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

Jay Carr's Scores

  • Movies
Average review score: 66
Highest review score: 100 A Christmas Story
Lowest review score: 0 Cocktail
Score distribution:
  1. Negative: 96 out of 749
749 movie reviews
    • 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.
    • 43 Metascore
    • 50 Jay Carr
    Isolated offbeat moments aside, The Mexican mostly fires blanks.
    • 65 Metascore
    • 50 Jay Carr
    Might give you a few decorating ideas if you happen to have been wondering about a home bomb shelter, but it's a thriller that doesn't thrill.
    • 27 Metascore
    • 50 Jay Carr
    A sweet, visually handsome sermon, but it's too dramatically bland to convert even the converted.
    • 66 Metascore
    • 50 Jay Carr
    The film musical is at the moment an even more devitalized art form than the Broadway musical. But Moulin Rouge doesn't revive it. It only rearranges the bones.
    • 48 Metascore
    • 50 Jay Carr
    If you liked the earlier ''Mummy,'' you'll probably like this one. In fact, at many points you'll probably think you are watching the earlier one.
    • 37 Metascore
    • 50 Jay Carr
    The end is a long time coming in Reindeer Games and the dialogue is mostly slush.
    • 73 Metascore
    • 50 Jay Carr
    Snazzy visuals, of which she (Moss) is one, carry The Matrix past its klutzy script.
    • 48 Metascore
    • 50 Jay Carr
    Ultimately, the kids carry this manipulative tear-jerker. They're warm, lively charmers.
    • 41 Metascore
    • 50 Jay Carr
    There's always been room for rudeness in humor. In fact, it can be invigorating. But Bubble Boy goes through the motions of being outrageous when all it's really got is a rage to conform to formula.
    • 40 Metascore
    • 50 Jay Carr
    The imagery is lush, but the story is pretty cornball, with an ending that can only be called pure Hollywood. Only the marvelous Cate Blanchett transcends stereotype.
    • 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.
    • 59 Metascore
    • 50 Jay Carr
    Wonderfully cast and slickly directed, but so crudely written.
    • 69 Metascore
    • 50 Jay Carr
    A climactic explosion is too obviously a rigged gunpowder charge, and it becomes a metaphor for the film's mistake of diminishing the frantic motion that kept things fizzy and fun.
    • 46 Metascore
    • 50 Jay Carr
    A comic vehicle for that valuable Australian export, Rachel Griffiths.
    • 57 Metascore
    • 50 Jay Carr
    Intermittently engaging but inescapably overextended.
    • 29 Metascore
    • 50 Jay Carr
    Never brings its potentially intriguing plot strands into focus.
    • 30 Metascore
    • 50 Jay Carr
    Never earns the rollicking life affirmation it's after.
    • 21 Metascore
    • 50 Jay Carr
    There are laughs here and there, and Graham and Klein aren't nearly as grating as what surrounds them. But there's no getting around the fact that far from seeming a labor of love, Say It Isn't So seems merely labored.
    • 38 Metascore
    • 50 Jay Carr
    In its zeal to counter the negativity usually found in depictions of Mormons, God's Army eventually succumbs to overearnestness, sentimentality, and cliche.
    • 35 Metascore
    • 50 Jay Carr
    The script is a little too clunky to serve Ricki Lake well, and Richard Benjamin's direction is a bit too sluggish to disguise her limited range as he crams this romantic fairy tale a little too forcefully into its predetermined mold. [19 Apr 1996, p.53]
    • 53 Metascore
    • 50 Jay Carr
    The trouble with Grumpy Old Men is the patronizing attitude -- ageism, really -- that takes a too-broad approach to their geriatric world and renders it plastic. It is too cute and sanitized to allow its performers much in the way of opportunity.
