For 752 reviews, this critic has graded:
  • 68% higher than the average critic
  • 3% same as the average critic
  • 29% lower than the average critic
On average, this critic grades 6.7 points higher than other critics. (0-100 point scale)

Jay Carr's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 Vincent & Theo
Lowest review score: 0 The Skulls
Score distribution:
  1. Negative: 96 out of 752
752 movie reviews
    • 83 Metascore
    • 88 Jay Carr
    As bloody as any recent film. But it's shot through with a harsh, stony humor that's invigorating enough to be regarded as a slap back at death.
    • Boston Globe
    • 77 Metascore
    • 88 Jay Carr
    Like its subject, Pollock is a messy creation, but one whose depth of commitment and high attack keeps it on track.
    • Boston Globe
    • 59 Metascore
    • 88 Jay Carr
    The film is rightfully carried by Nico and Dani and under Gay's artful helmsmanship it's carried with remarkable sympathy and believability.
    • Boston Globe
    • 57 Metascore
    • 88 Jay Carr
    Warm, smart, and funny!
    • Boston Globe
    • 82 Metascore
    • 88 Jay Carr
    An upsetting landmark. Don't take the children.
    • Boston Globe
    • 44 Metascore
    • 88 Jay Carr
    The kind of richly layered film that Hollywood seldom attempts, much less brings off. But it's more than brought off here in grand, solid style and beautifully crafted detail.
    • 69 Metascore
    • 88 Jay Carr
    Delightful and original, the film conjures up a corner of Paris distinct and specific, yet fairy-tale fanciful.
    • Boston Globe
    • 88 Metascore
    • 88 Jay Carr
    There's nothing paltry about its poultry.
    • Boston Globe
    • 79 Metascore
    • 88 Jay Carr
    Souffle-light and airily playful.
    • Boston Globe
    • 67 Metascore
    • 88 Jay Carr
    Nicholson, Hunt, and Kinnear will win you over as they turn the film into a valentine to New York's walking wounded.
    • 76 Metascore
    • 88 Jay Carr
    From start to finish there's a shimmer of discovery about it - our discovery of it, Coppola's discovery of how much she can do.
    • 90 Metascore
    • 88 Jay Carr
    Hollywood filmmaking at its best, brimming over with feeling, texture, spirit, and several kinds of keenness that transmute experience into big pop myth.
    • Boston Globe
    • 75 Metascore
    • 88 Jay Carr
    As savage and as epic as film gets.
    • 77 Metascore
    • 88 Jay Carr
    It's the kind of romantic comedy that doesn't cheapen the word ''heartwarming.''
    • 82 Metascore
    • 88 Jay Carr
    You walk out amazed and refreshed by the way it kicks the assumptions out from under the genre.
    • 71 Metascore
    • 88 Jay Carr
    Smart, unpredictable, and alive with the energies of actors who clearly are enjoying being stretched by their material.
    • Boston Globe
    • 87 Metascore
    • 88 Jay Carr
    A tender genuflection to the women's energies that keep that spinning world from keeling over.
    • 69 Metascore
    • 88 Jay Carr
    It's lively, edgy, full of zigs and zags, juicy performances, and offbeat fun.
    • 85 Metascore
    • 88 Jay Carr
    If you thought ''Moulin Rouge,'' or, for that matter, ''Tommy,'' was trippy, Hedwig, with its glorious convergence of material and performer, will show you what you've been missing.
    • Boston Globe
    • 74 Metascore
    • 88 Jay Carr
    It's slick, sleek, and stylish, and if it doesn't quite redefine cool, it certainly offers a snazzy update.
    • Boston Globe
    • 79 Metascore
    • 88 Jay Carr
    Sad, funny, brilliant.
    • Boston Globe
    • 70 Metascore
    • 88 Jay Carr
    The cinematic equivalent of a high, arching rainbow of a three-pointer from midcourt.
    • 76 Metascore
    • 88 Jay Carr
    A slick, twisty, top-of-the-line crime thriller with gorgeously sensual textures and a screenful of wickedly faceted performances.
