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

Jay Carr's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 Apocalypse Now
Lowest review score: 0 The Skulls
Score distribution:
  1. Negative: 96 out of 752
752 movie reviews
    • 72 Metascore
    • 100 Jay Carr
    You can count on the fingers of one hand the number of works in any given year to which one is moved to apply the word ''masterpiece.'' Raul Ruiz's Time Regained is one of them.
    • 56 Metascore
    • 100 Jay Carr
    The sly and subtle Minus Man is a wicked little sidewinder of a black comedy.
    • 74 Metascore
    • 100 Jay Carr
    It isn't often that lives of quiet desperation are served up with such pearly restraint.
    • 73 Metascore
    • 100 Jay Carr
    Films that achieve the dimension of seraphic embrace achieved by 'Innocence, as it explores a return to first love, are the rarest of the rare.
    • Boston Globe
    • 79 Metascore
    • 100 Jay Carr
    Simple, but loaded. It celebrates the humanity and humanism at the heart of Iran's remarkable flow of films, but it's also more of a rebuke to materialistic values than any ideologue could ever hope to be.
    • 69 Metascore
    • 100 Jay Carr
    A gorgeous autumnal period piece that catches a vanishing proprietary class on the eve of its extinction in Ireland in 1920.
    • 81 Metascore
    • 100 Jay Carr
    Few, if any, films this year will approach, let alone equal, Autumn Tale in its subtle sparkle.
    • 78 Metascore
    • 100 Jay Carr
    Quiet, powerful, contemplative, respectful of stillness, Eureka is the first film this year in which there is obvious greatness.
    • 78 Metascore
    • 100 Jay Carr
    Deeper and richer in humanity than all but a handful of the American films released this year.
    • 80 Metascore
    • 100 Jay Carr
    The story is spun forth ravishingly, tenderly, and urgently, with a captivating mix of beauty, spare sophistication, and profound humanity.
    • 70 Metascore
    • 100 Jay Carr
    One of the year's most winning performances, Logue's Dex will grow on you as he stumbles toward emotional fullness.
    • 97 Metascore
    • 100 Jay Carr
    It's terse, atmospheric, fatalistic, with vertiginous camera angles and edits offsetting its gray documentary flatness.
    • 81 Metascore
    • 100 Jay Carr
    We're in a golden age of comedy, and one of the reasons is Margaret Cho.
    • Boston Globe
    • 73 Metascore
    • 100 Jay Carr
    Roberts and Erin Brockovich have Oscar contender written all over them.
    • 93 Metascore
    • 100 Jay Carr
    Slly, sublime, buoyant mischief that is virtually without parallel in 20th-century art, much less 20th-century film.
    • Boston Globe
    • 76 Metascore
    • 100 Jay Carr
    Stillman has become a master at escalating the laughter by waiting an extra beat and then understating something devastatingly funny, as when someone looks Chris Eigeman's club manager, Des, in the eye and says, "I consider you a person of integrity - except, you know, in the matter of women."
    • 76 Metascore
    • 100 Jay Carr
    It's all we ask of a film but almost never get, as it first makes us squirm, then makes us cheer.
    • 73 Metascore
    • 100 Jay Carr
    A sweet screenful of quirky chaos.
    • 96 Metascore
    • 100 Jay Carr
    In a crisply restored print, it's as joyous as ever. We loved them - yeah, yeah, yeah. Now we can love them all over again.
    • Boston Globe
    • 94 Metascore
    • 100 Jay Carr
    Music for the eyes. That's why it has become a treasured classic. That's why we'll see it again and again.
    • 78 Metascore
    • 100 Jay Carr
    Terrific French film about that most universal of subjects - work.
    • 72 Metascore
    • 100 Jay Carr
    A grand, dark, grave, severe piece of first-rate cinema.
    • Boston Globe
    • 90 Metascore
    • 100 Jay Carr
    The best film of 2001 was made in 1979.
    • 71 Metascore
    • 100 Jay Carr
    Bizarre, shadowy, enticingly eerie...more poetic, more tantalizingly original.
    • 85 Metascore
    • 100 Jay Carr
    Satisfying in every respect, it's a piece of blue-collar chamber music, never treating the characters cheaply, allowing them a complex entwinement of emotions.