    • 45 Metascore
    • 50 Jay Carr
    while not without pleasures, I Love You to Death essentially seems a film in search of a tone. [06 Apr 1990]
    • 58 Metascore
    • 50 Jay Carr
    Despite its lush photography, Green Card has the texture of peanut butter. It's more romantic than comedic, but there isn't an abundance of either. [11 Jan 1991]
    • 42 Metascore
    • 50 Jay Carr
    It begins promisingly.... But the film has no center, succumbs to drift, and gets away from Hackford. [03 Mar 1984]
    • 53 Metascore
    • 50 Jay Carr
    The movie seems destined to win a place in the nocturnal-cityscape-hell hall of fame. Its externals are brilliant, but The Hudsucker Proxy is virtually nothing but externals. [25 Mar 1994, p.52]
    • 51 Metascore
    • 50 Jay Carr
    Mostly it's Paredes' imperious - then surprisingly generous - high-handedness that carries High Heels. [20 Dec 1991]
    • 45 Metascore
    • 50 Jay Carr
    But despite the vibrancy of its images and the exquisiteness of its craftsmanship, Jefferson in Paris doesn't often light a fire under its material. [07 Apr 1995]
    • 43 Metascore
    • 50 Jay Carr
    Cronenberg's direction is technically impressive, but he's better suited to stories based on surges of feeling between killers, not lovers. This M. Butterfly never takes wing. [08 Oct 1993]
    • 67 Metascore
    • 50 Jay Carr
    Cronenberg hasn't so much filmed Naked Lunch as tamed it, turned it into entertainment, with oozy rubber bugs, big and little, that look left over from David Lynch's movie of "Dune," or the intergalactic dive from "Star Wars." [10 Jan 1992]
    • 62 Metascore
    • 50 Jay Carr
    The strength of Jacob's Ladder is that we never know what the next scene will be. But that's also its weakness. We don't feel involved with the characters here. We just feel jerked around. Jacob's Ladder, finally, is bummer theater. [2 Nov 1990, p.73]
    • 44 Metascore
    • 50 Jay Carr
    The enormously appealing Randle holds the screen even when the thinness of Suzan-Lori Parks' script becomes inescapably apparent. There isn't much vigorous narrative pulse, complexity or even faceting of Randle's character, and the arbitrary ending seems both forced and inconclusive. [22 Mar 1996, p.53]
    • 61 Metascore
    • 50 Jay Carr
    The Man with Two Brains has moments, but they aren't inspired. [04 Jun 1983]
    • 48 Metascore
    • 50 Jay Carr
    In short, when Buffy starts getting fangy, it stops being tangy. It gets all serious and earnest and flops as a teen-age love story and as a vampire thriller and even as a parody. It's not even a "Fright Night," much less a "Near Dark," and only hints at a "Lost Boys" ambience. [31 Jul 1992, p.38]
    • 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]
    • 32 Metascore
    • 50 Jay Carr
    The Fan isn't a strikeout, but it doesn't exactly knock the cover off the ball, either. It's more like a soft pop fly, taking its time before settling very predictably into a waiting fielder's glove. [16 Aug 1996, p.D3]
    • 56 Metascore
    • 50 Jay Carr
    Slickly directed by Joel Schumacher, who sees that each and every button in this unabashedly manipulative film is pushed hard, Falling Down could have been deeply disturbing if it weren't so cartoony, so determined to glibly escape the moral consequences of the vicarious white-rampage fantasies to which it caters. [26 Feb 1993, p.25]
    • 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]
    • 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]
    • 50 Metascore
    • 50 Jay Carr
    For all the care and craftsmanship that have gone into Hoffa, it's a superficial film. [25 Dec 1992]
    • 53 Metascore
    • 50 Jay Carr
    It's acceptable Shakespeare - no more arbitrary than most stage productions, especially the willfully anachronistic ones, or the ones with political agendas thrust upon them. [18 Jan 1991]
    • 56 Metascore
    • 50 Jay Carr
    As a performer, Murray moves through the film with a lovely doomed aplomb. And his quick verbal wit is almost enough to pull Quick Change off. But as a director, his inexperience costs him. His camera isn't as quick as his tongue. [13 Jul 1990, p.29]
    • 77 Metascore
    • 50 Jay Carr
    The Graduate is not subtle in its writing off of the parental generation as hopelessly corrupt. [Review of re-release]
    • 50 Metascore
    • 50 Jay Carr
    Fusco's script undercuts whatever freshness it may have brought to its view of Billy the Kid with a steady stream of howlers, most of which involve Kiefer Sutherland, as the sensitive member of the gang. [12 Aug 1988, p.24]
    • 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]
    • 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]
    • 60 Metascore
    • 50 Jay Carr
    The sheer intelligence and independence of spirit in Driver's busy eyes almost carry The Governess past its structural limitations. [07 Aug 1998]
    • 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]
    • 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]
    • 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]
    • 70 Metascore
    • 50 Jay Carr
    Although idiotic, The Evil Dead at least is propelled by energy and enthusiasm. It's scarier than many a more pretentious effort, and not everything in it is borrowed. [8 Oct 1983, p.Arts1]
    • 76 Metascore
    • 50 Jay Carr
    While Last of the Mohicans is an eyeful - how could anything shot in the Blue Ridge Mountains of North Carolina not be? - it's mindless, meticulous in its externals, taking refuge from awareness by clinging to Cooper's distortions. In the end, it'll be remembered for its three S's: Stowe, Studi and the scenery. [25 Sep 1992, p.27]
    • 65 Metascore
    • 50 Jay Carr
    The Client is slick, but not much more than the sum of its surfaces. [20 July 1994, p.23]
    • 48 Metascore
    • 38 Jay Carr
    Avalanches are nothing compared to the deadening touch of the stereotyping and audience-insulting simplicities in the scenic but brain-dead Vertical Limit.
