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 The Witches of Eastwick
Lowest review score: 0 Basic Instinct
Score distribution:
  1. Positive: 78 out of 132
  2. Negative: 34 out of 132
132 movie reviews
    • 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.
    • 92 Metascore
    • 88 Jay Scott
    The intensity of the film verges on the intolerable.
    • 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]
    • The Globe and Mail (Toronto)
    • 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.
    • 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)
    • 52 Metascore
    • 88 Jay Scott
    It's an unpredictable, mesmerizing journey nearly every shady second of the way.
    • 62 Metascore
    • 88 Jay Scott
    The Doors is excessive, unsubtle, emotionally brutal and stylistically sadistic, but that's exactly right for the dark side of the sixties Morrison and his band embodied. [01 Mar 1991]
    • The Globe and Mail (Toronto)
    • 51 Metascore
    • 88 Jay Scott
    The intelligence and wit of this glass-slipper heart-of-gold fantasy are shocking.
    • 71 Metascore
    • 75 Jay Scott
    Missing from Married to the Mob, written by Barry Strugatz and Mark R. Burns, is the freewheeling structure, but everything else that makes Demme one of the friendliest of major U.S. directors is in glorious evidence. [19 Aug 1988]
    • The Globe and Mail (Toronto)
    • 71 Metascore
    • 75 Jay Scott
    A quick and clever thriller as nasty as a piece of shrapnel snapping the sound barrier, 48 Hrs. is as violent as it is funny. It is very funny. [03 Dec 1982]
    • The Globe and Mail (Toronto)
    • 57 Metascore
    • 75 Jay Scott
    Francis Ford Coppola's adaptation of Bram Stoker's novel Dracula, is decadent, overpoweringly erotic campiness coupled with soft-core pornography - blood, breasts, buttocks and big teeth. It's daring and those with a taste for the sexily sanguine will find it delightful. But it's not for the prudish. [13 Nov 1992, p.C1]
    • The Globe and Mail (Toronto)
    • 51 Metascore
    • 75 Jay Scott
    It is an agreeable example of how a picture conceived as "product" need not condescend to the audience it exploits. [11 Apr 1983]
    • The Globe and Mail (Toronto)
    • 68 Metascore
    • 75 Jay Scott
    The film is a respectable, claustrophobic and slick piece of work, and cinematographer Nestor Almendros' color strategies - Rembrandt-like light at night, lemony tones during the day, desaturated sepia at Auschwitz - are arty to a fault. [14 Dec 1982]
    • The Globe and Mail (Toronto)
    • 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]
    • The Globe and Mail (Toronto)
    • 63 Metascore
    • 75 Jay Scott
    The Lost Boys mixes comedy and horror with a dexterity that augments each. Dracula and Peter Pan were antipodal products of the same society: bringing them together has resulted in a marriage that would make Bram Stoker snicker and J.M. Barrie bawl. [1 Aug 1987, p.C5]
    • The Globe and Mail (Toronto)
    • 64 Metascore
    • 75 Jay Scott
    Silkwood is a friendly, kooky and caring film. [09 Dec 1983]
    • The Globe and Mail (Toronto)
    • 71 Metascore
    • 75 Jay Scott
    F/X
    In the hallowed Hollywood tradition of mindless flash, F/X turns the suspension of disbelief into airy entertainment. [7 Feb 1986, p.D3]
    • The Globe and Mail (Toronto)
    • 60 Metascore
    • 75 Jay Scott
    The movie remains an embodiment of Spielberg's commercially cunning brand of clankingly retro filmmaking, despite the wit and charm brought to their Spiel-speak dialogue by the talented young performers, The Goonies is less a movie than an entertainment machine. [7 Jun 1985, p.E1]
    • The Globe and Mail (Toronto)
    • 62 Metascore
    • 75 Jay Scott
    For all its contrivance, it's lively and amusing and occasionally disconcerting in its reproduction of what life was like in the mid-to-late teens.
    • 36 Metascore
    • 75 Jay Scott
    It's got thrills and chills and one of the most elegantly conceived monsters in the history of movies.
    • 48 Metascore
    • 75 Jay Scott
    Buffy The Vampire Slayer should be a mess, but it's not. It's a mini-comic triumph, and although it's technically a teen movie, it's in the tiny genre of sophisticated, darkly funny teen films such as Heathers and Pump Up the Volume. [4 Aug 1992, p.C1]
    • The Globe and Mail (Toronto)
    • 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.
    • 53 Metascore
    • 75 Jay Scott
    The cinematic strategies are energetic without being vulgar, the words are plain-spoken, and moony Mel's melancholy is what matinee idols are made of. [18 Jan 1991]
    • The Globe and Mail (Toronto)
    • 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]
    • The Globe and Mail (Toronto)
    • 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]
    • The Globe and Mail (Toronto)
    • 61 Metascore
    • 75 Jay Scott
    Kindergarten Cop is fast, loud and obvious, but there are unexpectedly delicate touches. [21 Dec 1990, p.C10]
    • The Globe and Mail (Toronto)
    • 62 Metascore
    • 75 Jay Scott
    A surprisingly large portion of the picture is given over to a gritty and unexpectedly moving examination of a senseless but understandable feud between two wrongheaded, sincere people making all the wrong moves. [21 Oct 1983]
    • The Globe and Mail (Toronto)
    • 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.
    • 52 Metascore
    • 75 Jay Scott
    Spielberg hooks us again with state-of-the-art craft, the director taps into powerful myths, both primal and pop, and makes them seem new. He allows grownups to return to childhood, but manages to catch fish in all generational waters.
    • The Globe and Mail (Toronto)
    • 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.

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