For 440 reviews, this critic has graded:
  • 48% higher than the average critic
  • 2% same as the average critic
  • 50% lower than the average critic
On average, this critic grades 3 points lower than other critics. (0-100 point scale)

Jay Scott's Scores

  • Movies
  • TV
Average review score: 61
Highest review score: 100 Cujo
Lowest review score: 0 Coming to America
Score distribution:
440 movie reviews
    • 52 Metascore
    • 63 Jay Scott
    Whoopi Goldberg can make you laugh and make you cry, and she's attractive and kind of come-hithery in her own bug-eyed way. [10 Oct 1986, p.D1]
    • The Globe and Mail (Toronto)
    • 70 Metascore
    • 38 Jay Scott
    There is a terrific little movie making the rounds, Repo Man, that demonstrates what can be done with vision, no money and faith in the audience; Buckaroo Banzai demonstrates what can be done with a lot of money, no faith in the audience, and a vision that begins and ends in the cash register. [13 Aug 1984]
    • The Globe and Mail (Toronto)
    • 38 Metascore
    • 25 Jay Scott
    In Scrooged, a sub-Saturday Night Live re-make parody of Charles Dickens' A Christmas Carol, Ghostbuster Bill Murray busts up two of the festive ghosts (Christmas Past and Future) and mugs more than Mr. Magoo. [24 Nov 1988, p.C19]
    • The Globe and Mail (Toronto)
    • 64 Metascore
    • 63 Jay Scott
    Brooks' bravery is spiriting; in his debut he has written an unlikeable character doing unlikeable things to likeable people. One wishes his talent as a director matched his chutzpah. [17 Mar 1979]
    • The Globe and Mail (Toronto)
    • 61 Metascore
    • 50 Jay Scott
    There are individual sequences alternately amusing and touching. [08 May 1984]
    • The Globe and Mail (Toronto)
    • 67 Metascore
    • 38 Jay Scott
    If you have missed Janis Joplin, and if you have looked forward to Bette Midler's debut in a role she seemed born to play, you should leave the theatre at that precise moment. Almost everything else in and about The Rose, except a few concert sequences and the occasional occasions when Miss Midler falls out of character and into her stage persona of The Divine Miss M, is infuriatingly tedious, depressing, pretentious, obvious and downright pushy. [10 Nov 1979]
    • The Globe and Mail (Toronto)
    • 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]
    • The Globe and Mail (Toronto)
    • 42 Metascore
    • 75 Jay Scott
    For fans of violent but clever action films, RoboCop 2 may be the sultry season's best bet: you get the gore of Total Recall and the satiric smarts of Gremlins 2 The New Batch in one high-tech package held together by modest B-movie strings. [22 June 1990]
    • The Globe and Mail (Toronto)
    • 60 Metascore
    • 25 Jay Scott
    Stripped of absolutely everything Absolute Beginners has borrowed from absolutely everything else, the entire film would fit absolutely snugly into a cockroach's shoe. [19 Apr 1986]
    • The Globe and Mail (Toronto)
    • 57 Metascore
    • 88 Jay Scott
    An inspired variation on his familiar theme: the whore with a heart of gold is a man. [2 Feb 1980]
    • The Globe and Mail (Toronto)
    • 48 Metascore
    • 75 Jay Scott
    What's shocking about The Exorcist III is that it's a civilized albeit undemanding entertainment, more Hitchcock than Hellraiser. [20 Aug 1990]
    • The Globe and Mail (Toronto)
    • 42 Metascore
    • 25 Jay Scott
    Supergirl is made by people who can make a woman fly halfway around the world and can't get a plot to walk around the block. [22 Dec 1984]
    • The Globe and Mail (Toronto)
    • 59 Metascore
    • 63 Jay Scott
    Walter Hill is a master moviemaker, and when Streets of Fire is speeding by like Mercury on methedrine, the rush left in its wake cancels out questions of content. But the minute the momentum slows, it's another story - a story about a movie with no story at all. [01 June 1984]
    • The Globe and Mail (Toronto)
    • 40 Metascore
    • 50 Jay Scott
    As long as it remains within the carefully constructed, peaceful and innocent cosmos of its opening, it's nonpareil. When it goes to war, it goes to hell. [18 Dec 1992]
    • The Globe and Mail (Toronto)
    • 34 Metascore
    • 25 Jay Scott
