For 754 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 6.1 points higher than other critics. (0-100 point scale)

Jay Carr's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 The Last Days of Disco
Lowest review score: 0 Cocktail
Score distribution:
  1. Negative: 96 out of 754
754 movie reviews
    • 70 Metascore
    • 75 Jay Carr
    A clever, affectionate, and entertaining holiday snack for sci-fi fans. Falling somewhere between slick and cheesy.
    • 72 Metascore
    • 75 Jay Carr
    It's not afraid to play cornball when it isn't playing baseball, but The Rookie gets away with it.
    • 68 Metascore
    • 75 Jay Carr
    Dirty Rotten Scoundrels essentially remains a duet of exquisitely turned gestures exchanged by Martin and Caine. It isn't killer comedy. Sometimes its leisurely pace veers dangerously close to slackness. But it's as close as Hollywood comedy comes to chamber music. [14 Dec 1988, p.77]
    • Boston Globe
    • 56 Metascore
    • 75 Jay Carr
    A bittersweet world, and it's frankly one to which we've been before, but seldom do we see it rendered with such exquisite, if pained, craftsmanship.
    • Boston Globe
    • 61 Metascore
    • 75 Jay Carr
    Isn't always on the money, but when it is, it really is.
    • Boston Globe
    • 62 Metascore
    • 75 Jay Carr
    Has that rarest of qualities in movies that think of themselves as religious. I'm talking about the vision thing. And the ability to make morality entertaining.
    • 71 Metascore
    • 75 Jay Carr
    Wacky enough and gadget-driven enough to appeal to bored kids looking for fresh energies.
    • Boston Globe
    • 58 Metascore
    • 75 Jay Carr
    Its attributes and achievements are modest, but its arias, duets, and ensembles are engaging all the same.
    • 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
    • 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.
    • 35 Metascore
    • 75 Jay Carr
    Branagh and Love's Labour's Lost all but will themselves into liftoff. They achieve it, and in doing so, they somehow make it right to our pleasure centers with their generous embrace of stardust and pizazz.
    • 65 Metascore
    • 75 Jay Carr
    Too quick to uncritically and unthinkingly accept its subject's rollickingly self-mythologizing take on himself.
    • Boston Globe
    • 65 Metascore
    • 75 Jay Carr
    Hedaya is sublime.
    • 73 Metascore
    • 75 Jay Carr
    Distress of Parents is a real pleasure.
    • 34 Metascore
    • 75 Jay Carr
    A surprisingly warm and engaging entertainment - brassy, schmaltzy, funny.
    • 68 Metascore
    • 75 Jay Carr
    The story is told handsomely and affectingly with images, facial expressions and body language. [16 Oct 1992]
    • Boston Globe
    • 65 Metascore
    • 75 Jay Carr
    Like a good supermarket tabloid, Time Code grabs - and keeps - our attention.
    • 63 Metascore
    • 75 Jay Carr
    The film will resonate with today's alienated workers, whose every brain cell and nerve ending hates the soul-crushing jobs they're told they should be grateful to have.
    • 75 Metascore
    • 75 Jay Carr
    Engrossing and eye-opening in several respects and even, when you least expect it, humorous.
    • Boston Globe
    • 71 Metascore
    • 75 Jay Carr
    Goes soft in the end, but not ruinously so. Meanwhile, its loose cannons bounce off one another deliciously.
    • 57 Metascore
    • 75 Jay Carr
    ''The Silence of the Lambs'' was a classic; Hannibal is only a good movie of its type.
    • Boston Globe
    • 84 Metascore
    • 75 Jay Carr
    The best thing about Together, apart from the way some of its characters grow on you even as others put you off, is the way it snatches idealism back from the brink of life-smothering orthodoxy.
    • 57 Metascore
    • 75 Jay Carr
    Although there's nominally a lot of action, the film doesn't exactly abound in narrative pulse. But its portraits and textures take up a lot of the slack. [16 Aug 1996, p.D5]
    • Boston Globe
    • 44 Metascore
    • 75 Jay Carr
    It's a charmer.
    • Boston Globe
    • 67 Metascore
    • 75 Jay Carr
    It turns the nerve-fraying Cuban missile crisis into a big pop myth with the grip of a vise.
    • Boston Globe
    • 56 Metascore
    • 75 Jay Carr
    A deft, elegant, melancholy tapestry of flawed outreach, and the big reason it succeeds is Podeswa's courage in dispensing with a lot of exposition and trusting the audience - and the faces of the actors - to fill a lot of what otherwise would be gaps.
    • Boston Globe
    • 78 Metascore
    • 75 Jay Carr
    A seductively corrosive horror story that also potently suggests the ways war can shatter childhood.
    • Boston Globe
    • 66 Metascore
    • 75 Jay Carr
    Begins with that invigoratingly nervy and imaginative buzz. But its chic indictment of empty materialist values fizzles.
    • 65 Metascore
    • 75 Jay Carr
    Fast-moving, light-handed, assured, even witty at times, and filled with satisfying special effects, Tremors plays like a redneck "Dune." [19 Jan 1990, p.23]
    • Boston Globe
    • 75 Metascore
    • 75 Jay Carr
    A sleek little poison pill of a movie.
    • Boston Globe

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