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

Jay Carr's Scores

  • Movies
Average review score: 66
Highest review score: 100 Twin Falls Idaho
Lowest review score: 0 The Skulls
Score distribution:
  1. Negative: 96 out of 749
749 movie reviews
    • 64 Metascore
    • 63 Jay Carr
    Silverado plays like a big-budget regurgitation of old Westerns. Whatkeeps it going is the generosity that flows between Kasdan and his actors. It's got benevolent energies, but not the more primal kind needed to renew the standard Western images and archetypes. [10 Jul 1985, p.26]
    • 68 Metascore
    • 63 Jay Carr
    Writing ignites miracles in Henry Fool, and Hartley's exquisite control over his compositions and pacing makes the outrages, biological and otherwise, funnier than you might believe. [01 Jul 1998]
    • 49 Metascore
    • 63 Jay Carr
    The Quick and the Dead is a sly, savvy Hollywood sendup of Sergio Leone Westerns with Sharon Stone playing the Clint Eastwood righteous avenger role and Gene Hackman the heavy. You'd call it a spaghetti Western, but the budget is too high. Maybe we'd better think of it as Hollywood's first angel-hair-pasta Western. [10 Feb 1995, p.47]
    • 75 Metascore
    • 63 Jay Carr
    Risky Business is the sleeper of the summer. It's a refreshing change from the usual dumb teenage ripoffs, the slickest American film since "Trading Places" and "War Games," and a strong directorial debut for Paul Brickman, who knows his way around teen fantasies. [05 Aug 1983]
    • 44 Metascore
    • 63 Jay Carr
    Last Action Hero is a spectacularly uneven movie. Its action is hectic, but scattershot and mostly pretty empty. On the other hand, it is entertaining in surprising ways. [18 Jun 1993, p.41]
    • 58 Metascore
    • 63 Jay Carr
    Disclosure is a classic guilty pleasure. You won't be proud of yourself in the morning for having watched it, but you won't be able to take your eyes off it while you do. [9 Dec 1994, p.53]
    • 57 Metascore
    • 63 Jay Carr
    Screenwriter John Hughes, making his directing debut, is at his best when he empathizes with the sensitivity in the ugly-duckling Ringwald and Hall characters. [04 May 1984]
    • 45 Metascore
    • 63 Jay Carr
    The result is a megabudget "House Party" -- amiable, colorful, filled with glamour and style. [01 Jul 1992]
    • 44 Metascore
    • 63 Jay Carr
    It's a little too long, a little too corny, a little too packaged, but its warmth and regenerative energies make it a winner. [03 Jun 1994]
    • 57 Metascore
    • 63 Jay Carr
    Traveller is a little too rosy and pat, but it clambers its way to entertainment value all the same. [2 May 1997]
    • 44 Metascore
    • 63 Jay Carr
    Juicy acting and an intense individual and communal commitment that seems to boil up from the streets carry Southie past its structural and technical limitations. [28 May 1999]
    • 48 Metascore
    • 63 Jay Carr
    The romantic stuff is tepid. Luckily, his onscreen buddy, Hall, never strays far. Coming to America is at its best when they're playing off each other, and not just as the prince and his buddy. [29 Jun 1988, p.69]
    • 60 Metascore
    • 63 Jay Carr
    Empire of the Sun is an imperfect film, but at its best it's grand and haunting in ways that only a movie can be. [11 Dec 1987]
    • 67 Metascore
    • 63 Jay Carr
    The skies are thick with whizzing bullets and strings being pulled by Shane Black's crude script and Richard Donner's cement-mixer direction. Predictably, the chicks-and-ammo stuff is punctuated by TV cop show repartee. [6 Mar 1987, p.36]
    • 56 Metascore
    • 63 Jay Carr
    Oliver Stone's Wall Street plays like "Platoon" in civvies. It's a good bad movie, unable to muster the moral firepower of the earlier film, but entertaining on the level of a big, bold, biff-bam-pow comic strip that likes high-profile high-rolling more than it perhaps realizes. [11 Dec 1987, p.45]
    • 53 Metascore
    • 63 Jay Carr
    The attempts to supply heart are never more than synthetic, but Schwarzenegger, as the good guy with the good genes, and his goofy sweetness lift Twins into the win column. [9 Dec 1988, p.33]
    • 61 Metascore
    • 63 Jay Carr
    There's always something touching about the diligence with which Schwarzenegger soldiers through his assignments. There's a play of intelligence and decency in his eyes that exists quite independently of his bashing. Of the Hollywood tribe of virile fists, he's the one who seems most sensitive. [17 Jun 1988, p.31]
    • 46 Metascore
    • 63 Jay Carr
    Richard Attenborough's film version of the long-running Broadway musical hit A Chorus Line not only avoids the disaster that many had predicted for it, but is often surprisingly effective and enjoyable, transcending its troubled history. [20 Dec 1985]
    • 67 Metascore
    • 63 Jay Carr
    There are moments when faltering levels of energy and inventiveness threaten to turn Too Much Sleep into a nonevent. But it signals the arrival of a promising filmmaker and is worth sticking with.
    • 67 Metascore
    • 63 Jay Carr
    It's not quite as jolting as the high-impact original, but it's got enough explosiveness to blow away the other sequels in this summer's parade of high-body-count blockbusters. [4 July 1990, p.29]
    • 43 Metascore
    • 63 Jay Carr
    There are times when "Star Trek V" seems padded and low-impact, but there are things to like, too. [9 June 1989, p.81]
    • 55 Metascore
    • 63 Jay Carr
    It's good cornball mainstream sci-fi, as close to brand-name reliability as this genre gets. [18 Nov. 1994, p.47]
    • 61 Metascore
    • 63 Jay Carr
    The ensemble quality is high and likable, even if Baumbach's inventiveness as a writer falters after the film's sweet, savvy beginning. [12 June 1998]
    • 48 Metascore
    • 63 Jay Carr
    Ready to Wear has entertaining bits, but for a film about people converging on Paris to increase the hysteria and anxiety levels, Ready to Wear has surprisingly little urgency. [23 Dec 1994, p.48]
    • 42 Metascore
    • 63 Jay Carr
    It works not because ridiculousness is concealed, but because ridiculousness on this scale becomes something else. Don't let anyone tell you that Stargate, lifeless script and all, isn't clunky fun, proudly trembling on the brink of classic camp. [28 Oct 1994, p.48]
    • 48 Metascore
    • 63 Jay Carr
    There's been talk about Van Damme deepening his excursions into acting. Wisely, though, he keeps Timecop on a comic strip level. [16 Sep 1994, p.72]
    • 51 Metascore
    • 63 Jay Carr
    Hughes succeeds more than he has any right to in Uncle Buck because he's able to override sitcom cliche with generosity. It's a smart idea to let Candy play feelings instead of just fatness and bluster. For a movie that isn't really that good, Uncle Buck is surprisingly likable. [16 Aug 1989, p.77]
    • 47 Metascore
    • 50 Jay Carr
    Von Trier's The Idiots is both lively and juvenile.
    • 32 Metascore
    • 50 Jay Carr
    It's hard to find the movie unpleasant, but it's hard to imagine it causing any strong reaction at all.
    • 18 Metascore
    • 50 Jay Carr
    It's not that the film is devoid of honestly earned laughs here and there. The problem is that there are too few of them and that the film can't connect them.