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 1.8 points higher than other critics. (0-100 point scale)

Jay Scott's Scores

  • Movies
Average review score: 61
Highest review score: 100 Cinema Paradiso
Lowest review score: 0 Cocktail
Score distribution:
  1. Positive: 74 out of 127
  2. Negative: 33 out of 127
127 movie reviews
    • 52 Metascore
    • 38 Jay Scott
    The problem with the taboo-busters is that they feel calculated - in the past, Lynch's creepiness seemed casual and natural - and they take Wild at Heart so high it can't come down; the picture repeatedly jacks itself into frenzy only to crash into lethargy.
    • 66 Metascore
    • 38 Jay Scott
    American Me is a graphic and honest effort that, unfortunately, becomes a catalogue of other films on similar subjects. Its depiction of prison life is much too slow, too long, too repetitive and too familiar. [13 Mar 1992, p. C3]
    • 46 Metascore
    • 38 Jay Scott
    White Nights is too ponderous to have the pizzazz of trash and too dumb to have the insight of art - it's a lumbering behemoth of a film in which the extraordinary talent of its one authentic star, Mikhail Baryshnikov, is exploited in a Cold War cartoon that suggests a musical adaptation of Ayn Rand's anti- Soviet novel, We The Living. [22 Nov 1985]
    • 61 Metascore
    • 38 Jay Scott
    When The Big Chill is busy being funny, it's a great comedy, but when it goes for depth, it hits bottom an inch down. [30 Sep 1983, p.E1]
    • 61 Metascore
    • 38 Jay Scott
    Kubrick certainly doesn't fail small. One could fast forget The Shining as an overreaching, multi-levelled botch were it not for Jack Nicholson. Nicholson, one of the few actors capable of getting the audience to love him no matter what he does, is an ideal vehicle for Kubrick. [14 Jun 1980, p.E1]
    • 64 Metascore
    • 38 Jay Scott
    The manipulative Star Wars-style score is the only novelty on tap in Silverado, which has a plot too drearily complicated and arid to summarize and an attitude almost unbearable in its dryly smirky assurance that it knows what you want from a Western, which is to say, action that never quits, emotion that's never felt, characters that are never real and situations that are never sensible. [10 Jul 1985, p.S7]
    • 61 Metascore
    • 38 Jay Scott
    Most of the time the film is simply stupid; not offensive, just silly. [03 May 1983]
    • 33 Metascore
    • 38 Jay Scott
    Air America, starring Mel Gibson's big blue eyes and Robert Downey, Jr.'s big brown biceps, is bland and toothless. [15 Aug 1990]
    • 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]
    • 39 Metascore
    • 38 Jay Scott
    In the end, this musical is not a disgrace - Huston has too much experience to let the thing die. But he cannot summon the magic required to let it live. Watching Annie is like being buried alive in balloons. [21 May 1982]
    • 42 Metascore
    • 38 Jay Scott
    There are two movies in Superman III, one a witless and obvious and often cruel comic strip, the other a blithe and subtle and often amusing exercise in middle-brow camp. Not only do the two halves never come together, they are in active opposition. [17 June 1983]
    • 69 Metascore
    • 38 Jay Scott
    It's unclear as to how we are supposed to feel about these monologuists, the majority of whom are twentysomething; nothing is how I felt about them, but perhaps I was tired. [27 Sept. 1991]
    • 50 Metascore
    • 38 Jay Scott
    To report that Always will make you cry is not esthetically saying much; slicing up onions has the same effect. Leslie Halliwell's one-word summation of the forties version applies to Spielberg's update for the nineties: "icky." [26 Dec. 1989]
    • 62 Metascore
    • 25 Jay Scott
    The performers are powerless to bring life to this moribund courtroom drama...a snoozer.
    • 60 Metascore
    • 25 Jay Scott
    More than merely another bad movie, it's the most depressing development yet in Coppola's career. It's a would-be cash cow bred cynically to excrete money, the arty answer to "Child's Play 2" or "Back to the Future III."
    • 68 Metascore
    • 25 Jay Scott
    Perfectly passable kiddie escapism. It has a thrill or two, and a chill or three, but it has no poetry, little sense of wonder, no resonant subtext (Jungian or otherwise), no art... When it's over, it's gone. Extinct.
    • 53 Metascore
    • 25 Jay Scott
    Wayne's World has been engineered to amuse people who are mirror images of its heroes, but it goes wickedly wrong: It's so dumb it talks down to the stupid.
    • 45 Metascore
    • 25 Jay Scott
    Purple Rain is not a revolution. It's not even a good movie. What it is, is a cosmic letdown. [27 Jul 1984]
    • 46 Metascore
    • 25 Jay Scott
    In The Dead Pool, Dirty Harry is downright dusty. The erstwhile right-wing San Francisco homicide inspector has mellowed so much in the fifth installment of his adventures that he's become the darling of the liberal Bay Area media and he seems almost bored by blowing people away. [13 Jul 1988, p.C7]
    • 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]
    • 48 Metascore
    • 25 Jay Scott
    A shamelessly commercial and determinedly vulgar director, such as Flash Gordon's Mike Hodges, might have made the film work; it might have succeeded on one level instead of failing on many. [13 Dec 1980, p.E7]
    • 46 Metascore
    • 25 Jay Scott
    On film, Bennett's bouncing brainchild is Richard Attenborough's Workout Tape, love story attached; the specificity is gone. The 16 auditioning dancers could be any people or all people. [11 Dec 1985]
    • 57 Metascore
    • 25 Jay Scott
    Given Part II's quality, the final sequence, a series of clips from next summer's Part III, may be a major miscalculation. "To be concluded," reads the final title. Sounds more like a threat than a promise. [22 Nov 1989, p.C9]
    • 57 Metascore
    • 12 Jay Scott
    Guilty of gross mellerdrammer & innocent of sophistication... Guilty of being dumber than WWF wrestling & innocent of hypocrisy about its cartoon violence.
    • 29 Metascore
    • 12 Jay Scott
    The manner in which the writer, Richard Matheson, and Jeannot Szwarc, in his glory days the director of Jaws II, conspire to tell the story should not only render the audience tearless, but speechless as well. [11 Oct 1980, p.E7]
    • 22 Metascore
    • 12 Jay Scott
    This one is a big, big disappointment. [27 July 1987]
    • 14 Metascore
    • 12 Jay Scott
    The Keep has opened just in time - if it had waited another couple of weeks, it would have been the worst horror movie of 1984 and there wouldn't have been anything to look forward to all year. [17 Dec 1983]
    • 34 Metascore
    • 0 Jay Scott
    A perverse, lame-brained thriller that is pornographic, misogynist and homophobic. If that makes it sound appealing, I should also add that it's silly, boring and intellectually insulting.
    • 28 Metascore
    • 0 Jay Scott
    A two- hour-plus surrealistic bummer - it makes the audience feel as if it is coming down from a virulent drug. (The pacing, the images, the music and the endemic menace recall clinical descriptions of cocaine-induced paranoia.)...A disgusting, misanthropic movie.
    • 23 Metascore
    • 0 Jay Scott
    The first 48 HRS. was similiarly nasty and violent, and it too was emptier than the inside of an efficient bell jar, but it was funny. Eight years later, director Walter Hill can find nothing to laugh about - the violence in this appalling picture is played out in a mirthlessly misanthropic vacuum. [8 Jun 1990, p.C1]
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