For 824 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 4.1 points higher than other critics. (0-100 point scale)

Jay Carr's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 A Time for Drunken Horses
Lowest review score: 0 Cocktail
Score distribution:
824 movie reviews
    • 78 Metascore
    • 88 Jay Carr
    A perfect example of a small, well-made, and (in its central role) rivetingly acted film.
    • Boston Globe
    • 64 Metascore
    • 88 Jay Carr
    If you don't get hooked on the storytelling in Fried Green Tomatoes, you'll surely be charmed by its five terrific actresses. Fried Green Tomatoes can't match the dramatic focus and rich texture of Rambling Rose, it's far more appealingly nuanced than Steel Magnolias - and with actresses like Tandy, Masterson, Bates, Parker and Tyson on the job, it's downright irresistible. [10 Jan 1992, p.73]
    • Boston Globe
    • 74 Metascore
    • 88 Jay Carr
    Bell is utterly persuasive as the boy literally yearning to leap beyond the oppressively apparent confines of his world.
    • Boston Globe
    • 66 Metascore
    • 88 Jay Carr
    What keeps the film going, and helps it keep its comic tone, is the constant threat of cataclysm - and the deadpan Buster Keaton charm of the ever-responsive Pinon as he combats the giant Rube Goldberg meat-grinder that the house, in effect, is. [17 Apr 1992]
    • Boston Globe
    • 83 Metascore
    • 88 Jay Carr
    Varda's charmingly eccentric amble, wise in its seeming waywardness.
    • Boston Globe
    • 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.
    • 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
    • 61 Metascore
    • 88 Jay Carr
    It starts with a flyboy roasting franks in the exhaust of a combat jet and never lets up, giddily puncturing all those wartime flying hero movies and throwing in a heap of movie parodies besides. Either way, the pacing is jetstreamed and the level of inventiveness is sky-high. [31 July 1991, p.25]
    • Boston Globe
    • 75 Metascore
    • 88 Jay Carr
    As savage and as epic as film gets.
    • 56 Metascore
    • 88 Jay Carr
    Throughout the history of film, nothing turns campier faster than dinosaur movies. This one will have a much longer shelf life than most.
    • Boston Globe
    • 70 Metascore
    • 88 Jay Carr
    It's a treat to encounter the deadpan light-handedness with which Mamet goes about his business.
    • 71 Metascore
    • 88 Jay Carr
    Nobody's going to think of The Score as trail-blazing, but there's nothing small-time about its dramatic and acting payoff.
    • 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
    • 70 Metascore
    • 88 Jay Carr
    A terrific little uppercut of a boxing movie and close to a perfect one.
    • Boston Globe
    • 65 Metascore
    • 88 Jay Carr
    Miraculously, the opera comes off, simultaneously ridiculous and thrilling, in a blaze of pageantry.
    • 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
    • 69 Metascore
    • 88 Jay Carr
    It's lively, edgy, full of zigs and zags, juicy performances, and offbeat fun.
    • 82 Metascore
    • 88 Jay Carr
    You walk out amazed and refreshed by the way it kicks the assumptions out from under the genre.
    • 75 Metascore
    • 88 Jay Carr
    You'll care what happens in this film with more than enough freshness and originality to avoid succumbing to girls-on-the-run cliches.
    • 87 Metascore
    • 88 Jay Carr
    A tender genuflection to the women's energies that keep that spinning world from keeling over.
    • 68 Metascore
    • 88 Jay Carr
    The new film is simply more confident, more idiosyncratically dark, weird, gnarled and twisted than "Batman." And because it's more obviously permeated by Burton's style and sensibility, it's also more fun. [19 June 1992, p.47]
    • Boston Globe
    • 66 Metascore
    • 88 Jay Carr
    From its opening evolution sequence of squiggly things in the water through its references to the great circle of life, The Land Before Time embraces a larger perspective than merely that of the adventure story. It's an affecting work, and a work of quality. [18 Nov 1988, p.29]
    • Boston Globe
    • 86 Metascore
    • 88 Jay Carr
    It's a meditation on life and death, but it's less somber and more light-handed, subtle, and mischievously funny.
    • Boston Globe
    • 74 Metascore
    • 88 Jay Carr
    It's slick, sleek, and stylish, and if it doesn't quite redefine cool, it certainly offers a snazzy update.
    • Boston Globe
    • 78 Metascore
    • 88 Jay Carr
    There was little mirth or innocence in the world that Wharton was able to write her way out of (she was much happier living in Paris), and Davies and his leading lady lift the silks to reveal it as the minefield it was.
    • Boston Globe
    • 50 Metascore
    • 88 Jay Carr
    You expect virtuosic technique from Spielberg, and it's there, in spades. What you don't expect is heartfelt romanticism. But that's there, too... Always is a terrific-looking throwback to those large-scale '40s cinematic stews of romantic longing. [22 Dec. 1989, p.43]
    • Boston Globe
    • 56 Metascore
    • 88 Jay Carr
    The season's brightest piece of counterprogramming.
    • 64 Metascore
    • 88 Jay Carr
    The Pillow Book is Peter Greenaway's most stunning and accessible film since "The Cook, the Thief, His Wife and Her Lover." Dense, gorgeous and inexorable - once you give yourself over to its logic - it's a boldly erotic explosion of Asian chic, taken to places no film has gone before. [20 Jun 1997]
    • Boston Globe
    • 65 Metascore
    • 88 Jay Carr
    The film works because Raimi's motor-rhythmed pop sensibility was ready to take off in this movie, and does, in a series of wonderfully hyperkinetic comic-strip lurches. [24 Aug. 1990, p.34]
    • Boston Globe
    • 62 Metascore
    • 88 Jay Carr
    Stark, haunting, epic, and mournful, The Claim is a mountain of a film.
    • Boston Globe

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