For 823 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 4.2 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 The Skulls
Score distribution:
823 movie reviews
    • 70 Metascore
    • 63 Jay Carr
    Agreeable eye candy and ear candy, but it's too slight to reach as deep as it thinks it wants to reach.
    • 70 Metascore
    • 88 Jay Carr
    A terrific little uppercut of a boxing movie and close to a perfect one.
    • Boston Globe
    • 70 Metascore
    • 88 Jay Carr
    The cinematic equivalent of a high, arching rainbow of a three-pointer from midcourt.
    • 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
    • 70 Metascore
    • 75 Jay Carr
    The screen Grease seemed at the time a big, overblown version of the sassy, gritty stage musical. Now the differences seem less important. What the two versions share are sizzle and a refusal to ignore the sexual energy of an exuberant cast. Grease seems kickier now than it did 20 years ago. [27 Mar 1998, p.D6]
    • Boston Globe
    • 70 Metascore
    • 50 Jay Carr
    Although idiotic, The Evil Dead at least is propelled by energy and enthusiasm. It's scarier than many a more pretentious effort, and not everything in it is borrowed. [8 Oct 1983, p.Arts1]
    • Boston Globe
    • 70 Metascore
    • 75 Jay Carr
    Sentimental and has its heart on its sleeve, but never heavy-handedly so, and its delicacy and tenderness will get to you if you give it half a chance.
    • Boston Globe
    • 70 Metascore
    • 75 Jay Carr
    Sitting through Lethal Weapon 2 is like dating a jackhammer. It's a slick, cynical, high-speed assembly line of car chases, jokes, sex, explosions and blood. [41 Jul 1989, p.41]
    • Boston Globe
    • 70 Metascore
    • 75 Jay Carr
    Billy Crystal's wit and sweet energies carry it past what could have been a fatal degree of mushiness. Although there's rather too much redemption for one cattle drive, and the film's attitude toward women is at best opaque, Crystal brings warmth and ease to his sharp timing and edgy comic style as he and his pals entertainingly usher us into their brotherhood of schlepdom. [7 June 1991, p.53]
    • 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
    • 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
    • 69 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
    • 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
    • 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
    • 69 Metascore
    • 75 Jay Carr
    Even when it falls back excessively on coincidence and contrived set pieces, even when it gushes irretrievably over the top in its final act, Washington makes Training Day sizzle.
    • 69 Metascore
    • 75 Jay Carr
    I Went Down is an offbeat Irish gangster movie that overcomes its meandering nature with engaging performances, an avoidance of formula, and, above all, its characters' way of making us take everything personally - as they certainly do. [1 July 1998, p.F4]
    • Boston Globe
    • 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
    • 88 Jay Carr
    Reichardt's satire is directed just as devastatingly at present-day mindlessness and its inability to reinvent pop myth as against the cliches people inhabit as a substitute for living. And yet there's an affection for the cultural and spiritual meltdown her film's world embraces. River of Grass is incisive and funny. What's even rarer, it's simultaneously subversive and compassionate. Reichardt is a filmmaker to watch. [15 Dec 1995, p.70]
    • Boston Globe
    • 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
    • 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
    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
    • 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

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