For 23 reviews, this critic has graded:
  • 56% higher than the average critic
  • 0% same as the average critic
  • 44% lower than the average critic
On average, this critic grades 9.6 points higher than other critics. (0-100 point scale)

Jay Boyar's Scores

  • Movies
  • TV
Average review score: 69
Highest review score: 100 Life Is Sweet
Lowest review score: 25 The Net
Score distribution:
  1. Positive: 15 out of 23
  2. Negative: 1 out of 23
23 movie reviews
    • 88 Metascore
    • 100 Jay Boyar
    It's a measure of Leigh's sensitivity that the big scene arises naturally, never threatening the delicate fabric of the narrative... And not only has Leigh grown as a storyteller, he appears to have acquired exactly the right amount of filmmaking technique to tell his story.
    • 84 Metascore
    • 100 Jay Boyar
    By the end of the film, there's even something vaguely inspirational about our antihero's painful journey through the bowels of his self-created hell.
    • 98 Metascore
    • 100 Jay Boyar
    Although the filmmakers are subtle in their methods and unobtrusive in their interviewing style, they make their points forcefully.
    • 65 Metascore
    • 88 Jay Boyar
    This latest Star Trek is a well-plotted, well-acted and consistently exciting addition to the popular movie series. [6 Dec. 1991, p.21]
    • Orlando Sentinel
    • 52 Metascore
    • 80 Jay Boyar
    It's a lot of fun to watch - over two hours of thrills, spills, elaborate sets and special effects, all tied together by a pleasingly varied (and lighter than usual) musical score by John Williams.
    • 76 Metascore
    • 80 Jay Boyar
    By the soaring standards of Mike Leigh's career, Career Girls (which opens locally today) is a minor work. But minor-league Leigh is better than major-league most other people, especially because he possesses the most emotionally sophisticated sensibility of any contemporary filmmaker.
    • 76 Metascore
    • 80 Jay Boyar
    The Last of the Mohicans isn't a classic, but it's one of the most exciting action pictures to come along in recent memory.
    • 72 Metascore
    • 80 Jay Boyar
    Big
    The setup isn't exactly what you'd call plausible, but the follow-through is consistent and clever.
    • 77 Metascore
    • 80 Jay Boyar
    The Big Easy is as atmospheric as they come, but -- surprise! -- it's also sharp and swift. Plus, it has ample amounts of chemistry -- the steamy, sexy kind.
    • 65 Metascore
    • 80 Jay Boyar
    The Firm and The Pelican Brief, both of last year, were solid entertainment. Now along comes the movie version of The Client - the best of the Grisham film trilogy.
    • 78 Metascore
    • 75 Jay Boyar
    The film doesn't go deeply enough into Hawking's theories to really explain them, and it doesn't go deeply enough into Hawking's life to impart anything but a sketchy understanding of the man. Still, considering the almost impenetrable subject matter, it's remarkable that Morris has gotten as far as he has.
    • 79 Metascore
    • 75 Jay Boyar
    One triumph of The Untouchables is the way its operatic style accommodates larger-than-life performances.
    • 41 Metascore
    • 75 Jay Boyar
    Bad politics sometimes makes for good movies, and the harsh, politically incorrect truth about Basic Instinct is that it's a tantalizing, suspensefully correct thriller.
    • 53 Metascore
    • 70 Jay Boyar
    Kika is flamboyant and provocative. But the new film, which was partly inspired by the rape trial of William Kennedy Smith, is ultimately quite serious.
    • 55 Metascore
    • 63 Jay Boyar
    Fortunately, director David Carson and screenwriters Ronald D. Moore and Brannon Braga (all of whom have served in the Star Trek universe) keep the longueurs to a minimum. Whenever you feel like beaming up (or is it out?), they switch scenes.
    • 71 Metascore
    • 60 Jay Boyar
    The bottom line is that The Crow is a somewhat-better-than-average exploitation flick that has received an extra shot of hype from the untimely and dramatic demise of its star performer.
    • 67 Metascore
    • 60 Jay Boyar
    This superficially engaging movie leads you to expect something more - something that would suggest how the experience of playing professional ball changed the lives of the women in the league, and how the league itself may have helped to alter the general public's notions of women and sports.
    • 72 Metascore
    • 50 Jay Boyar
    JFK
    JFK is a limp, semi-coherent, boring movie. [20 Dec 1991, p.21]
    • Orlando Sentinel
    • 48 Metascore
    • 50 Jay Boyar
    A big-screen version of a routine cop show that occasionally gets by on momentum from the original movie.
    • 59 Metascore
    • 50 Jay Boyar
    The movie's biggest sin, however, is that during its crucial final half-hour, the action is shot in a confusing way that renders it virtually incomprehensible. This section is almost a series of random images, which is no way to build suspense, let me tell you. That this movie's director has previously specialized in music videos and that he has never before directed a feature film, may explain why this section is so very chaotic. [22 May 1992, p.19]
    • Orlando Sentinel
    • 48 Metascore
    • 40 Jay Boyar
    Altman's method is risky, but when inspiration strikes the result can be wonderful. When it doesn't, the result can be, well, Ready to Wear.
    • 57 Metascore
    • 40 Jay Boyar
    A production that's strong on atmosphere but weak in the plot department. Watching this often-tedious film, you begin to feel as if you've been kidnapped - which is appropriate, anyway, since the story concerns an abduction.
    • 51 Metascore
    • 25 Jay Boyar
    The problem is that producer-turned-director Irwin Winkler (Night and the City, Guilty by Suspicion) simply has no idea what he's doing. I take that back. He knows what a producer ought to know: how to latch onto a hot topic and a hot star. Winkler also appears to have picked up enough from the directors he has worked with to give his film a certain second-hand slickness.

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