For 749 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 Naked
Lowest review score: 0 Cocktail
Score distribution:
  1. Negative: 96 out of 749
749 movie reviews
    • 69 Metascore
    • 38 Jay Carr
    An abundance of style and an almost total lack of substance make Wong Kar-wai's Happy Together a visually arresting but ultimately unrewarding excursion. [31 Oct 1997]
    • Boston Globe
    • 69 Metascore
    • 75 Jay Carr
    It's the kind of movie you can settle into, secure in the expectation that you can steal from it more than a little vintage Allen fun.
    • 69 Metascore
    • 75 Jay Carr
    It's one of the few films that persuades you that it went out to meet the war and bring it to us with verisimilitude.
    • 69 Metascore
    • 75 Jay Carr
    The kind of film that could easily be undone by its own high-minded ambitions and dissolve in a pall of uplift. But it stays the course and gives the season two of its notable performances.
    • 69 Metascore
    • 88 Jay Carr
    It's lively, edgy, full of zigs and zags, juicy performances, and offbeat fun.
    • 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.
    • 69 Metascore
    • 88 Jay Carr
    Soderbergh's sleekly malignant Underneath is a nasty little winner. [28 April 1995, p.81]
    • Boston Globe
    • 69 Metascore
    • 75 Jay Carr
    A lively and affectionate cross between an infomercial and a genuflection.
    • Boston Globe
    • 69 Metascore
    • 75 Jay Carr
    A clever and satisfyingly abundant entertainment.
    • 69 Metascore
    • 75 Jay Carr
    Despite a deceptively aimless surface that seems to take off from the initial character's musings on roads not taken, Slacker is more than a gallery of alienated post-collegiates spinning their wheels waiting for something to happen. [4 Oct. 1991, p.47]
    • 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
    • 69 Metascore
    • 75 Jay Carr
    Sometimes gets bogged down in its own wordiness.
    • 69 Metascore
    • 50 Jay Carr
    A climactic explosion is too obviously a rigged gunpowder charge, and it becomes a metaphor for the film's mistake of diminishing the frantic motion that kept things fizzy and fun.
    • 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.
    • 68 Metascore
    • 38 Jay Carr
    It's two hours of slumming in a vision of hell hatched from bourgeois comfort. That, and not its unsavory subject matter, is what makes it bummer theater.
    • 68 Metascore
    • 75 Jay Carr
    Dirty Rotten Scoundrels essentially remains a duet of exquisitely turned gestures exchanged by Martin and Caine. It isn't killer comedy. Sometimes its leisurely pace veers dangerously close to slackness. But it's as close as Hollywood comedy comes to chamber music. [14 Dec 1988, p.77]
    • Boston Globe
    • 68 Metascore
    • 88 Jay Carr
    Richly compelling.
    • Boston Globe
    • 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
    • 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.
    • 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
    • 68 Metascore
    • 75 Jay Carr
    Likable, go-with-the-flow comedy.
    • 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
    • 68 Metascore
    • 75 Jay Carr
    The story is told handsomely and affectingly with images, facial expressions and body language. [16 Oct 1992]
    • 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.
    • 67 Metascore
    • 50 Jay Carr
    Cronenberg hasn't so much filmed Naked Lunch as tamed it, turned it into entertainment, with oozy rubber bugs, big and little, that look left over from David Lynch's movie of "Dune," or the intergalactic dive from "Star Wars." [10 Jan 1992]
    • Boston Globe
    • 67 Metascore
    • 75 Jay Carr
    It turns the nerve-fraying Cuban missile crisis into a big pop myth with the grip of a vise.
    • 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
    • 67 Metascore
    • 63 Jay Carr
    Needs less down-to-earth flavor and more unearthly force.
    • 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
    • 67 Metascore
    • 75 Jay Carr
    [Verhoeven's] cold, slick, funny, high-powered movie is informed by a humanism this genre almost always abandons in its chase after vigilante splat. [17 Jul 1987]
    • Boston Globe