    • 17 Metascore
    • 38 Jay Carr
    Causes one to wish... that movies about the supernatural could make contact with supernatural script doctors.
    • 25 Metascore
    • 38 Jay Carr
    Maudlin script mars teen love.
    • 24 Metascore
    • 38 Jay Carr
    A sodden-looking film.
    • 36 Metascore
    • 38 Jay Carr
    Trips early and never gets up off the floor.
    • 35 Metascore
    • 38 Jay Carr
    Mostly a screenful of nothingness.
    • 42 Metascore
    • 38 Jay Carr
    Larceny at its most labored.
    • 16 Metascore
    • 38 Jay Carr
    Awful in ways that are just clever enough often enough to make it intermittently watchable.
    • 32 Metascore
    • 38 Jay Carr
    Stumbles over its own clumsiness until it goes down for the count.
    • 27 Metascore
    • 38 Jay Carr
    The images are pretty, and Gene Quintano's screenplay gets everybody from point A to point B, though with no discernible knack for wit or subtlety.
    • 25 Metascore
    • 38 Jay Carr
    The problem in The One isn't the black holes in the universe, to which the characters refer at periodic intervals, but the black hole on the screen. The One is a zero.
    • 51 Metascore
    • 38 Jay Carr
    It plays like a pilot for what I imagine will be network TV's first all-gay sitcom.
    • 40 Metascore
    • 38 Jay Carr
    A fatally insubstantial film.
    • 33 Metascore
    • 38 Jay Carr
    It seems endless. It's also unusually crude and stupid, even for an Arnold Schwarzenegger movie.
    • 34 Metascore
    • 38 Jay Carr
    Takes a vacation from quality.
    • 54 Metascore
    • 38 Jay Carr
    A lot of striking pictures in this would-be feminist "Braveheart," but a film that's pretty flat and earthbound because of the limitations of the figure at its center.
    • tbd Metascore
    • 38 Jay Carr
    Writer and director Tim Disney raises a provocative point about how radical and inconvenient true faith can be.
    • 36 Metascore
    • 38 Jay Carr
    Starts by cheating death and ends by cheating us.
    • 56 Metascore
    • 38 Jay Carr
    A lame little flat liner.
    • 44 Metascore
    • 38 Jay Carr
    Even allowing for differences in national styles, Kikujiro sprawls and stumbles. It's a road movie that turns into its own detour.
    • 32 Metascore
    • 38 Jay Carr
    Isn't going to be a contender
    • 45 Metascore
    • 38 Jay Carr
    Strenuously as it tries, and pulse-poundingly successful as the embassy rescue scene is, Rules of Engagement never engages us.
    • 54 Metascore
    • 38 Jay Carr
    What the Hughes brothers have come up with is, to borrow another phrase from that bygone age, a penny dreadful.
    • 27 Metascore
    • 38 Jay Carr
    Such an utter piece of fluff so conceptually barren it might as well be a music video.
    • 49 Metascore
    • 38 Jay Carr
    Blurs the line between black comedy and black hole.
    • 39 Metascore
    • 38 Jay Carr
    It's a lame and painfully overextended satire of homophobia.
    • 42 Metascore
    • 38 Jay Carr
    Consumerism is running more amok than ever, but this satire of it isn't.
