For 775 reviews, this critic has graded:
  • 67% higher than the average critic
  • 3% same as the average critic
  • 30% lower than the average critic
On average, this critic grades 4.7 points higher than other critics. (0-100 point scale)

Jay Carr's Scores

  • Movies
  • TV
Average review score: 67
Highest review score: 100 A Little Princess
Lowest review score: 0 The Skulls
Score distribution:
  1. Negative: 99 out of 775
775 movie reviews
    • 28 Metascore
    • 63 Jay Carr
    There's no Passion in this psychological drama.
    • 67 Metascore
    • 63 Jay Carr
    Best when it's playful, toying with the fact that the Mafia has in a single generation been transmogrified from myth to joke.
    • 63 Metascore
    • 63 Jay Carr
    Derivative and flawed. But it does throw off a few sparks.
    • 35 Metascore
    • 63 Jay Carr
    Botches the chance to delve into the personality of a complex, alluring, and free-spirited woman.
    • Boston Globe
    • 52 Metascore
    • 63 Jay Carr
    The reason to sit through its uninspired, formulaic moves, however, is its half-dozen spectacular fight sequences.
    • 71 Metascore
    • 63 Jay Carr
    Just enough laughs to keep you watching.
    • 79 Metascore
    • 63 Jay Carr
    It's a spirited and essentially optimistic film, but it's also simplistic.
    • Boston Globe
    • 62 Metascore
    • 63 Jay Carr
    It's funny and charming most of the time, thanks to Brenda Blethyn.
    • 34 Metascore
    • 63 Jay Carr
    There are times when it moves into the guilty pleasure zone.
    • 49 Metascore
    • 63 Jay Carr
    It's warmer and fuzzier than the first film, though every bit as tedious.
    • Boston Globe
    • 48 Metascore
    • 63 Jay Carr
    A space shot worth taking.
    • 40 Metascore
    • 63 Jay Carr
    Judd is pretty much on her own - an assignment she mostly can handle with aplomb.
    • 58 Metascore
    • 63 Jay Carr
    Its protagonist haven't enough emotional substance to carry them through the long, darkly lit introspective sequences.
    • Boston Globe
    • 53 Metascore
    • 63 Jay Carr
    O
    The film collapses under the weight of the effort to shoehorn Shakespeare's story into a context that ultimately doesn't accommodate it.
    • Boston Globe
    • 47 Metascore
    • 63 Jay Carr
    The Shipping News is good news, but not as good as it could have been.
    • Boston Globe
    • 51 Metascore
    • 63 Jay Carr
    There's too much control in it and not enough danger.
    • 52 Metascore
    • 63 Jay Carr
    Something is missing in Bounce, the muted dynamic of which calls forth a perhaps inevitably muted reaction.
    • Boston Globe
    • 63 Metascore
    • 63 Jay Carr
    I'm not sure that I really want to see "Scream 3,'" but Craven, Williamson, and the screamers certainly bring this one off by not only slapping all their cards on the table, but insisting we admire the way they play them.
    • 60 Metascore
    • 63 Jay Carr
    Isn't awful, but neither is it the tangy entertainment it could have been.
    • Boston Globe
    • 42 Metascore
    • 63 Jay Carr
    The bathroom jokes in Gun Shy wear thin.
    • Boston Globe
    • 46 Metascore
    • 63 Jay Carr
    The pieces don't always fit together smoothly, but there's a lot of flavorful work to savor.
    • 21 Metascore
    • 63 Jay Carr
    An exercise in excess, but it's the best of the month's crop of mindless films, if only because it jumps off the screen with acertain pop and playfulness.
    • Boston Globe
    • 74 Metascore
    • 63 Jay Carr
    Although Watermelon Woman is at times rudimentary and slight, it's saved by its humor and its way of tweaking political correctness. [9 May 1997, p.C6]
    • Boston Globe
    • 40 Metascore
    • 63 Jay Carr
    X
    It doesn't tap deeply enough into any of the characters to compel us to identify with one or another.
    • Boston Globe
    • 52 Metascore
    • 63 Jay Carr
    Sinks under the weight of its ever more inescapably apparent contrivance, and its forced parallels to ''Lear.''
    • Boston Globe
    • 25 Metascore
    • 63 Jay Carr
    At least hits a certain adrenaline level, and the stunts have panache. If you crave the ''Young Guns'' approach to the Old West, here it is again.
