For 796 reviews, this critic has graded:
  • 66% higher than the average critic
  • 3% same as the average critic
  • 31% lower than the average critic
On average, this critic grades 4.3 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 The Skulls
Score distribution:
796 movie reviews
    • 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
    • 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.
    • 85 Metascore
    • 100 Jay Carr
    A heady flow of brilliant stupidity.
    • 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
    • 85 Metascore
    • 75 Jay Carr
    A solid, not to say ironclad, winner in the less than overcrowded family animation arena.
    • 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
    • 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
    • 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
    • 84 Metascore
    • 50 Jay Carr
    It seems more a geek show than a slab of marketing wizardry.
    • 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
    • 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
    • 84 Metascore
    • 88 Jay Carr
    Haunting, powerfully acted, penetratingly written, it's about people coming home -- and not coming home -- to their marriages.
    • 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
    • 84 Metascore
    • 75 Jay Carr
    From beginning to end, it bristles with ironies in classic Eastern European absurdist style.
    • Boston Globe
    • 84 Metascore
    • 75 Jay Carr
    Suggests a summit meeting between ''The Princess Bride'' and ''Bridget Jones's Diary,'' it has a decided charm of its own.
    • Boston Globe
    • 84 Metascore
    • 63 Jay Carr
    A big, dark juggernaut of a movie about a big, dark juggernaut of a subject.
    • 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.
    • 84 Metascore
    • 75 Jay Carr
    The best thing about Together, apart from the way some of its characters grow on you even as others put you off, is the way it snatches idealism back from the brink of life-smothering orthodoxy.
    • 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
    • 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
    • 83 Metascore
    • 88 Jay Carr
    Varda's charmingly eccentric amble, wise in its seeming waywardness.
    • 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
    • 75 Jay Carr
    It's flawed, but it's also rich. And how many films make you feel that you and the filmmaker are following the course of a dream?
    • 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
    • 83 Metascore
    • 100 Jay Carr
    An invigoratingly mordant comedy that proves that Alexander Payne's rambunctious debut, "Citizen Ruth," was no fluke.
    • 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
    • 82 Metascore
    • 88 Jay Carr
    An upsetting landmark. Don't take the children.
    • 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
    • 82 Metascore
    • 88 Jay Carr
    You walk out amazed and refreshed by the way it kicks the assumptions out from under the genre.
    • 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

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