For 907 reviews, this critic has graded:
  • 65% higher than the average critic
  • 3% same as the average critic
  • 32% lower than the average critic
On average, this critic grades 3.5 points higher than other critics. (0-100 point scale)

Jay Carr's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 Badlands
Lowest review score: 0 Cocktail
Score distribution:
907 movie reviews
    • 38 Metascore
    • 50 Jay Carr
    There's a whole lotta latex goin' on. The trouble is that not enough else is going on.
    • 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
    • 49 Metascore
    • 63 Jay Carr
    Sometimes trips over its own contrivance, especially at the ammo-ridden end.
    • 70 Metascore
    • 88 Jay Carr
    A terrific little uppercut of a boxing movie and close to a perfect one.
    • Boston Globe
    • 63 Metascore
    • 75 Jay Carr
    Somewhat sanitized but gorgeous Americana, with another impressive turn by McTeer.
    • Boston Globe
    • 46 Metascore
    • 38 Jay Carr
    It's not boring to watch, but in the end it's too lame and too tame. [21 Apr 1995]
    • Boston Globe
    • 27 Metascore
    • 25 Jay Carr
    A lame romantic comedy that is neither romantic nor comedic.
    • Boston Globe
    • 49 Metascore
    • 75 Jay Carr
    The film's flaws seem unimportant, and it passes the big test, making you want to find out what happens to these characters, even when what does happen is predictable.
    • Boston Globe
    • 65 Metascore
    • 88 Jay Carr
    Miraculously, the opera comes off, simultaneously ridiculous and thrilling, in a blaze of pageantry.
    • Boston Globe
    • 42 Metascore
    • 50 Jay Carr
    Gets by on the watchability of its young stars.
    • 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
    • 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
    • 40 Metascore
    • 25 Jay Carr
    For all its antic grasping it lies flatter on the screen than its graphic novel source lies on the page.
    • Boston Globe
    • 82 Metascore
    • 100 Jay Carr
    Intriguing, arresting, delightfully refusing to be pigeonholed.
    • 64 Metascore
    • 63 Jay Carr
    Nowhere near as dynamic as the title implies. It's hard not to think of it as ''Sleepwalk Lola Sleepwalk.''
    • Boston Globe
    • 48 Metascore
    • 75 Jay Carr
    Washington and the others score in this predictable but rousing film where the big victory is over attitudes.
    • 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
    • 56 Metascore
    • 75 Jay Carr
    Despite the fact that Doc Hollywood isn't exactly brimful of surprises, it's awfully easy to take because it seems a throwback to the kind of formula movies studios used to grind out by the bushel in the '30s and '40s, relying on a squad of accomplished secondary and character roles to flesh them out agreeably. [02 Aug 1991, p.41]
    • Boston Globe
    • 46 Metascore
    • 50 Jay Carr
    A comic vehicle for that valuable Australian export, Rachel Griffiths.
    • 30 Metascore
    • 50 Jay Carr
    Never earns the rollicking life affirmation it's after.
    • 32 Metascore
    • 38 Jay Carr
    Isn't going to be a contender
    • 73 Metascore
    • 75 Jay Carr
    Charming and, compared with most Hollywood films like it, refreshing.
    • 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
    • 63 Metascore
    • 75 Jay Carr
    The Lost Boys is schlock, but it's juicy schlock. [31 Jul 1987, p.34]
    • Boston Globe
    • 68 Metascore
    • 75 Jay Carr
    Miller is going to take some heat for making this new film inhabit a cruel world. But better that than sugarcoating the story. He's found a way to recycle a popular film - choppily perhaps, episodically perhaps, but provocatively. [25 Nov 1998, p.C1]
    • Boston Globe
    • 62 Metascore
    • 75 Jay Carr
    A solidly crafted, suspensefully written, powerfully acted little juggernaut.
    • Boston Globe
    • 48 Metascore
    • 38 Jay Carr
    Avalanches are nothing compared to the deadening touch of the stereotyping and audience-insulting simplicities in the scenic but brain-dead Vertical Limit.
    • 74 Metascore
    • 75 Jay Carr
    (Washington's is) an astonishing performance, partly because it's so devoid of histrionics, and it has Oscar nomination written all over it.
    • Boston Globe
    • 56 Metascore
    • 50 Jay Carr
    Visually, the film is at its most interesting when Scott's camera rises over Osaka and photographs it in ways that make it look like a modular electrified Lego city with neon and plexiglass trim. We get the feeling that in Osaka we're staring the near future in the face. But if Scott has gone to Osaka in search of a new Blade Runner, he comes up with nothing more than an Asian French Connection II. Many exchanges play like truncated pieces of scenes that originally existed more fully. And the film's frequent nocturnal motorcycle revvings don't have the panache of The Warriors, much less The Wild One. [22 Sep 1989, p.31]
    • Boston Globe
    • 64 Metascore
    • 75 Jay Carr
    It's all glossy urban fairy-tale stuff, laid on with style to spare, given added resonance by a mini-pantheon of French movie goddesses.

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