    • 62 Metascore
    • 63 Jay Carr
    Empire of the Sun is an imperfect film, but at its best it's grand and haunting in ways that only a movie can be. [11 Dec 1987]
    • Boston Globe
    • 49 Metascore
    • 63 Jay Carr
    It would be gratifying to report that there's a lot more to K-Pax than Spacey at the top of his form, but there isn't.
    • Boston Globe
    • 28 Metascore
    • 63 Jay Carr
    Could have been a classy thriller. But all the Aramaic in the world can't save it from its own pounding slickness.
    • 70 Metascore
    • 63 Jay Carr
    Agreeable eye candy and ear candy, but it's too slight to reach as deep as it thinks it wants to reach.
    • 67 Metascore
    • 63 Jay Carr
    A bit of a cop-out, wrapping in wistful sentimentality a failure to acknowledge a connection that is more than epidermal.
    • Boston Globe
    • 14 Metascore
    • 63 Jay Carr
    The moral universe remains unsullied in this lite, lo-cal thriller - the cinematic equivalent of a fizzy summer drink.
    • Boston Globe
    • 62 Metascore
    • 63 Jay Carr
    Likable, but at times it's also inescapably sketchy and ramshackle.
    • 49 Metascore
    • 63 Jay Carr
    The Quick and the Dead is a sly, savvy Hollywood sendup of Sergio Leone Westerns with Sharon Stone playing the Clint Eastwood righteous avenger role and Gene Hackman the heavy. You'd call it a spaghetti Western, but the budget is too high. Maybe we'd better think of it as Hollywood's first angel-hair-pasta Western. [10 Feb 1995, p.47]
    • Boston Globe
    • 73 Metascore
    • 63 Jay Carr
    Space Cowboys does achieve liftoff.
    • 53 Metascore
    • 63 Jay Carr
    It's too circumscribed and polite for the story it's telling, curiously deficient in the unexpected.
    • Boston Globe
    • 43 Metascore
    • 63 Jay Carr
    Light It Up isn't a great movie, but it's a cut above most so-called urban thrillers.
    • 57 Metascore
    • 63 Jay Carr
    In the end, Holy Smoke crashes and burns.
    • Boston Globe
    • 36 Metascore
    • 63 Jay Carr
    A warmhearted, hardworking little comedy that owes a lot of its charm to its modesty.
    • Boston Globe
    • 49 Metascore
    • 63 Jay Carr
    Sometimes trips over its own contrivance, especially at the ammo-ridden end.
    • 67 Metascore
    • 63 Jay Carr
    It's not quite as jolting as the high-impact original, but it's got enough explosiveness to blow away the other sequels in this summer's parade of high-body-count blockbusters. [4 July 1990, p.29]
    • Boston Globe
    • 64 Metascore
    • 63 Jay Carr
    Nowhere near as dynamic as the title implies. It's hard not to think of it as ''Sleepwalk Lola Sleepwalk.''
    • Boston Globe
    • 49 Metascore
    • 63 Jay Carr
    Bummer theater.
    • 84 Metascore
    • 63 Jay Carr
    A big, dark juggernaut of a movie about a big, dark juggernaut of a subject.
    • 49 Metascore
    • 63 Jay Carr
    The important thing is that Hurley looks smashing in her succession of red outfits.
    • Boston Globe
    • 52 Metascore
    • 63 Jay Carr
    Far too long, but its rambunctiousness is engaging, propelled by Stone's virtuosic quick-cutting.
    • 41 Metascore
    • 63 Jay Carr
    Paul Verhoeven's Basic Instinct is a slick, trashy, blatantly manipulative thriller that you won't stop watching once you start. [20 Mar 1992, p.25]
    • Boston Globe
    • 76 Metascore
    • 63 Jay Carr
    It's often a downer, with a sweet but largely passive protagonist.
    • 64 Metascore
    • 63 Jay Carr
    Silverado plays like a big-budget regurgitation of old Westerns. Whatkeeps it going is the generosity that flows between Kasdan and his actors. It's got benevolent energies, but not the more primal kind needed to renew the standard Western images and archetypes. [10 Jul 1985, p.26]
    • Boston Globe
    • 58 Metascore
    • 63 Jay Carr
    It takes us nowhere we haven't been before, except geographically.
    • 74 Metascore
    • 63 Jay Carr
    Has everything you want in a supernatural thriller except thrills.
