For 749 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 6.6 points higher than other critics. (0-100 point scale)

Jay Carr's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 The Straight Story
Lowest review score: 0 Cocktail
Score distribution:
  1. Negative: 96 out of 749
749 movie reviews
    • 67 Metascore
    • 63 Jay Carr
    Best when it's playful, toying with the fact that the Mafia has in a single generation been transmogrified from myth to joke.
    • 25 Metascore
    • 63 Jay Carr
    At least hits a certain adrenaline level, and the stunts have panache. If you crave the ''Young Guns'' approach to the Old West, here it is again.
    • 39 Metascore
    • 63 Jay Carr
    Lopez is not yet the actor Caviezel is. Still, she fills her performance with conviction, does a couple of her own stunts, and has enough star presence to fill the big screen.
    • Boston Globe
    • 58 Metascore
    • 63 Jay Carr
    Its protagonist haven't enough emotional substance to carry them through the long, darkly lit introspective sequences.
    • Boston Globe
    • 58 Metascore
    • 63 Jay Carr
    It takes us nowhere we haven't been before, except geographically.
    • 33 Metascore
    • 63 Jay Carr
    The unevenness of what surrounds the star couple is indicative of the script's inability to muster anything more than intermittent sophistication.
    • Boston Globe
    • 70 Metascore
    • 63 Jay Carr
    Agreeable eye candy and ear candy, but it's too slight to reach as deep as it thinks it wants to reach.
    • 50 Metascore
    • 63 Jay Carr
    Ends with a fizzle, not a bang.
    • Boston Globe
    • 67 Metascore
    • 63 Jay Carr
    Isn't much more than ''Baise-Moi'' in business suits as they deconstruct sisterhood with an expense account, but their duets sizzle.
    • Boston Globe
    • 84 Metascore
    • 63 Jay Carr
    A big, dark juggernaut of a movie about a big, dark juggernaut of a subject.
    • 56 Metascore
    • 63 Jay Carr
    Isn't what you'd call a probing film, but it's a slick and savvy one.
    • Boston Globe
    • 51 Metascore
    • 63 Jay Carr
    There's too much control in it and not enough danger.
    • 43 Metascore
    • 63 Jay Carr
    She (Bullock) has a way of landing on her feet and remaining simpatico no matter how cheesy the script is. That's what happens here.
    • 36 Metascore
    • 63 Jay Carr
    An earnest but ultimately scattered effort to put Yippie radical Abbie Hoffman's best foot posthumously forward.
    • 42 Metascore
    • 63 Jay Carr
    What makes it worth sitting through is the chance it offers to catch up on the technical advances since the last installment.
    • 64 Metascore
    • 63 Jay Carr
    Recedes to a string of mere action exploits. These are proficiently executed but, for all their visual authority, not much more than routine.
    • 71 Metascore
    • 63 Jay Carr
    Just enough laughs to keep you watching.
    • 52 Metascore
    • 63 Jay Carr
    A strong ending might have obscured the mediocrity in the writing, or at least diverted us, but the ending is sentimental where it needed to be hard-edged and comically merciless. For a film about people hurtling forward, Rat Race is pretty pedestrian.
    • Boston Globe
    • 76 Metascore
    • 63 Jay Carr
    It's often a downer, with a sweet but largely passive protagonist.
    • 27 Metascore
    • 63 Jay Carr
    It's a small film, and a far from perfect one, but it allows her (Theron) to extend her range as no previous role has done.
    • Boston Globe
    • 68 Metascore
    • 63 Jay Carr
    While the appeal of Guinevere is decidedly intermittent, it's there, and the acting is right on the money.
    • 56 Metascore
    • 63 Jay Carr
    It's no meal, but it'll tide you over.
    • Boston Globe
    • 57 Metascore
    • 63 Jay Carr
    It's the cinematic equivalent of one of those prop guns where you pull the trigger and a little flag comes out of the barrel, waving gaily.
    • Boston Globe
    • 33 Metascore
    • 63 Jay Carr
    As cumbersome as most films in this subgenre, Angelina Jolie makes it watchable.
    • Boston Globe
    • 73 Metascore
    • 63 Jay Carr
    Can't outrun its very visible limits.
    • 74 Metascore
    • 63 Jay Carr
    Character is almost wholly subordinated to a blast-furnace rendering of the hell into which they're dumped. Seldom will you see so many US military body parts strewn around a movie screen.
    • Boston Globe
    • 90 Metascore
    • 63 Jay Carr
    In the end, it's the snatches of music, mangled as it is, and the mechanics of staging it, in the absence of Leigh's usual raw, urgent psychic collisions, that keep Topsy-Turvy from seeming merely a gorgeous wax museum.
    • 51 Metascore
    • 63 Jay Carr
    Good enough, but only just. It's got the hardware, but neither the characters, the imagination, nor the resonance one had hoped for.
    • 44 Metascore
    • 63 Jay Carr
    Provoke us into examining whether the onus is on the man for turning it into a commercial proposition or the woman for agreeing to his offer.
    • Boston Globe
    • 78 Metascore
    • 63 Jay Carr
    He's (Willard) a one-man storm of escalating inanity, and he's hilarious.
    • Boston Globe