    • 90 Metascore
    • 100 Jay Carr
    Never has a film taken such relish in between-the-wars malice as Gosford Park.
    • 76 Metascore
    • 100 Jay Carr
    Not only exhilarating and cathartic. It's too funny to be ignored.
    • 86 Metascore
    • 100 Jay Carr
    "In Cold Blood," "Badlands," "The Executioner's Song," and now, joining those grisly milestones on the heartland hit list, and every bit their equal, is Boys Don't Cry.
    • 83 Metascore
    • 100 Jay Carr
    An invigoratingly mordant comedy that proves that Alexander Payne's rambunctious debut, "Citizen Ruth," was no fluke.
    • 86 Metascore
    • 100 Jay Carr
    Spacey is diamond-brilliant in a role that plays as if custom-made for him.
    • 86 Metascore
    • 100 Jay Carr
    The surehandedly wrought, beautifully acted, almost unbearably tense In the Bedroom is a rare film, not to be missed.
    • Boston Globe
    • 86 Metascore
    • 100 Jay Carr
    Farnsworth's embodiment of old American values, with their combination of delicacy, reserve, and stand-alone independence, is a one-of-a-kind treasure.
    • 85 Metascore
    • 100 Jay Carr
    A heady flow of brilliant stupidity.
    • 70 Metascore
    • 100 Jay Carr
    First and foremost, Good Will Hunting is a film riding young, exuberant energies.
    • 76 Metascore
    • 100 Jay Carr
    Its breadth, profundity, and stunningly rendered vision make idealism seem renewed and breathtaking again.
    • 90 Metascore
    • 100 Jay Carr
    Nobody ever placed brilliance in the service of silliness quite the way the Python gang did. Monty Python and the Holy Grail is stuffed with both.
    • Boston Globe
    • 93 Metascore
    • 100 Jay Carr
    Watching it is a nonstop high.
    • Boston Globe
    • 82 Metascore
    • 100 Jay Carr
    Intriguing, arresting, delightfully refusing to be pigeonholed.
    • 78 Metascore
    • 100 Jay Carr
    A civilized delight.
    • Boston Globe
    • 90 Metascore
    • 100 Jay Carr
    But then Being John Malkovich is a brilliant juggling act, too, brilliantly brought off.
    • 46 Metascore
    • 100 Jay Carr
    With Carrey hitting a career peak, this Grinch doesn't steal Christmas; it restores the season by helping energize us enough to make it through the whole thing.
    • Boston Globe
    • 92 Metascore
    • 100 Jay Carr
    Not since the original ''Star Wars'' trilogy has film dipped into myth and emerged with the kind of weight and heft seen in Peter Jackson's first installment of J.R.R. Tolkien's Lord of the Rings trilogy.
    • Boston Globe
    • 83 Metascore
    • 100 Jay Carr
    With its beautifully crafted starburst of colors and themes spanning its requisite Victorian gravity, A Little Princess is a beguiling little supernova of a movie I can't imagine anyone not loving. [19 May 1995, p.64]
    • Boston Globe
    • 80 Metascore
    • 100 Jay Carr
    A Bronx Tale is a joy, a film that comes unerringly from someone's heart and experience, and not from a power lunch of agents with clients to be packaged. [1 Oct 1993, p. 49]
    • Boston Globe
    • 85 Metascore
    • 100 Jay Carr
    The women here aren't afraid to get extreme about love, but in the end, you sense that they are too sound to destroy themselves over the worthless man they have allowed to personify it. That's what lifts Women on the Verge of a Nervous Breakdown from the amusing to the sublime. [23 Dec 1988, p.23]
    • Boston Globe
    • 79 Metascore
    • 100 Jay Carr
    It rates a resounding yes because it doesn't insult our emotional intelligence. [23 Nov 1983]
    • Boston Globe
    • 81 Metascore
    • 100 Jay Carr
    It's one of the great sister movies and one of the great performance movies. [26 Jan 1996]
    • Boston Globe
    • 75 Metascore
    • 100 Jay Carr
    Oliver Stone's Born on the Fourth of July is a knockout, a huge angry howl of movie that uses a crippled Vietnam veteran's disability as metaphor for a country's paralysis. [5 Jan 1990, p.67]
    • Boston Globe
    • 87 Metascore
    • 100 Jay Carr