    • Boston Globe
    • 55 Metascore
    • 63 Jay Carr
    It's good cornball mainstream sci-fi, as close to brand-name reliability as this genre gets. [18 Nov. 1994, p.47]
    • Boston Globe
    • 44 Metascore
    • 63 Jay Carr
    Last Action Hero is a spectacularly uneven movie. Its action is hectic, but scattershot and mostly pretty empty. On the other hand, it is entertaining in surprising ways. [18 Jun 1993, p.41]
    • Boston Globe
    • 46 Metascore
    • 63 Jay Carr
    Neither as rollicking nor as wild as one had hoped, but Tyler's tongue-in-cheek noir goddess transcends cliche and the screenplay's other shortcomings terrifically.
    • Boston Globe
    • 64 Metascore
    • 63 Jay Carr
    Captures the ensemble quality it was after and the provisional look and feel are perfect stylistic analogues to the lives - the male lives, anyway - that it's portraying.
    • 62 Metascore
    • 63 Jay Carr
    Never lets down, even if depth of character always takes second place to depth charges.
    • 50 Metascore
    • 63 Jay Carr
    What saves the film is the charm and earthy humor the actors wring from the spectacle of these four guys getting an early jump on their midlife crises.
    • Boston Globe
    • 48 Metascore
    • 63 Jay Carr
    Isn't as dark as ''Heathers'' or as witty as ''Clueless,'' but it's at least pointed in that direction.
    • Boston Globe
    • 35 Metascore
    • 63 Jay Carr
    Flashdance makes liberal use of jump cuts, strobe lighting and hard-edged, post-punk chic in its dance sequences, it registers as the end product of energy being released by an essentially lyrical temperament. It charms us, makes us want to refrain from scrutinizing it too closely. [31 Jul 1983, p.1]
    • Boston Globe
    • 51 Metascore
    • 63 Jay Carr
    While it's altogether smaller in its ambitions and achievements than Singleton's terrific "Boyz N the Hood," it at least allows Janet Jackson to emerge as a sympathetic presence, more credible than most pop singers making movie debuts. [23 July 1993]
    • Boston Globe
    • 45 Metascore
    • 63 Jay Carr
    It's absorbing, although draggy.
    • 61 Metascore
    • 63 Jay Carr
    Leaves you questioning its intentions.
    • Boston Globe
    • 54 Metascore
    • 63 Jay Carr
    While the film dutifully reproduces many incidents from the book, it lacks the spirit and vitality of its source. And - no small problem - it lacks McCourt's voice knitting the vignettes together.
    • 44 Metascore
    • 63 Jay Carr
    It's a little too long, a little too corny, a little too packaged, but its warmth and regenerative energies make it a winner. [03 Jun 1994]
    • Boston Globe
    • 61 Metascore
    • 63 Jay Carr
    Captures just enough behind-the-scenes flavor to qualify as a light, bright divertissement.
    • 51 Metascore
    • 63 Jay Carr
    Good enough, but only just. It's got the hardware, but neither the characters, the imagination, nor the resonance one had hoped for.
    • 59 Metascore
    • 63 Jay Carr
    Feels a bit flat and underdeveloped.
    • Boston Globe
    • 67 Metascore
    • 63 Jay Carr
    Needs less down-to-earth flavor and more unearthly force.
    • 51 Metascore
    • 63 Jay Carr
    They're a far cry from the Coen brothers, or even the Polish brothers, but Josh and Jacob Kornbluth emerge intact from their first filmmaking venture and score more hits than misses in this comedy.
    • Boston Globe
    • 50 Metascore
    • 63 Jay Carr
    Ends with a fizzle, not a bang.
    • Boston Globe
    • 57 Metascore
    • 63 Jay Carr
    It's the cinematic equivalent of one of those prop guns where you pull the trigger and a little flag comes out of the barrel, waving gaily.
    • Boston Globe
    • 52 Metascore
    • 63 Jay Carr
    For all its handsomeness, the movie reveals a few cobwebs beginning to gather at the conceptual edges of the Disney animations.
    • Boston Globe
    • 52 Metascore
    • 63 Jay Carr
    At its best, it will impale you on its raw urgency. At other times, it's a slog through long improvisations that never achieve dramatic liftoff.
    • 32 Metascore
    • 63 Jay Carr
    A little too shipshape, too eager to please, not quite as anarchic as the best comedies.
    • Boston Globe
    • 64 Metascore
    • 63 Jay Carr
    Recedes to a string of mere action exploits. These are proficiently executed but, for all their visual authority, not much more than routine.