    • 86 Metascore
    • 88 Jay Carr
    It's the best drug-busting movie since ''The French Connection.''
    • 72 Metascore
    • 88 Jay Carr
    The film makes more apparent than ever that Howard is quite underrated as a filmmaker, possibly because he's been hidden in full view in the mainstream for so long.
    • Boston Globe
    • 73 Metascore
    • 88 Jay Carr
    Superior and original filmmaking. You won't be able to take your eyes off it.
    • Boston Globe
    • 77 Metascore
    • 88 Jay Carr
    The film's bountiful warmth and gusto do their work. By the end, we feel part of the family, too.
    • 52 Metascore
    • 88 Jay Carr
    Serendipity returns us, if only for a couple of hours, to the Manhattan of our dreams.
    • Boston Globe
    • 70 Metascore
    • 88 Jay Carr
    It's a treat to encounter the deadpan light-handedness with which Mamet goes about his business.
    • 88 Metascore
    • 88 Jay Carr
    Whatever portion of the alienated teen angst championship Thora Birch left unclaimed after ''American Beauty,'' she nails down brilliantly in Ghost World.
    • Boston Globe
    • 76 Metascore
    • 88 Jay Carr
    Fresh, original, and arresting.
    • Boston Globe
    • 80 Metascore
    • 88 Jay Carr
    The most disorienting and trippiest data-retrieval caper in years.
    • Boston Globe
    • 75 Metascore
    • 88 Jay Carr
    In short, Almodovar opens some new doors to his artists here, and they respond in surprising, captivating ways. [29 Mar 1996]
    • Boston Globe
    • 68 Metascore
    • 88 Jay Carr
    Jude is a modernized version of Hardy, but a handsome, fluid and red-blooded one that has no difficulty finding correlatives to the prejudice and hatred of wit and spirit against which Hardy, in his gimlet-eyed way, so passionately attacked. [25 Oct 1996]
    • Boston Globe
    • 70 Metascore
    • 88 Jay Carr
    Unstrung Heroes, with its small, detailed brush strokes and its eye for specifics, marks Diane Keaton's directorial breakthrough. [15 Sep 1995]
    • Boston Globe
    • 68 Metascore
    • 88 Jay Carr
    Gray's haunted, obsessional riffs are absorbing theater. Because Demme had the good sense to lay back and not beat them over the head with his cameras, they're equally compelling on film. [27 Mar 1987]
    • Boston Globe
    • 74 Metascore
    • 88 Jay Carr
    It's also [Coppola's] most gloriously extravagant film since "One from the Heart." [12 Aug 1988]
    • Boston Globe
    • 82 Metascore
    • 88 Jay Carr
    Drugstore Cowboy, Gus Van Sant's fresh, gutsy societal underbelly film, never wallows in picturesque down-and-outism, except at the end, when Dillon's character, frightened by the death of a girl he didn't like much and spooked by his own paranoiac suspicion, checks into a seedy hotel while trying to go cold turkey and not yield to the influence of a junkie priest drolly played by William Burroughs. [27 Oct 1989]
    • Boston Globe
    • 47 Metascore
    • 88 Jay Carr
    Kevin Costner's epic Wyatt Earp literally and figuratively gives you more of the legendary lawman than any of the other famous movies about him. [24 Jun 1994, p.47]
    • Boston Globe
    • 76 Metascore
    • 88 Jay Carr
    Beyond its fresh twists on the cop and romance genres, Witness is, above all, an anti-consumption film. [08 Feb 1985]
    • Boston Globe
    • 54 Metascore
    • 88 Jay Carr
    Friday is funnier and funkier than "Bad Boys," more homegrown-seeming, less manufactured. It plays like "House Party" with attitude. [26 Apr 1995]
    • Boston Globe
    • 66 Metascore
    • 88 Jay Carr
    It's easily the best of the movies I've seen by the various "Saturday Night Live" alumni, and part of the reason it's funny and satisfying is that it doesn't strain. [09 Jun 1983]
    • Boston Globe
    • 71 Metascore
    • 88 Jay Carr
    Mad Dog and Glory is the funniest and most original studio comedy since "White Men Can't Jump." What makes it fun is its ability to find new ways to do old things. [5 Mar 1993, p.61]
