For 761 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 5.4 points higher than other critics. (0-100 point scale)

Jay Carr's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 E.T. The Extra-Terrestrial
Lowest review score: 0 Cocktail
Score distribution:
  1. Negative: 96 out of 761
761 movie reviews
    • 90 Metascore
    • 63 Jay Carr
    In the end, it's the snatches of music, mangled as it is, and the mechanics of staging it, in the absence of Leigh's usual raw, urgent psychic collisions, that keep Topsy-Turvy from seeming merely a gorgeous wax museum.
    • 45 Metascore
    • 63 Jay Carr
    Washington and Jolie earn their stripes here, but more texture would have resulted, I think, in more terror.
    • 41 Metascore
    • 63 Jay Carr
    A romantic fairy tale that's light and in several ways seductive, if not exactly filling.
    • 67 Metascore
    • 63 Jay Carr
    There are moments when faltering levels of energy and inventiveness threaten to turn Too Much Sleep into a nonevent. But it signals the arrival of a promising filmmaker and is worth sticking with.
    • 48 Metascore
    • 63 Jay Carr
    The romantic stuff is tepid. Luckily, his onscreen buddy, Hall, never strays far. Coming to America is at its best when they're playing off each other, and not just as the prince and his buddy. [29 Jun 1988, p.69]
    • Boston Globe
    • 38 Metascore
    • 63 Jay Carr
    A-list soap opera, high-class and high-gloss.
    • 27 Metascore
    • 63 Jay Carr
    It's a small film, and a far from perfect one, but it allows her (Theron) to extend her range as no previous role has done.
    • Boston Globe
    • 57 Metascore
    • 63 Jay Carr
    This 19th Bond installment is passable, but only just.
    • 58 Metascore
    • 63 Jay Carr
    Remains a frustratingly opaque study. There's something missing, namely Kaufman.
    • 66 Metascore
    • 63 Jay Carr
    Alan Rudolph's beautifully burnished, heartache-filled evocation of Dorothy Parker and her Algonquin Round Tablemates bites off a bit more than it can spew. But a couple of things make it special. [23 Dec 1994, p.45]
    • Boston Globe
    • 68 Metascore
    • 63 Jay Carr
    While the appeal of Guinevere is decidedly intermittent, it's there, and the acting is right on the money.
    • 56 Metascore
    • 63 Jay Carr
    A slight but diverting series of set pieces.
    • Boston Globe
    • 42 Metascore
    • 63 Jay Carr
    What makes it worth sitting through is the chance it offers to catch up on the technical advances since the last installment.
    • 48 Metascore
    • 63 Jay Carr
    There's been talk about Van Damme deepening his excursions into acting. Wisely, though, he keeps Timecop on a comic strip level. [16 Sep 1994, p.72]
    • Boston Globe
    • 47 Metascore
    • 63 Jay Carr
    It's heady in the beginning, chaotic throughout, and numb with the suddenness of the Internet economy's plummet at the end.
    • Boston Globe
    • 56 Metascore
    • 63 Jay Carr
    It's no meal, but it'll tide you over.
    • Boston Globe
    • 59 Metascore
    • 63 Jay Carr
    A confident and promising directorial debut, one that has the feel of an experienced director to it, from the hypnotic unfolding of scenes to the finely observed character details.
    • 36 Metascore
    • 63 Jay Carr
    Sweetly earnest little drama.
    • 36 Metascore
    • 63 Jay Carr
    Beneath its glitz, poses, and pub crawlers and club prowlers, it's an old-fashioned morality tale.
    • 59 Metascore
    • 63 Jay Carr
    Hard-driving and propulsive as it is, the film is unable to hide the fact that Woo seems not only to be repeating himself, but parodying his earlier films on a much bigger scale, more crudely and coarsely.
    • 68 Metascore
    • 63 Jay Carr
    Writing ignites miracles in Henry Fool, and Hartley's exquisite control over his compositions and pacing makes the outrages, biological and otherwise, funnier than you might believe. [01 Jul 1998]
    • Boston Globe
    • 55 Metascore
    • 63 Jay Carr
    To paraphrase Andre Malraux, it invokes but it doesn't always supply, doesn't course strongly enough with the book's themes of blood and earth and dislocation.
    • Boston Globe
    • 75 Metascore
    • 63 Jay Carr
    Risky Business is the sleeper of the summer. It's a refreshing change from the usual dumb teenage ripoffs, the slickest American film since "Trading Places" and "War Games," and a strong directorial debut for Paul Brickman, who knows his way around teen fantasies. [05 Aug 1983]
    • Boston Globe
    • 26 Metascore
    • 63 Jay Carr
    There are so many wonderful moments in Trixie and so few films like it that you wish Rudolph had given it a few more rewrites.
