For 753 reviews, this critic has graded:
  • 67% higher than the average critic
  • 3% same as the average critic
  • 30% lower than the average critic
On average, this critic grades 6.3 points higher than other critics. (0-100 point scale)

Jay Carr's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 I'm the One That I Want
Lowest review score: 0 Cocktail
Score distribution:
  1. Negative: 96 out of 753
753 movie reviews
    • 53 Metascore
    • 50 Jay Carr
    'Trainspotting'' Lite.
    • Boston Globe
    • 33 Metascore
    • 50 Jay Carr
    Despite the heavy-handedness, isn't awful enough to be a hilarious howler. But neither is it good enough to become the tropical noir it could have been.
    • Boston Globe
    • 49 Metascore
    • 50 Jay Carr
    Lots of sex, but little joy.
    • 27 Metascore
    • 50 Jay Carr
    If you walk in with your expectations at a suitably low setting, you won't walk away disappointed.
    • Boston Globe
    • 38 Metascore
    • 50 Jay Carr
    The characters, in short, are never given enough dimension, enough chance to develop the individual tics and eccentricities on which this kind of comedy thrives.
    • Boston Globe
    • 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.
    • Boston Globe
    • 48 Metascore
    • 50 Jay Carr
    A mildly diverting gay-straight odd couple comedy that has just enough bright one-liners to carry it past its plot structuring.
    • Boston Globe
    • 52 Metascore
    • 50 Jay Carr
    Blew its chance to be an epic drug opera. It's only nostril-deep.
    • Boston Globe
    • 51 Metascore
    • 50 Jay Carr
    Ford and Pfeiffer deliver craftsmanlike work, but the film steadily unravels as Zemeckis tries to ratchet up the suspense.
    • 42 Metascore
    • 50 Jay Carr
    Efficient, but in the end quite pedestrian.
    • Boston Globe
    • 42 Metascore
    • 50 Jay Carr
    The best thing about the new film of H.G. Wells's The Time Machine is the machine.
    • 34 Metascore
    • 50 Jay Carr
    In the end, it's much ado about not very much, certainly not enough to catapult Bass into a film career, but probably enough to satisfy 'N Sync fans.
    • Boston Globe
    • 45 Metascore
    • 50 Jay Carr
    The film is content to remain at the level of the mildly entertaining, with no real surprises and not much sass. [04 Dec 1992]
    • Boston Globe
    • 50 Metascore
    • 50 Jay Carr
    It's too psychically flat and dramatically inert. Instead of reinvigorating a Hollywood classic, Burton only takes it to camp.
    • Boston Globe
    • 46 Metascore
    • 50 Jay Carr
    Little more than a screenful of boy meets boy, boy meets baggage, boy loses baggage.
    • 55 Metascore
    • 50 Jay Carr
    Takes on provocative and stimulating subject matter, but can't bring it into satisfying dramatic focus, stranding three strong actors who are superior to their material.
    • 50 Metascore
    • 50 Jay Carr
    All Dogs Go to Heaven" has the right spirit, and its warmth will offset what for small kids might be some scary moments. But it does seem skimpy and warmed over. [17 Nov 1989]
    • Boston Globe
    • 49 Metascore
    • 50 Jay Carr
    Far and Away is a throwback to the handsome but stodgy historical romances Hollywood used to make, and it can at least be said that it's more ambitious than most of what we'll see this summer. [22 May 1992]
    • Boston Globe
    • 59 Metascore
    • 50 Jay Carr
    It's too fragmented and diffuse to ever bring its parts together in any really satisfying manner.
    • 51 Metascore
    • 50 Jay Carr
    Before long, it runs out of steam, playing like the pilot for a TV sitcom called "Baby Knows Best." [13 Oct 1989, p.37]
    • Boston Globe
    • 65 Metascore
    • 50 Jay Carr
    A gorgeous screenful of period eye candy.
    • 16 Metascore
    • 50 Jay Carr
    The best thing about the film is the way it allows Richard Pryor to rise above the demeaning buffoon roles he's been playing for the last few years and finally play a character with dignity and style. [17 Nov 1989, p.89]
    • Boston Globe
    • 31 Metascore
    • 50 Jay Carr
    An example of a film that begins with a provocative idea and then runs itself into the ground with clumsy structuring.
    • Boston Globe
    • 24 Metascore
    • 50 Jay Carr
    The Adventures of Ford Fairlane is a nonstop gross-out contest of absolutely no socially redeeming value at all, unless you happen to value laughter. Ford Fairlane is funny garbage. [11 Jul 1990, p.41]
    • 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
    • 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
    • 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
    • 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
    • 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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