    • Boston Globe
    • 62 Metascore
    • 88 Jay Carr
    What Gibson gives us is a portrait of a man behaving gracefully under several kinds of pressure, some of it shamefully unfair. It's a solid acting achievement, and his directing, which never calls attention to itself, is right on the money, too. The Man Without a Face is an affecting evocation of a man of principle who teaches a boy what's important. [25 Aug 1993, p.53]
    • Boston Globe
    • 74 Metascore
    • 88 Jay Carr
    Natural Born Killers is going to be a love-it or hate-it film. But it's an important film. Pumped up, jumped up, yet asking the right questions, [it] is more than an attention-grabber. It's a grenade pitched into the media tent. [26 Aug 1994, p.51]
    • Boston Globe
    • 62 Metascore
    • 88 Jay Carr
    Stone's film rolls off the screen with affection and authority, even when Morrison's life enters its sodden, bummed-out finale, and Val Kilmer does an uncanny job of identifying with Morrison. [01 Mar 1991]
    • Boston Globe
    • 74 Metascore
    • 88 Jay Carr
    Director Penny Marshall's choreography encompasses emotional as well as physical ebbs and flows. Awakenings lives up to its title. [11 Jan 1991]
    • Boston Globe
    • 66 Metascore
    • 88 Jay Carr
    What keeps the film going, and helps it keep its comic tone, is the constant threat of cataclysm - and the deadpan Buster Keaton charm of the ever-responsive Pinon as he combats the giant Rube Goldberg meat-grinder that the house, in effect, is. [17 Apr 1992]
    • Boston Globe
    • 62 Metascore
    • 88 Jay Carr
    What sets Tequila Sunrise apart is its layering, its existential dimension. The characters played by Gibson and Russell have been sanded down by a kind of fatalism we normally associate with characters in French gangster movies. There's more than one facet to them. They're entertaining. And urgent. Even when they're just going through routine genre moves, they put laid-back spin on them. [2 Dec 1988, p.29]
    • Boston Globe
    • 82 Metascore
    • 88 Jay Carr
    Funny, gritty, filled with surprising stabs of feeling, Parenthood is a stretch for Ron Howard, its director. This new adult comedy has the generosity of "Cocoon" and "Splash," but it takes Howard into deeper, darker, messier territory. [2 Aug 1989, p.57]
    • Boston Globe
    • 83 Metascore
    • 88 Jay Carr
    One of the things that make [Branagh's] Henry V so thrilling is his audacity in trying to turn it into an antiwar play - a view that would have astounded Shakespeare. Astonishingly, he pretty much brings it off, emerging with steadily growing power as the young king who isn't afraid to bloody his hands. [15 Dec 1989]
    • Boston Globe
    • 64 Metascore
    • 88 Jay Carr
    The Pillow Book is Peter Greenaway's most stunning and accessible film since "The Cook, the Thief, His Wife and Her Lover." Dense, gorgeous and inexorable - once you give yourself over to its logic - it's a boldly erotic explosion of Asian chic, taken to places no film has gone before. [20 Jun 1997]
    • Boston Globe
    • 69 Metascore
    • 88 Jay Carr
    Soderbergh's sleekly malignant Underneath is a nasty little winner. [28 April 1995, p.81]
    • Boston Globe
    • 65 Metascore
    • 88 Jay Carr
    The film works because Raimi's motor-rhythmed pop sensibility was ready to take off in this movie, and does, in a series of wonderfully hyperkinetic comic-strip lurches. [24 Aug. 1990, p.34]
    • Boston Globe
    • 50 Metascore
    • 88 Jay Carr
    You expect virtuosic technique from Spielberg, and it's there, in spades. What you don't expect is heartfelt romanticism. But that's there, too... Always is a terrific-looking throwback to those large-scale '40s cinematic stews of romantic longing. [22 Dec. 1989, p.43]
    • Boston Globe
    • 82 Metascore