    [The novel's] themes have never not been fresh and they gleam here under the sympathetic and enlivening touch of Armstrong and her cast, who move through the events with sunny assurance and complete immersion in character. [21 Dec 1994]
    • Boston Globe
    • 77 Metascore
    • 100 Jay Carr
    In short, A Christmas Story isn't just about Christmas; it's about childhood and it recaptures a time and place with love and wonder. It seems an instant classic, a film that will give pleasure to people not only this Christmas, but for many Christmases to come. [19 Nov 1983, p.1]
    • Boston Globe
    • 85 Metascore
    • 100 Jay Carr
    Sensuous and rarefied, elevating its particulars into epiphanies, The Long Day Closes is as joyful as introversion gets. [9 July 1993, p.25]
    • Boston Globe
    • 81 Metascore
    • 100 Jay Carr
    Driving Miss Daisy, about the deepening relationship between a Jewish matron in Atlanta and her black chauffeur, is a luminous joy of a film, heartbreakingly delicate, effortlessly able through indirection to invoke the civil rights era without ever once slipping into portentous pronouncements. [12 Jan. 1990, p.35]
    • Boston Globe
    • 90 Metascore
    • 100 Jay Carr
    Badlands is one of the great banality-of-evil films. [29 May 1998, p.C9]
    • Boston Globe
    • 84 Metascore
    • 100 Jay Carr
    Naked is one of the most scorchingly compelling films in years, Mike Leigh's masterpiece, an unflinching vision of civilization in retreat, life as apocalypse. [4 Mar. 1994, p.51]
    • Boston Globe
    • 65 Metascore
    • 100 Jay Carr
    Vincent and Theo is one of the great Robert Altman films... It's Altman's most structurally conventional film, although it's filled with such trademarks as overlapping conversations. It's also his most personal and deeply felt. [16 Nov 1990, p.81]
    • Boston Globe
    • 78 Metascore
    • 100 Jay Carr
    It's more than science, more than biography, more than metaphor. Fusing all three and linking them to a profound human dimension that never cheapens the man or his macrospeculations, it ties them to shared human destiny. As Morris' elliptical style circles and deepens its themes with each pass, A Brief History of Time turns into film's own expanding universe. [14 Sep 1992, p.50]
    • Boston Globe
    • 98 Metascore
    • 100 Jay Carr
    Hoop Dreams is without peer among sports-oriented documentaries to the extent that it's about people before it's about athletic feats. It respects its subjects' complexity and tenacity while nailing the problematic, double-edged influence of sports in America. In fact, no film has ever combined sports and family values as powerfully as Hoop Dreams. There's simply nothing like it. [21 Oct 1994, p.47]
    • Boston Globe
    • 79 Metascore
    • 88 Jay Carr
    Ullmann's film is an achievement of heart and consequence, as full of integrity as Bergman, yet demonstrating more mercy.
    • Boston Globe
    • 75 Metascore
    • 88 Jay Carr
    As savage and as epic as film gets.
    • 75 Metascore
    • 88 Jay Carr
    It's filled with vivid characters and action. Beneath its modesty of gesture, it's one of the year's richest, most humane films.
    • 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
    • 85 Metascore
    • 88 Jay Carr
    Most of all it's the emotional and spiritual arc of an exile, in all its terrible isolation, that gives ''Before Night Falls'' its power.
    • Boston Globe
    • 86 Metascore
    • 88 Jay Carr
    A miracle of data retrieval as the grown schoolchildren are measured against their footage from the earlier films.
    • 68 Metascore
    • 88 Jay Carr
    Angst-ridden, yet graceful, stylish, and optimistic allegory about swerving off one road and finding your way back via another.
    • 75 Metascore
    • 88 Jay Carr
    While it preserves his baseball feats, it looks beyond them to clarify Greenberg's place in American culture.
    • 45 Metascore
    • 88 Jay Carr
    Quite apart from wringing the last molecule of vividness from his freewheeling roster of loose cannons, he brings to his direction of Martin a finesse shared by only a few of the directors who have worked with the comedian-actor.
