 100 Jay Scott
    David Cronenberg's gelid masterpiece.
    • 86 Metascore
    • 75 Jay Scott
    As torpedoes shoot through the seas and depth charges pass by, carrying their whining cargo of destruction, Das Boot brings the presence of death to within a whisper of the eardrum.
    • 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.
    • 86 Metascore
    • 88 Jay Scott
    A serious and funny and subtle work - a work of art - that was easy to confuse with exploitation teeny-bopper quickies because it did what the quickies had tried to do. But Diner did it right. [22 Apr 1982]
    • 85 Metascore
    • 88 Jay Scott
    Women on the Verge of a Nervous Breakdown, is certainly indebted to the plastic and neon schlock of Hollywood director Frank Tashlin, but the farcical epic of actress Pepa Marcos is closer in innovative energy to the transformations of Fassbinder than to the recycling of Spielberg and De Palma. [20 Jan 1989, p.C1]
    • 85 Metascore
    • 75 Jay Scott
    This low-budget horror film, sophisticated far beyond its budget, is the work of John Carpenter, an authentic prodigy whose style recalls both Martin Scorsese and the Brian De Palma of "Carrie," but who has a metaphysical, sophomoric sense of humor both of those directors lack.
    • 84 Metascore
    • 75 Jay Scott
    In High Hopes, Leigh regularly expresses love for the very people to whom he is putting the boot... As a satire, High Hopes is an esthetic joy. [14 April 1989]
    • 84 Metascore
    • 38 Jay Scott
    I'll personally toast the buns of anybody I hear saying anything good about the movie Broadcast News. Broadcast News is for boobs. It doesn't apply to us. Anyone who thinks otherwise is invited not to think, because thinking is for statues. [16 Dec 1987, p.C5]
    • 84 Metascore
    • 75 Jay Scott
    An efficient, cold-blooded sci-fi splatter movie that never makes the mistake of forgetting that on some level it is deeply ridiculous.
    • 84 Metascore
    • 50 Jay Scott
    The plot is squeezed dry in this bloody Valentine from Hollywood and becomes annoyingly predictable. Thriller stumbles on its own success
    • 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]
    • 80 Metascore
    • 88 Jay Scott
    Scorsese and Schrader have made a courageous film that people of all religions or no religion should be able to watch with identical fascination. [10 Aug 1988. pg. C.4]
    • 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.
    • 80 Metascore
    • 100 Jay Scott
    Cinema Paradiso converts you to the credo that art can indeed be holy.
    • 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]
    • 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]
    • 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]
    • 78 Metascore
    • 75 Jay Scott
    At two hours and 43 minutes, Eastwood's Bird is a hypnotic, darkly photographed, loosely constructed marvel that avoids every cliche of the self-destructive-celebrity biography, a particularly remarkable achievement in that Parker played out every cliche of the self- destructive-celebrity life. [14 Oct 1988, p. C1]
    • 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.
    • 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.
    • 78 Metascore
    • 75 Jay Scott
    Realism by nature offends the dogmatic, and Michael Mann, in a writing-directing debut that makes one want to see his next movie instantly, is a devotee of the realistic in factual essentials, if not in esthetics. [27 Mar 1981]
    • 78 Metascore
    • 50 Jay Scott
    Hurt is so good at capturing the charming and chilling Ned that he almost makes up for the film's two primary weaknesses: Kasdan's inexperience and a message of significant unpleasantness. [28 Aug 1981, p.P17]
    • 77 Metascore
    • 50 Jay Scott
    Rob Reiner's not up to it: when the movie is meant to be romantic, the tone is frequently mushy and sexless, and when it's meant to be anachronistic and satiric, it's vaudeville-vulgar.
    • 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]
    • 76 Metascore
    • 88 Jay Scott
    Witness is satisfying on so many levels it stands with "Cabaret" and "The Godfather II" as an example of how a director in love with his medium can redeem its mainstream cliches. [07 Feb 1985]
    • 76 Metascore
    • 63 Jay Scott
    The reign of the last emperor, a reign in name alone, was an exercise in style over substance; it is perhaps fitting that his cinematic biography should follow the same incarcerated course. [20 Nov 1987, p.D1]