    • 88 Jay Carr
    Hurtling from the screen with a vigor and importance that are all but absent from contemporary film, it's a deeply moving social drama, raw and gritty in style, shining with moral purpose as it delivers a scathing take-it-into-the-streets critique of feral capitalism and racism. [18 July 1997, p.D1]
    • Boston Globe
    • 84 Metascore
    • 88 Jay Carr
    Never settling for mere irony, High Hopes becomes a small banner of sanity and good humor among the social ruins. Leigh never shies away from his unflinching dead-end class view of contemporary London. Nor does he wallow in '60s nostalgia. Which is part of the reason his passionate, life-embracing High Hopes is so exhilarating. [31 Mar. 1989, p.30]
    • Boston Globe
    • 67 Metascore
    • 88 Jay Carr
    A League of Their Own may not boost its material into the level of pop myth as, say, last year's great female buddy movie, "Thelma & Louise," did. It's a bit too concerned with being likable to make that kind of bold leap. But if A League of Their Own doesn't knock the ball out of the park, it's a clean hit, with extra bases written all over it. [1 July 1992, p.41]
    • Boston Globe
    • 70 Metascore
    • 75 Jay Carr
    Sentimental and has its heart on its sleeve, but never heavy-handedly so, and its delicacy and tenderness will get to you if you give it half a chance.
    • Boston Globe
    • 71 Metascore
    • 75 Jay Carr
    As each scientist chronicles his or her story, one is impressed by the place that unswerving motivation and determination has assumed in the work.
    • Boston Globe
    • 83 Metascore
    • 75 Jay Carr
    In the end, Fighter, despite its newsreel footage, is less a document of wartime experience than of the mentality one needs to maintain in order to be a fighter.
    • Boston Globe
    • 72 Metascore
    • 75 Jay Carr
    It's not afraid to play cornball when it isn't playing baseball, but The Rookie gets away with it.
    • 49 Metascore
    • 75 Jay Carr
    Reminds us that the human dynamic can do a lot that explosions can't, even when the film flirts with formula.
    • 65 Metascore
    • 75 Jay Carr
    It isn't afraid to genuflect to heroes and heroism and has everything it needs to connect with the resurgence of patriotism after Sept. 11.
    • Boston Globe
    • 64 Metascore
    • 75 Jay Carr
    A comedy of chaos, an ensemble comedy, with characters swirling around one another unaware, in their uniform desperation, of how funny they are.
    • Boston Globe
    • 69 Metascore
    • 75 Jay Carr
    Sometimes gets bogged down in its own wordiness.
    • 69 Metascore
    • 75 Jay Carr
    The kind of film that could easily be undone by its own high-minded ambitions and dissolve in a pall of uplift. But it stays the course and gives the season two of its notable performances.
    • 57 Metascore
    • 75 Jay Carr
    A steadily engaging and winningly humane film that loves its characters.
    • Boston Globe
    • 35 Metascore
    • 75 Jay Carr
    It is Close's performance that gives the movie its oomph and will leave adults with smiles as wide as the kids'.
    • Boston Globe
    • 65 Metascore
    • 75 Jay Carr
    Ali
    Ali, in short, is far from a seamless success, but it does get the big things right and it respects a subject who commands respect.
    • Boston Globe
    • 74 Metascore
    • 75 Jay Carr
    Warm, wry, endearing.
    • Boston Globe
    • 66 Metascore
    • 75 Jay Carr
    The film not only works better than expected but gets the important things right, starting, of course, with Zellweger's Bridget and Bridget's mind-set.
    • Boston Globe
    • 44 Metascore
    • 75 Jay Carr
    It's a charmer.
    • Boston Globe
    • 62 Metascore
    • 75 Jay Carr
    Has that rarest of qualities in movies that think of themselves as religious. I'm talking about the vision thing. And the ability to make morality entertaining.