    • Boston Globe
    • 50 Metascore
    • 88 Jay Carr
    With Jackson leading the way, Shaft has style, punch, and street cred. It's a hot cool update.
    • 56 Metascore
    • 88 Jay Carr
    The season's brightest piece of counterprogramming.
    • 84 Metascore
    • 88 Jay Carr
    What you're not prepared for in Marziyeh Meshkini's astonishing debut film is the way its central image instantly leaps into the pantheon of world cinema with a rightness and an urgency that glue your eyes to the screen.
    • 65 Metascore
    • 88 Jay Carr
    Miraculously, the opera comes off, simultaneously ridiculous and thrilling, in a blaze of pageantry.
    • Boston Globe
    • 76 Metascore
    • 88 Jay Carr
    The bleakness of Rosetta will not be for all, but it's one of the best films of the year.
    • 78 Metascore
    • 88 Jay Carr
    There was little mirth or innocence in the world that Wharton was able to write her way out of (she was much happier living in Paris), and Davies and his leading lady lift the silks to reveal it as the minefield it was.
    • Boston Globe
    • 79 Metascore
    • 88 Jay Carr
    It's sweeping yet intimate, stately yet impassioned, stylized yet immediate.
    • Boston Globe
    • 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
    • 83 Metascore
    • 88 Jay Carr
    Varda's charmingly eccentric amble, wise in its seeming waywardness.
    • 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.
    • 73 Metascore
    • 88 Jay Carr
    Superior and original filmmaking. You won't be able to take your eyes off it.
    • Boston Globe
    • 62 Metascore
    • 88 Jay Carr
    It's much closer to a European film in sensibility than to one of Hollywood's factory products.
    • 74 Metascore
    • 88 Jay Carr
    Bell is utterly persuasive as the boy literally yearning to leap beyond the oppressively apparent confines of his world.
    • Boston Globe
    • 85 Metascore
    • 88 Jay Carr
    Such moral outrage, apart from the artistry in which it is embedded, tells us that the forces of change are stirring in Iran.
    • Boston Globe
    • 71 Metascore
    • 88 Jay Carr
    In its dark, relentless, devastatingly ironic way, The Pledge is an exhilarating movie, partly because it isn't afraid to be genuinely challenging.
    • 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
    • 78 Metascore
    • 88 Jay Carr
    Richly textured, beautifully acted.
    • 78 Metascore
    • 88 Jay Carr
    A perfect example of a small, well-made, and (in its central role) rivetingly acted film.
    • Boston Globe
    • 75 Metascore
    • 88 Jay Carr
    You'll care what happens in this film with more than enough freshness and originality to avoid succumbing to girls-on-the-run cliches.
    • 77 Metascore
    • 88 Jay Carr
    There's plenty of invention and exuberant vigor in the chopsocky, and Wilson's cool, ironic drollery provides the perfect foil for Chan's heroics.
    • 75 Metascore
    • 88 Jay Carr
    A story about the ravages of one war on a single man's soul and psyche becomes an eloquent plea for peace.
    • Boston Globe
    • 70 Metascore
    • 88 Jay Carr
    It's a treat to encounter the deadpan light-handedness with which Mamet goes about his business.
    • 69 Metascore
    • 88 Jay Carr
    It's lively, edgy, full of zigs and zags, juicy performances, and offbeat fun.
    • 57 Metascore
    • 88 Jay Carr
    Warm, smart, and funny!
    • Boston Globe
    • 68 Metascore
    • 88 Jay Carr
    In all respects, from choice of material to fullness of execution on every level, The War Zone is an extraordinary piece of work.
    • 43 Metascore
    • 88 Jay Carr
    As a flawed but lovably lionhearted woman, Barrymore triumphantly comes of age as an actress.
    • Boston Globe
    • 86 Metascore
    • 88 Jay Carr
    It's the best drug-busting movie since ''The French Connection.''
    • 64 Metascore
    • 88 Jay Carr
    Reveals real feelings.
    • 77 Metascore
    • 88 Jay Carr
    It's the kind of romantic comedy that doesn't cheapen the word ''heartwarming.''