    • 42 Metascore
    • 63 Jay Carr
    It works not because ridiculousness is concealed, but because ridiculousness on this scale becomes something else. Don't let anyone tell you that Stargate, lifeless script and all, isn't clunky fun, proudly trembling on the brink of classic camp. [28 Oct 1994, p.48]
    • Boston Globe
    • 51 Metascore
    • 63 Jay Carr
    Hughes succeeds more than he has any right to in Uncle Buck because he's able to override sitcom cliche with generosity. It's a smart idea to let Candy play feelings instead of just fatness and bluster. For a movie that isn't really that good, Uncle Buck is surprisingly likable. [16 Aug 1989, p.77]
    • Boston Globe
    • 43 Metascore
    • 63 Jay Carr
    She (Bullock) has a way of landing on her feet and remaining simpatico no matter how cheesy the script is. That's what happens here.
    • 46 Metascore
    • 63 Jay Carr
    As engaging as it is ungainly and scattered.
    • Boston Globe
    • 29 Metascore
    • 63 Jay Carr
    Doesn't make nearly the ripple it could have made.
    • Boston Globe
    • 64 Metascore
    • 63 Jay Carr
    A firm, ringing yes and no on Harry Potter and the Sorcerer's Stone. The best thing about it may be that it will lead many back to read -- or re-read -- the book.
    • Boston Globe
    • 35 Metascore
    • 63 Jay Carr
    Doesn't quite rank with the films that bracket Heckerling's pop-culture high priestess status
    • 35 Metascore
    • 63 Jay Carr
    You won't feel raped by it, but you well may feel that it's too ideologically earnest for the porn crowd and too hard-core for serious audiences.
    • 58 Metascore
    • 63 Jay Carr
    Disclosure is a classic guilty pleasure. You won't be proud of yourself in the morning for having watched it, but you won't be able to take your eyes off it while you do. [9 Dec 1994, p.53]
    • Boston Globe
    • 48 Metascore
    • 63 Jay Carr
    The question facing the target audience for Scary Movie is whether the funny bits will be enough of a payoff for sitting through the tedious stuff between them.
    • 52 Metascore
    • 63 Jay Carr
    A strong ending might have obscured the mediocrity in the writing, or at least diverted us, but the ending is sentimental where it needed to be hard-edged and comically merciless. For a film about people hurtling forward, Rat Race is pretty pedestrian.
    • Boston Globe
    • 67 Metascore
    • 63 Jay Carr
    Isn't much more than ''Baise-Moi'' in business suits as they deconstruct sisterhood with an expense account, but their duets sizzle.
    • Boston Globe
    • 69 Metascore
    • 63 Jay Carr
    It never really chills you, but then it never insults you, either, and it's more affecting than you expect any film based on a Stephen King novel to be. [22 Oct 1983]
    • Boston Globe
    • 65 Metascore
    • 63 Jay Carr
    The immaculately crafted film that just sits there and refuses to come to life.
    • 33 Metascore
    • 63 Jay Carr
    As cumbersome as most films in this subgenre, Angelina Jolie makes it watchable.
    • Boston Globe
    • 54 Metascore
    • 63 Jay Carr
    If Return to Me is ultimately too bland and safe, it'll nevertheless serve as a calling card for Hunt's future directorial projects.
    • 78 Metascore
    • 63 Jay Carr
    He's (Willard) a one-man storm of escalating inanity, and he's hilarious.
    • Boston Globe
    • 60 Metascore
    • 63 Jay Carr
    The film is more interesting as a phenomenon than as a movie. [27 Feb 1981]
    • Boston Globe
    • 43 Metascore
    • 63 Jay Carr
    There are times when "Star Trek V" seems padded and low-impact, but there are things to like, too. [9 June 1989, p.81]
    • Boston Globe
    • 73 Metascore
    • 63 Jay Carr
    Can't outrun its very visible limits.
    • 39 Metascore
    • 50 Jay Carr
    Its pile-driving succession of set pieces comes at you with numbingly relentless efficiency, presumably in the hope that you won't notice or care how dumb it all is.
    • Boston Globe
    • 53 Metascore
    • 50 Jay Carr
    What saves it is that it's lighter than mousse and is animated by a handful of engaging performers.
    • 53 Metascore
    • 50 Jay Carr
    'Trainspotting'' Lite.
    • Boston Globe
    • 33 Metascore
    • 50 Jay Carr
    Despite the heavy-handedness, isn't awful enough to be a hilarious howler. But neither is it good enough to become the tropical noir it could have been.
    • Boston Globe
    • 49 Metascore
    • 50 Jay Carr
    Lots of sex, but little joy.
    • 27 Metascore
    • 50 Jay Carr
    If you walk in with your expectations at a suitably low setting, you won't walk away disappointed.
    • Boston Globe
    • 38 Metascore
    • 50 Jay Carr
    The characters, in short, are never given enough dimension, enough chance to develop the individual tics and eccentricities on which this kind of comedy thrives.