    • 59 Metascore
    • 75 Jay Carr
    A solid two-bagger, not a home run.
    • Boston Globe
    • 71 Metascore
    • 75 Jay Carr
    Stylish and arrives at a satisfying cumulative weight, even if it isn't Austen pure.
    • 69 Metascore
    • 75 Jay Carr
    A lively and affectionate cross between an infomercial and a genuflection.
    • Boston Globe
    • 75 Metascore
    • 75 Jay Carr
    Engrossing and eye-opening in several respects and even, when you least expect it, humorous.
    • Boston Globe
    • 57 Metascore
    • 75 Jay Carr
    A solid, humane, old-fashioned film in the best sense of the term.
    • 59 Metascore
    • 75 Jay Carr
    Aims its big, bold mother-daughter conflicts straight at the heart by way of the tear ducts, and connects.
    • 74 Metascore
    • 75 Jay Carr
    (Washington's is) an astonishing performance, partly because it's so devoid of histrionics, and it has Oscar nomination written all over it.
    • Boston Globe
    • 73 Metascore
    • 75 Jay Carr
    Wrestling gets in America's face and Blaustein gets in wrestling's face. It's a fascinating tango.
    • Boston Globe
    • 67 Metascore
    • 75 Jay Carr
    Enough originality and emotional weight to keep you engrossed even when it lapses into some pretty standard moves at the end.
    • Boston Globe
    • 57 Metascore
    • 75 Jay Carr
    One of the most warmly beguiling romantic comedies the Southern Hemisphere has sent our way in ages.
    • 56 Metascore
    • 75 Jay Carr
    A big, handsome throwback to star-powered historical costume movies.
    • 49 Metascore
    • 75 Jay Carr
    The film's flaws seem unimportant, and it passes the big test, making you want to find out what happens to these characters, even when what does happen is predictable.
    • Boston Globe
    • 47 Metascore
    • 75 Jay Carr
    It offers pleasures of a kind that fewer and fewer films even seem to remember, much less aspire to.
    • 55 Metascore
    • 75 Jay Carr
    A gritty, immediate, down-and-dirty satire with a down-and-dirty look.
    • Boston Globe
    • 70 Metascore
    • 75 Jay Carr
    A small film and, ultimately, a satisfying one.
    • 75 Metascore
    • 75 Jay Carr
    A sleek little poison pill of a movie.
    • Boston Globe
    • 84 Metascore
    • 75 Jay Carr
    Filled with affection and verve and will do very nicely until the next shipment of Latin jazz comes along.
    • Boston Globe
    • 64 Metascore
    • 75 Jay Carr
    It's all glossy urban fairy-tale stuff, laid on with style to spare, given added resonance by a mini-pantheon of French movie goddesses.
    • 71 Metascore
    • 75 Jay Carr
    Hurls its Holocaust at us in a series of justifiably horrific images.
    • 71 Metascore
    • 75 Jay Carr
    A long, warm, satisfying farewell encounter.
    • 71 Metascore
    • 75 Jay Carr
    Goes soft in the end, but not ruinously so. Meanwhile, its loose cannons bounce off one another deliciously.
    • 74 Metascore
    • 75 Jay Carr
    It's rare that a crime movie achieves such emotional complexity, but this one is smartly layered.
    • Boston Globe
    • 73 Metascore
    • 75 Jay Carr
    Mother's peace crusade ennobles Irish Town.
    • 25 Metascore
    • 75 Jay Carr
    Gallo has delivered a clever suspense comedy that, thanks to a taut script, creative direction, and first-rate performances from its leads, gives Double Take more weight than one would expect from a genre crowd-pleaser.
    • Boston Globe
    • 69 Metascore
    • 75 Jay Carr
    It's one of the few films that persuades you that it went out to meet the war and bring it to us with verisimilitude.
    • 74 Metascore
    • 75 Jay Carr
    Intoxicating fun.

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