    • 68 Metascore
    • 88 Jay Carr
    Richly compelling.
    • Boston Globe
    • 73 Metascore
    • 88 Jay Carr
    Plays like a dislocated version of ''Death in Venice,'' but in a dryer, higher climate that features exponentially more firepower.
    • Boston Globe
    • 75 Metascore
    • 88 Jay Carr
    It's brilliantly precise in its detailing, stylishly jagged and sensual by turns, and utterly unpredictable.
    • 43 Metascore
    • 88 Jay Carr
    After revitalizing baseball movies with "Field of Dreams" and "Bull Durham," he's now three for three with the funny, quirky, rueful, and richly textured For Love of the Game.
    • 88 Metascore
    • 88 Jay Carr
    There's nothing paltry about its poultry.
    • Boston Globe
    • 84 Metascore
    • 88 Jay Carr
    Haunting, powerfully acted, penetratingly written, it's about people coming home -- and not coming home -- to their marriages.
    • 62 Metascore
    • 88 Jay Carr
    Stark, haunting, epic, and mournful, The Claim is a mountain of a film.
    • Boston Globe
    • 71 Metascore
    • 88 Jay Carr
    Nobody's going to think of The Score as trail-blazing, but there's nothing small-time about its dramatic and acting payoff.
    • 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
    • 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.
    • 86 Metascore
    • 88 Jay Carr
    It's a meditation on life and death, but it's less somber and more light-handed, subtle, and mischievously funny.
    • Boston Globe
    • 70 Metascore
    • 88 Jay Carr
    A witty yet fiery and, in the best sense, provocative play of ideas about freedom of expression.
    • 79 Metascore
    • 88 Jay Carr
    Souffle-light and airily playful.
    • Boston Globe
    • 69 Metascore
    • 88 Jay Carr
    The film's triumph - and it is a triumph - in the end rests on the ability of Hrebejk and his actors to convince us that they never stop being normal people.
    • Boston Globe
    • 82 Metascore
    • 88 Jay Carr
    An upsetting landmark. Don't take the children.
    • 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
    • 80 Metascore
    • 88 Jay Carr
    The most disorienting and trippiest data-retrieval caper in years.
    • Boston Globe
    • 82 Metascore
    • 88 Jay Carr
    You walk out amazed and refreshed by the way it kicks the assumptions out from under the genre.
    • 79 Metascore
    • 88 Jay Carr
    Sad, funny, brilliant.
    • 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
    Delightful and original, the film conjures up a corner of Paris distinct and specific, yet fairy-tale fanciful.
    • Boston Globe
    • 70 Metascore
    • 88 Jay Carr
    A terrific little uppercut of a boxing movie and close to a perfect one.
    • Boston Globe
    • 71 Metascore
    • 88 Jay Carr
    He's (Dafoe) the stuff bad dreams are made of. He's also the best movie vampire since Schreck's original. He deserves a bloody Oscar.
    • 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
    • 56 Metascore
    • 88 Jay Carr
    Throughout the history of film, nothing turns campier faster than dinosaur movies. This one will have a much longer shelf life than most.
    • Boston Globe
    • 70 Metascore
    • 88 Jay Carr
    The cinematic equivalent of a high, arching rainbow of a three-pointer from midcourt.
    • 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
    • 59 Metascore
    • 88 Jay Carr
    'Titanic'' was a case of a cheeseball story riding terrific effects. The Perfect Storm is in every important way deeper.
    • 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
    • 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.
    • 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
    • 78 Metascore
    • 88 Jay Carr
    Riding a mood that's tilted to the jazzy blues that Eddie prefers to Bobby's blasting rock on the car radio, Diamond Men is a sparkly film that's easy to love.
    • Boston Globe
    • 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
    A slick, twisty, top-of-the-line crime thriller with gorgeously sensual textures and a screenful of wickedly faceted performances.
    • 76 Metascore
    • 88 Jay Carr
    Fresh, original, and arresting.
    • 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
    • 80 Metascore
    • 88 Jay Carr
    If there is any message in Tarkovsky's work, although as a poet he would never stoop to anything as banal as a message, it is that life is an internal affair, played out in one's soul, not in public.
    • 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

Top Trailers