For 751 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 6.7 points higher than other critics. (0-100 point scale)

Jay Carr's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 The Discreet Charm of the Bourgeoisie
Lowest review score: 0 The Skulls
Score distribution:
  1. Negative: 96 out of 751
751 movie reviews
    • 90 Metascore
    • 100 Jay Carr
    Never has a film taken such relish in between-the-wars malice as Gosford Park.
    • 71 Metascore
    • 100 Jay Carr
    Bizarre, shadowy, enticingly eerie...more poetic, more tantalizingly original.
    • 70 Metascore
    • 100 Jay Carr
    First and foremost, Good Will Hunting is a film riding young, exuberant energies.
    • 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
    • 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
    • 85 Metascore
    • 100 Jay Carr
    A heady flow of brilliant stupidity.
    • 76 Metascore
    • 100 Jay Carr
    Its breadth, profundity, and stunningly rendered vision make idealism seem renewed and breathtaking again.
    • 86 Metascore
    • 100 Jay Carr
    Spacey is diamond-brilliant in a role that plays as if custom-made for him.
    • 90 Metascore
    • 100 Jay Carr
    But then Being John Malkovich is a brilliant juggling act, too, brilliantly brought off.
    • 93 Metascore
    • 100 Jay Carr
    Watching it is a nonstop high.
    • Boston Globe
    • 74 Metascore
    • 100 Jay Carr
    It isn't often that lives of quiet desperation are served up with such pearly restraint.
    • 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.
    • 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
    • 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
    • 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
    • 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
    • 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.
    • 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
    • 75 Metascore
    • 88 Jay Carr
    It's brilliantly precise in its detailing, stylishly jagged and sensual by turns, and utterly unpredictable.