    • Boston Globe
    • 18 Metascore
    • 50 Jay Carr
    It's not that the film is devoid of honestly earned laughs here and there. The problem is that there are too few of them and that the film can't connect them.
    • Boston Globe
    • 48 Metascore
    • 50 Jay Carr
    A mildly diverting gay-straight odd couple comedy that has just enough bright one-liners to carry it past its plot structuring.
    • Boston Globe
    • 52 Metascore
    • 50 Jay Carr
    Blew its chance to be an epic drug opera. It's only nostril-deep.
    • Boston Globe
    • 51 Metascore
    • 50 Jay Carr
    Ford and Pfeiffer deliver craftsmanlike work, but the film steadily unravels as Zemeckis tries to ratchet up the suspense.
    • 42 Metascore
    • 50 Jay Carr
    Efficient, but in the end quite pedestrian.
    • Boston Globe
    • 42 Metascore
    • 50 Jay Carr
    The best thing about the new film of H.G. Wells's The Time Machine is the machine.
    • 34 Metascore
    • 50 Jay Carr
    In the end, it's much ado about not very much, certainly not enough to catapult Bass into a film career, but probably enough to satisfy 'N Sync fans.
    • Boston Globe
    • 45 Metascore
    • 50 Jay Carr
    The film is content to remain at the level of the mildly entertaining, with no real surprises and not much sass. [04 Dec 1992]
    • Boston Globe
    • 50 Metascore
    • 50 Jay Carr
    It's too psychically flat and dramatically inert. Instead of reinvigorating a Hollywood classic, Burton only takes it to camp.
    • Boston Globe
    • 46 Metascore
    • 50 Jay Carr
    Little more than a screenful of boy meets boy, boy meets baggage, boy loses baggage.
    • 55 Metascore
    • 50 Jay Carr
    Takes on provocative and stimulating subject matter, but can't bring it into satisfying dramatic focus, stranding three strong actors who are superior to their material.
    • 50 Metascore
    • 50 Jay Carr
    All Dogs Go to Heaven" has the right spirit, and its warmth will offset what for small kids might be some scary moments. But it does seem skimpy and warmed over. [17 Nov 1989]
    • Boston Globe
    • 49 Metascore
    • 50 Jay Carr
    Far and Away is a throwback to the handsome but stodgy historical romances Hollywood used to make, and it can at least be said that it's more ambitious than most of what we'll see this summer. [22 May 1992]
    • Boston Globe
    • 59 Metascore
    • 50 Jay Carr
    It's too fragmented and diffuse to ever bring its parts together in any really satisfying manner.
    • 51 Metascore
    • 50 Jay Carr
    Before long, it runs out of steam, playing like the pilot for a TV sitcom called "Baby Knows Best." [13 Oct 1989, p.37]
    • Boston Globe
    • 65 Metascore
    • 50 Jay Carr
    A gorgeous screenful of period eye candy.
    • 16 Metascore
    • 50 Jay Carr
    The best thing about the film is the way it allows Richard Pryor to rise above the demeaning buffoon roles he's been playing for the last few years and finally play a character with dignity and style. [17 Nov 1989, p.89]
    • Boston Globe
    • 31 Metascore
    • 50 Jay Carr
    An example of a film that begins with a provocative idea and then runs itself into the ground with clumsy structuring.
    • Boston Globe
    • 24 Metascore
    • 50 Jay Carr
    The Adventures of Ford Fairlane is a nonstop gross-out contest of absolutely no socially redeeming value at all, unless you happen to value laughter. Ford Fairlane is funny garbage. [11 Jul 1990, p.41]
    • Boston Globe
    • 13 Metascore
    • 50 Jay Carr
    His (Green) new gross-out comedy is crude and stupid, but just as often rudely funny. It doesn't so much push the envelope as shred it.
    • Boston Globe
    • 27 Metascore
    • 50 Jay Carr
    Vampire in Brooklyn isn't a disaster. In fact, it has some funny moments. But it's a long way from being the comeback movie Eddie Murphy needs. [27 Oct 1995, p.57]
    • Boston Globe
    • 33 Metascore
    • 50 Jay Carr
    Being Human isn't totally devoid of the gentle Forsyth magic. But it doesn't have nearly enough of it. Even Williams can do only so much with an assignment that calls for him to mostly stand around looking bummed out - in quintuplicate. [06 May 1994]
    • Boston Globe
    • 58 Metascore
    • 50 Jay Carr
    When the action sequences move into the sky-diving stuff, they give you a real rush.... Otherwise, though, Point Break is all wet. Too bad, because you always get the sense in a Kathryn Bigelow outing ("Near Dark," "Blue Steel") that she's trying to push a genre into new places. [12 July 1991, p.54]
    • Boston Globe
    • 37 Metascore
    • 50 Jay Carr
    Supposed to be a cheeky little lark but instead runs a narrow gamut from labored to aimless.
