For 851 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 3.7 points higher than other critics. (0-100 point scale)

Jay Carr's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 In the Bedroom
Lowest review score: 0 The Skulls
Score distribution:
851 movie reviews
    • 52 Metascore
    • 63 Jay Carr
    Something is missing in Bounce, the muted dynamic of which calls forth a perhaps inevitably muted reaction.
    • Boston Globe
    • 13 Metascore
    • 50 Jay Carr
    His (Green) new gross-out comedy is crude and stupid, but just as often rudely funny. It doesn't so much push the envelope as shred it.
    • Boston Globe
    • 63 Metascore
    • 63 Jay Carr
    I'm not sure that I really want to see "Scream 3,'" but Craven, Williamson, and the screamers certainly bring this one off by not only slapping all their cards on the table, but insisting we admire the way they play them.
    • 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
    • 73 Metascore
    • 75 Jay Carr
    In style and story line, the film is daring in its simplicity.
    • 35 Metascore
    • 25 Jay Carr
    Slides instantly into the realm of the forgettable.
    • 49 Metascore
    • 38 Jay Carr
    National Lampoon's Christmas Vacation is yet another factory product that plays more like a marketing strategy than a comedy. Like the other farces bearing the National Lampoon brand label, it's a comedy of obliviousness - family man Chevy Chase refuses to alter his sentimental notions of family rituals despite repeatedly being slammed in the face with evidence of how far short of his expectations they fall. Here, the word "vacation" is a misnomer. The Griswold family, headed by Chase, doesn't go anywhere. Neither does the film.
    • Boston Globe
    • 27 Metascore
    • 50 Jay Carr
    Vampire in Brooklyn isn't a disaster. In fact, it has some funny moments. But it's a long way from being the comeback movie Eddie Murphy needs. [27 Oct 1995, p.57]
    • Boston Globe
    • 46 Metascore
    • 38 Jay Carr
    Flirt has its moments, and Ewell and Nikaidoh are auspicious additions to the Hartley rep company. But Flirt will appeal mostly to Hartley completists. [23 Aug 1996]
    • Boston Globe
    • 33 Metascore
    • 50 Jay Carr
    Being Human isn't totally devoid of the gentle Forsyth magic. But it doesn't have nearly enough of it. Even Williams can do only so much with an assignment that calls for him to mostly stand around looking bummed out - in quintuplicate. [06 May 1994]
    • Boston Globe
    • 39 Metascore
    • 25 Jay Carr
    Virtuosity doesn't really compute, but there's going to be more of its kind of cyberaction, not less. [4 Aug 1995, pg. 51]
    • Boston Globe
    • 29 Metascore
    • 75 Jay Carr
    Plays like a college version of ''When Harry Met Sally.''
    • Boston Globe
    • 71 Metascore
    • 75 Jay Carr
    As each scientist chronicles his or her story, one is impressed by the place that unswerving motivation and determination has assumed in the work.
    • Boston Globe
    • 60 Metascore
    • 63 Jay Carr
    Isn't awful, but neither is it the tangy entertainment it could have been.
    • Boston Globe
    • 36 Metascore
    • 25 Jay Carr
    Lethal Weapon 3 is a big, dumb, noisy, comic strip of a movie that begins and ends in flames.
    • Boston Globe
    • 58 Metascore
    • 50 Jay Carr
    When the action sequences move into the sky-diving stuff, they give you a real rush.... Otherwise, though, Point Break is all wet. Too bad, because you always get the sense in a Kathryn Bigelow outing ("Near Dark," "Blue Steel") that she's trying to push a genre into new places. [12 July 1991, p.54]
    • Boston Globe
    • 64 Metascore
    • 63 Jay Carr
    Putting a provocative spin on the body-fluids subtext, Lowensohn projects stony melancholy and a convincing capacity for romantic impulse as well, making Nadja a surprising little black orchid of a vampire movie. [29 Sept 1995, p.50]
    • 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
    • 42 Metascore
    • 63 Jay Carr
    The bathroom jokes in Gun Shy wear thin.
    • Boston Globe
    • 67 Metascore
    • 75 Jay Carr
    Enough originality and emotional weight to keep you engrossed even when it lapses into some pretty standard moves at the end.
    • Boston Globe
    • 57 Metascore
    • 75 Jay Carr
    One of the most warmly beguiling romantic comedies the Southern Hemisphere has sent our way in ages.
    • 46 Metascore
    • 63 Jay Carr
    The pieces don't always fit together smoothly, but there's a lot of flavorful work to savor.
    • 83 Metascore
    • 88 Jay Carr
    It's a stunningly stylized, fiercely emotional one-of-a-kind film that seals in amber the horrors of a life the director couldn't wait to escape. [18 Sep 1988, p.96]
    • Boston Globe
    • 21 Metascore
    • 63 Jay Carr
    An exercise in excess, but it's the best of the month's crop of mindless films, if only because it jumps off the screen with acertain pop and playfulness.
    • Boston Globe
    • 28 Metascore
    • 25 Jay Carr
    The only thing that keeps Cool World from imploding is that Bakshi turns it into a series of animator's riffs, with little explosions of toon action erupting like video game novas into the foreground of the story that isn't happening. [10 Jul 1992]
    • Boston Globe
    • 57 Metascore
    • 75 Jay Carr
    A zestful genre outing, and then some, right up its final overkill.
    • 36 Metascore
    • 38 Jay Carr
    Road House is the kind of action movie whose rigging is so blatant that there can be no air of heroism about it. Although Swayze and Sam Elliott, in the role of his mentor, have the decency to look sheepish most of the time, there's no end to the cynicism and merchandising on screen, especially in the sex scenes. [19 May 1989, p.45]
    • Boston Globe
    • 65 Metascore
    • 100 Jay Carr
    My only complaint about Naked Gun 2 1/2 is that it doesn't give you enough time to finish laughing at one gag before the next one comes along, cracking you up all over again. Naked Gun 2 1/2 is high-flying low comedy, 90 minutes of sublime nonsense that only the devoutly humorless could hate. [28 June 1991, p.69]
    • Boston Globe
    • 37 Metascore
    • 50 Jay Carr
    Supposed to be a cheeky little lark but instead runs a narrow gamut from labored to aimless.
    • Boston Globe
    • 65 Metascore
    • 50 Jay Carr
    The Client is slick, but not much more than the sum of its surfaces. [20 July 1994, p.23]
    • Boston Globe

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