    Not only is it mindless, it is also racist. Not only is it racist, it is also incompetent. Not only is it incompetent, it is also unfunny. [17 Dec 1979]
    • The Globe and Mail (Toronto)
    • 49 Metascore
    • 75 Jay Scott
    Slickly-made parapsychological murder mystery featuring a solid performance by Faye Dunaway as a fashion photographer who sees murders in her mind's eye. [06 Sep 1978]
    • The Globe and Mail (Toronto)
    • 56 Metascore
    • 50 Jay Scott
    Everything Terms of Endearment's detractors accused Terms of being: a synthetic, manipulative tragi-comedy with performances more appropriate to a proscenium arch - or to a drag show - than to the wide screen. And yet, there are moments in the movie of high comedy and sequences of searing truth. At its worst, Steel Magnolias is vastly inferior to Designing Women; at its best, it brings to mind (but never equals) Tennessee Williams. [20 Nov 1989]
    • The Globe and Mail (Toronto)
    • 76 Metascore
    • 88 Jay Scott
    The one thing Sid and Nancy could not be convicted of was compromise and Cox has created a film true to that part of their spirit, but he has created something much more, a send-up and critique of the kind of cautionary celebrity biography exemplified by Lady Sings the Blues. [31 Oct 1986, p.D1]
    • The Globe and Mail (Toronto)
    • 69 Metascore
    • 50 Jay Scott
    Eating Raoul is often very funny, but it guns down its targets (hot tubs, taco stands) without revealing anything new about them - it's broader than parody, less pointed than satire - and it crudely manipulates the audience into congratulating itself on its own hipness. [15 Oct 1982]
    • The Globe and Mail (Toronto)
    • 61 Metascore
    • 50 Jay Scott
    First Blood is a gung-ho action flick fast enough and brutal enough to become Stallone's first non-Rocky hit; on the profound sympathetic levels it seeks to address, however, it is an emission of profound stupidity. [22 Oct 1982]
    • The Globe and Mail (Toronto)
    • 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]
    • The Globe and Mail (Toronto)
    • 84 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)
    • 46 Metascore
    • 63 Jay Scott
    Laughter, tears and Bette Midler: Santa's done a whole lot worse. [23 Dec 1988]
    • The Globe and Mail (Toronto)
    • 60 Metascore
    • 63 Jay Scott
    Days of Thunder relies on charm, loud noise and a few racing sequences to print money with Cocky's visage on the bills: there can be no suspense because there can be no possibility Cocky will lose. [29 Jun 1990, p.C1]
    • The Globe and Mail (Toronto)
    • 75 Metascore
    • 88 Jay Scott
    It does what it desires to do - it suspensefully squeezes the sweat out of the pores - but the salty stench it leaves behind in the persona of Annie Wilkes is a residue that transcends its intentions. [30 Nov 1990]
    • The Globe and Mail (Toronto)
    • 49 Metascore
    • 50 Jay Scott
    Fort Apache, The Bronx, set primarily in a precinct house, is the S & M Barney Miller... One comes away from the film exhausted, both by the excess of incident in the script and by the reality in which the excess is so obviously grounded. [7 Feb 1981]
    • The Globe and Mail (Toronto)
    • 62 Metascore
    • 25 Jay Scott
    The performers are powerless to bring life to this moribund courtroom drama...a snoozer.
    • 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)
    • 59 Metascore
    • 63 Jay Scott
    Creepshow is probably not everything the fans of each horrormeister hoped it would be (it is not, for example, in the same league as Cavalcanti's great anthology film, Dead of Night), but it's probably enough.[10 Nov 1982]
    • The Globe and Mail (Toronto)
    • 63 Metascore
    • 75 Jay Scott
    Spader, the actor who rose to prominence in sex, lies and videotape, is excellent at delineating the erosion of Michael's conventionally celestial ethics, while Lowe, the actor who rose to prominence in the home version of sex, lies and videotape, is equally good at delineating the solidity of Alex's unconventionally sulphuric sadism. Sadistic or not, Alex knows how to give good time. So does Bad Influence. [12 Mar 1990]
    • The Globe and Mail (Toronto)

Top Trailers