For 765 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 points higher than other critics. (0-100 point scale)

Jay Carr's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 Erin Brockovich
Lowest review score: 0 The Skulls
Score distribution:
  1. Negative: 96 out of 765
765 movie reviews
    • 56 Metascore
    • 50 Jay Carr
    As a performer, Murray moves through the film with a lovely doomed aplomb. And his quick verbal wit is almost enough to pull Quick Change off. But as a director, his inexperience costs him. His camera isn't as quick as his tongue. [13 Jul 1990, p.29]
    • Boston Globe
    • 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.
    • 55 Metascore
    • 50 Jay Carr
    There's nothing really wrong with Agnes Browne, except a tendency to take a few easy, convenient outs.
    • 53 Metascore
    • 50 Jay Carr
    'Trainspotting'' Lite.
    • Boston Globe
    • 53 Metascore
    • 50 Jay Carr
    The trouble with Grumpy Old Men is the patronizing attitude -- ageism, really -- that takes a too-broad approach to their geriatric world and renders it plastic. It is too cute and sanitized to allow its performers much in the way of opportunity.
    • Boston Globe
    • 53 Metascore
    • 50 Jay Carr
    It's acceptable Shakespeare - no more arbitrary than most stage productions, especially the willfully anachronistic ones, or the ones with political agendas thrust upon them. [18 Jan 1991]
    • 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
    • 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
    • 53 Metascore
    • 50 Jay Carr
    The film's biggest problem, however, is its naive inability to understand that sex comedies, to amuse, must be about more than sex.
    • 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.
    • 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
    • 52 Metascore
    • 50 Jay Carr
    She's (Dunst) the big reason the film rises above instantly rejectable formula to campy pop.
    • 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
    Mostly it's Paredes' imperious - then surprisingly generous - high-handedness that carries High Heels. [20 Dec 1991]
    • 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.
    • 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
    • 50 Metascore
    • 50 Jay Carr
    Fusco's script undercuts whatever freshness it may have brought to its view of Billy the Kid with a steady stream of howlers, most of which involve Kiefer Sutherland, as the sensitive member of the gang. [12 Aug 1988, p.24]
    • 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
    • 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
    • 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
    As it is, Behind Enemy Lines will satisfy only those in search of a rousingly, if simplistically, patriotic bloodbath.
    • 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
    • 49 Metascore
    • 50 Jay Carr
    The B-movie is still very much with us.
    • 49 Metascore
    • 50 Jay Carr
    Lots of sex, but little joy.
    • 48 Metascore
    • 50 Jay Carr
    Rarely has a movie that looked so good on paper fallen so flat as the aptly named Charlotte Gray. It's not a bad movie. Bad movies have more flavor.
    • 48 Metascore
    • 50 Jay Carr
    Seems to be going through a series of motions so obviously virtual that it makes you wish that the filmmakers had stayed away from the computer keyboards entirely and stuck with the rotting tape look.
    • 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
    • 48 Metascore
    • 50 Jay Carr
    Although dated, it's not a bad musical.
    • Boston Globe
    • 48 Metascore
    • 50 Jay Carr
    In short, when Buffy starts getting fangy, it stops being tangy. It gets all serious and earnest and flops as a teen-age love story and as a vampire thriller and even as a parody. It's not even a "Fright Night," much less a "Near Dark," and only hints at a "Lost Boys" ambience. [31 Jul 1992, p.38]
    • Boston Globe
    • 48 Metascore
    • 50 Jay Carr
    If you liked the earlier ''Mummy,'' you'll probably like this one. In fact, at many points you'll probably think you are watching the earlier one.
    • Boston Globe

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