    • Boston Globe
    • 65 Metascore
    • 50 Jay Carr
    The Client is slick, but not much more than the sum of its surfaces. [20 July 1994, p.23]
    • Boston Globe
    • 44 Metascore
    • 50 Jay Carr
    The enormously appealing Randle holds the screen even when the thinness of Suzan-Lori Parks' script becomes inescapably apparent. There isn't much vigorous narrative pulse, complexity or even faceting of Randle's character, and the arbitrary ending seems both forced and inconclusive. [22 Mar 1996, p.53]
    • Boston Globe
    • 31 Metascore
    • 50 Jay Carr
    Despite a few tangy black comic moments, Lucky Numbers' is bummer theater.
    • 53 Metascore
    • 50 Jay Carr
    Seems embalmed in its own time, an earnest and handsomely crafted museum piece, not an urgent transposition of Miller's moral outrage to the new century.
    • Boston Globe
    • 37 Metascore
    • 50 Jay Carr
    The end is a long time coming in Reindeer Games and the dialogue is mostly slush.
    • 30 Metascore
    • 50 Jay Carr
    A well-intentioned but self-defeatingly manipulative film that amounts to an impassioned commercial for national health care.
    • 73 Metascore
    • 50 Jay Carr
    Snazzy visuals, of which she (Moss) is one, carry The Matrix past its klutzy script.
    • 50 Metascore
    • 50 Jay Carr
    For all the care and craftsmanship that have gone into Hoffa, it's a superficial film. [25 Dec 1992]
    • Boston Globe
    • 62 Metascore
    • 50 Jay Carr
    A film that begins with a train wreck and then, figuratively speaking, becomes one.
    • 27 Metascore
    • 50 Jay Carr
    A sweet, visually handsome sermon, but it's too dramatically bland to convert even the converted.
    • Boston Globe
    • 38 Metascore
    • 50 Jay Carr
    There's a whole lotta latex goin' on. The trouble is that not enough else is going on.
    • 42 Metascore
    • 50 Jay Carr
    Gets by on the watchability of its young stars.
    • 69 Metascore
    • 50 Jay Carr
    Perhaps a little more back story would have given Levitch some dimension and given us a bit more incentive to commiserate with him. As it is, a little Levitch goes a long way. [20 Nov 1998, p.C4]
    • Boston Globe
    • 52 Metascore
    • 50 Jay Carr
    Tomorrow Never Dies works too hard to keep the James Bond franchise going, sacrificing Bond's signature light comedy and stylish playfulness to become just another hectic action movie. [19 Dec 1997]
    • Boston Globe
    • 46 Metascore
    • 50 Jay Carr
    A comic vehicle for that valuable Australian export, Rachel Griffiths.
    • 30 Metascore
    • 50 Jay Carr
    Never earns the rollicking life affirmation it's after.
    • 45 Metascore
    • 50 Jay Carr
    This one is nearly as bad as it gets, suggesting that all the wrong people were wielding the sledgehammers here.
    • Boston Globe
    • 53 Metascore
    • 50 Jay Carr
    The movie seems destined to win a place in the nocturnal-cityscape-hell hall of fame. Its externals are brilliant, but The Hudsucker Proxy is virtually nothing but externals. [25 Mar 1994, p.52]
    • Boston Globe
    • 61 Metascore
    • 50 Jay Carr
    The Man with Two Brains has moments, but they aren't inspired. [04 Jun 1983]
    • Boston Globe
    • 43 Metascore
    • 50 Jay Carr
    Isolated offbeat moments aside, The Mexican mostly fires blanks.
    • Boston Globe
    • 76 Metascore
    • 50 Jay Carr
    While Last of the Mohicans is an eyeful - how could anything shot in the Blue Ridge Mountains of North Carolina not be? - it's mindless, meticulous in its externals, taking refuge from awareness by clinging to Cooper's distortions. In the end, it'll be remembered for its three S's: Stowe, Studi and the scenery. [25 Sep 1992, p.27]
    • Boston Globe
    • 41 Metascore
    • 50 Jay Carr
    There's always been room for rudeness in humor. In fact, it can be invigorating. But Bubble Boy goes through the motions of being outrageous when all it's really got is a rage to conform to formula.
    • 57 Metascore
    • 50 Jay Carr
    This good-hearted but undersupplied ensemble piece is only appetizer-deep.
    • 51 Metascore
    • 50 Jay Carr
    Mostly it's Paredes' imperious - then surprisingly generous - high-handedness that carries High Heels. [20 Dec 1991]
    • Boston Globe
    • 37 Metascore
    • 50 Jay Carr
    Dogged allegiance to blandness.
    • Boston Globe

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