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 6.7 points higher than other critics. (0-100 point scale)

Jay Carr's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 How the Grinch Stole Christmas
Lowest review score: 0 The Skulls
Score distribution:
  1. Negative: 96 out of 749
749 movie reviews
    • 25 Metascore
    • 63 Jay Carr
    At least Dragonfly isn't contemptible or altogether dismissible. But it doesn't use Costner well, and it even more unforgivably wastes Kathy Bates.
    • Boston Globe
    • 45 Metascore
    • 63 Jay Carr
    It's absorbing, although draggy.
    • 28 Metascore
    • 63 Jay Carr
    2000 isn't about nobility and humility; saving the planet from evil collectors is what sells video games.
    • 61 Metascore
    • 63 Jay Carr
    Leaves you questioning its intentions.
    • Boston Globe
    • 78 Metascore
    • 63 Jay Carr
    By any other standard, the creatures in Monsters, Inc. would be impressive. But by the high standard Pixar not only set itself, but invented, they're only ordinary.
    • Boston Globe
    • 56 Metascore
    • 63 Jay Carr
    A slight but diverting series of set pieces.
    • Boston Globe
    • 60 Metascore
    • 63 Jay Carr
    Isn't awful, but neither is it the tangy entertainment it could have been.
    • 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.
    • 42 Metascore
    • 63 Jay Carr
    The film keeps being yanked back from nothingness by this or that clever sendup, delivered by a small army of invigorated performers who seem to push off from one another's energy levels.
    • 45 Metascore
    • 63 Jay Carr
    Too bad The Kid gets bogged down in its sentimental manipulations. It has more going for it than you might suppose.
    • 53 Metascore
    • 63 Jay Carr
    The most traditional of Hollywood romances, in that it's resolutely about nice people with nice problems.
    • 52 Metascore
    • 63 Jay Carr
    Far too long, but its rambunctiousness is engaging, propelled by Stone's virtuosic quick-cutting.
    • 44 Metascore
    • 63 Jay Carr
    You keep waiting for it to go into orbit, to be really fizzy and outrageous, like the screwball farce it wants to be. Instead, the film settles for the merely serviceable.
    • 53 Metascore
    • 63 Jay Carr
    It's too circumscribed and polite for the story it's telling, curiously deficient in the unexpected.
    • Boston Globe
    • 49 Metascore
    • 63 Jay Carr
    Bummer theater.
    • 48 Metascore
    • 63 Jay Carr
    The question facing the target audience for Scary Movie is whether the funny bits will be enough of a payoff for sitting through the tedious stuff between them.
    • 49 Metascore
    • 63 Jay Carr
    The important thing is that Hurley looks smashing in her succession of red outfits.
    • Boston Globe
    • 64 Metascore
    • 63 Jay Carr
    A firm, ringing yes and no on Harry Potter and the Sorcerer's Stone. The best thing about it may be that it will lead many back to read -- or re-read -- the book.
    • Boston Globe
    • 75 Metascore
    • 63 Jay Carr
    There are laughs in it. But mostly you sit around waiting for it to be funnier, or at least funny more often. The problem is that it hasn't figured out a way to be funny while satisfyingly accommodating the pain in these characters.
    • Boston Globe
    • 49 Metascore
    • 63 Jay Carr
    Sometimes trips over its own contrivance, especially at the ammo-ridden end.
    • 73 Metascore
    • 63 Jay Carr
    Space Cowboys does achieve liftoff.
    • 58 Metascore
    • 63 Jay Carr
    Remains a frustratingly opaque study. There's something missing, namely Kaufman.
    • 70 Metascore
    • 63 Jay Carr
    While heartfelt and beautifully crafted, Bringing Out the Dead is too freighted with its protagonist's failed savior complex and is surprisingly lacking in primal impact.
    • 74 Metascore
    • 63 Jay Carr
    Has everything you want in a supernatural thriller except thrills.
    • Boston Globe
    • 59 Metascore
    • 63 Jay Carr
    American Pimp, if not quite a self-serving orgy of self-justification, can hardly be thought of as a searching look at the skin trade.
    • 66 Metascore
    • 63 Jay Carr
    Alan Rudolph's beautifully burnished, heartache-filled evocation of Dorothy Parker and her Algonquin Round Tablemates bites off a bit more than it can spew. But a couple of things make it special. [23 Dec 1994, p.45]
    • Boston Globe
    • 35 Metascore
    • 63 Jay Carr
    Flashdance makes liberal use of jump cuts, strobe lighting and hard-edged, post-punk chic in its dance sequences, it registers as the end product of energy being released by an essentially lyrical temperament. It charms us, makes us want to refrain from scrutinizing it too closely. [31 Jul 1983, p.1]
    • Boston Globe
    • 69 Metascore
    • 63 Jay Carr
    It never really chills you, but then it never insults you, either, and it's more affecting than you expect any film based on a Stephen King novel to be. [22 Oct 1983]
    • Boston Globe
    • 60 Metascore
    • 63 Jay Carr
    The film is more interesting as a phenomenon than as a movie. [27 Feb 1981]
    • Boston Globe
    • 51 Metascore
    • 63 Jay Carr
    While it's altogether smaller in its ambitions and achievements than Singleton's terrific "Boyz N the Hood," it at least allows Janet Jackson to emerge as a sympathetic presence, more credible than most pop singers making movie debuts. [23 July 1993]
    • Boston Globe