    • 25 Metascore
    • 63 Jay Carr
    At least Dragonfly isn't contemptible or altogether dismissible. But it doesn't use Costner well, and it even more unforgivably wastes Kathy Bates.
    • Boston Globe
    • 52 Metascore
    • 63 Jay Carr
    Anybody who's ever laced on toe shoes, or wanted to, will find something to take away from Center Stage.
    • Boston Globe
    • 53 Metascore
    • 63 Jay Carr
    The most traditional of Hollywood romances, in that it's resolutely about nice people with nice problems.
    • 61 Metascore
    • 63 Jay Carr
    Isn't always easy to sit through, but it repays patience. It's an honorable film, and it earns its undertow of poignancy derived from.
    • Boston Globe
    • 57 Metascore
    • 63 Jay Carr
    Traveller is a little too rosy and pat, but it clambers its way to entertainment value all the same. [2 May 1997]
    • Boston Globe
    • 48 Metascore
    • 63 Jay Carr
    Ready to Wear has entertaining bits, but for a film about people converging on Paris to increase the hysteria and anxiety levels, Ready to Wear has surprisingly little urgency. [23 Dec 1994, p.48]
    • Boston Globe
    • 33 Metascore
    • 63 Jay Carr
    The unevenness of what surrounds the star couple is indicative of the script's inability to muster anything more than intermittent sophistication.
    • Boston Globe
    • 73 Metascore
    • 63 Jay Carr
    Lacks the requisite sense of dread.
    • Boston Globe
    • 52 Metascore
    • 63 Jay Carr
    Runs out of helium and lands pretty heavily after its airy beginning.
    • 61 Metascore
    • 63 Jay Carr
    The ensemble quality is high and likable, even if Baumbach's inventiveness as a writer falters after the film's sweet, savvy beginning. [12 June 1998]
    • Boston Globe
    • 34 Metascore
    • 63 Jay Carr
    In a season mostly given over to unwatchable movies being cleared off studio shelves, it's at least about something. And there's no denying the lurid urgency with which it jumps off the screen.
    • Boston Globe
    • 49 Metascore
    • 63 Jay Carr
    Individual performances...are flavorful and simpatico.
    • 58 Metascore
    • 63 Jay Carr
    What goes on when Li isn't fighting the bad guys isn't worth discussing; it's that stupid.
    • Boston Globe
    • 67 Metascore
    • 63 Jay Carr
    The skies are thick with whizzing bullets and strings being pulled by Shane Black's crude script and Richard Donner's cement-mixer direction. Predictably, the chicks-and-ammo stuff is punctuated by TV cop show repartee. [6 Mar 1987, p.36]
    • Boston Globe
    • 33 Metascore
    • 63 Jay Carr
    It keeps its promise to throw an hour and a half of lively entertainment at audiences.
    • Boston Globe
    • 28 Metascore
    • 63 Jay Carr
    Ham-handedly manipulative film.
    • 79 Metascore
    • 63 Jay Carr
    Worth staying with for the respect it pays to its characters' emotions.
    • 57 Metascore
    • 63 Jay Carr
    A brilliant production of a mediocre play.
    • 74 Metascore
    • 63 Jay Carr
    Character is almost wholly subordinated to a blast-furnace rendering of the hell into which they're dumped. Seldom will you see so many US military body parts strewn around a movie screen.
    • Boston Globe
    • 40 Metascore
    • 63 Jay Carr
    Many of the film's images will prove more than some viewers can take.
    • Boston Globe
    • 77 Metascore
    • 63 Jay Carr
    Uncompromising and unforgiving, but ultimately more self-destructive than any of its characters.
    • 61 Metascore
    • 63 Jay Carr
    The new Stuart Little is OK, but it's never so charming that you forget you're watching a manufactured object.
    • 44 Metascore
    • 63 Jay Carr
    Provoke us into examining whether the onus is on the man for turning it into a commercial proposition or the woman for agreeing to his offer.
    • Boston Globe
    • 78 Metascore
    • 63 Jay Carr
    By any other standard, the creatures in Monsters, Inc. would be impressive. But by the high standard Pixar not only set itself, but invented, they're only ordinary.
    • Boston Globe
    • 59 Metascore
    • 63 Jay Carr
    You're hooked enough to keep watching, even if the characterizations veer toward the two-dimensional.

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