    • 42 Metascore
    • 38 Jay Carr
    Sitting through it is like waking up on Christmas morning to find a stockingful of styrofoam.
    • 24 Metascore
    • 38 Jay Carr
    See Spot Run isn't solely responsible for the dumbing down of movies, but it's part of the dismal phenomenon.
    • 16 Metascore
    • 38 Jay Carr
    Full of atmosphere and visuals, it's empty of anything that really matters.
    • 14 Metascore
    • 38 Jay Carr
    Meretricious without being entertaining, it's an easy game -- and an easier film -- to sit out.
    • 33 Metascore
    • 38 Jay Carr
    Sadly unworthy of Douglas.
    • 9 Metascore
    • 38 Jay Carr
    So heavy and lifeless that you keep waiting for those three little front-row kibitzers from "Mystery Science Theatre 3000" to appear at the bottom of the screen to start goofing on it.
    • 58 Metascore
    • 38 Jay Carr
    You couldn't ask for a better setting for a horror movie. What you could ask for is a better script.
    • 36 Metascore
    • 38 Jay Carr
    Offers little in the way of pleasure, even to its target audience -- the easily pleased and undemanding.
    • 15 Metascore
    • 38 Jay Carr
    Isn't as funny as it is crude, and isn't as crude as it is labored.
    • 23 Metascore
    • 38 Jay Carr
    The tame, confused script eventually sinks the film, although Field shows skill directing actors.
    • 43 Metascore
    • 38 Jay Carr
    It's "Beach Blanket Bingo" revisited, but with a Eurocast and more exotic locations.
    • 21 Metascore
    • 38 Jay Carr
    The screenplay, with its relentlessly schematic characters saying relentlessly schematic things, is so moronic that it makes you long for a documentary on the real Cape League.
    • 68 Metascore
    • 38 Jay Carr
    It's two hours of slumming in a vision of hell hatched from bourgeois comfort. That, and not its unsavory subject matter, is what makes it bummer theater.
    • 55 Metascore
    • 38 Jay Carr
    One could argue that ''Lock, Stock'' and Snatch are essentially the same movie - crime comedies marked by an outlandish visual style. Which raises the question of whether Ritchie has the range to do anything else.
    • 25 Metascore
    • 38 Jay Carr
    Never having decided whether it wants to be comedy or a sentimental hand-wringer, it tries to be both and winds up being neither.
    • 45 Metascore
    • 38 Jay Carr
    May not emerge as the biggest disaster of the holiday movie season, if only because we haven't yet seen all the other year-end films. But it is a huge high-energy misfire, bringing Tom Cruise, Penelope Cruz, and Cameron Crowe to earth with a thud.
    • 55 Metascore
    • 38 Jay Carr
    Occasionally wills itself to rude, crude life. But most of the time it's pretty limp.
    • 22 Metascore
    • 38 Jay Carr
    Isn't even worth a glance.
    • 15 Metascore
    • 38 Jay Carr
    Berlinger has approached Book of Shadows: Blair Witch 2 with intelligence and even a bit of thematic heft. But, frankly, the cheap thrill is gone.
    • 40 Metascore
    • 38 Jay Carr
    Hits mostly flat notes, then a few really sour ones.
    • 41 Metascore
    • 38 Jay Carr
    The action is mostly witless and predictable. One measure of its desperation and lack of respect for its audience is the frequency with which it labors to wring humor from flatulence and excrement gags.
    • 46 Metascore
    • 38 Jay Carr
    It's not boring to watch, but in the end it's too lame and too tame. [21 Apr 1995]
    • 69 Metascore
    • 38 Jay Carr
    An abundance of style and an almost total lack of substance make Wong Kar-wai's Happy Together a visually arresting but ultimately unrewarding excursion. [31 Oct 1997]
    • 53 Metascore
    • 38 Jay Carr
    Except for a few coups de style, Amateur is a screenful of cool nothingness. [05 May 1995]
    • 46 Metascore
    • 38 Jay Carr
    Flirt has its moments, and Ewell and Nikaidoh are auspicious additions to the Hartley rep company. But Flirt will appeal mostly to Hartley completists. [23 Aug 1996]
    • 14 Metascore
    • 38 Jay Carr
    Mixed Nuts is that cinematic oddity: a film that's pretty awful, yet almost perversely endearing -- despite the tiredness with which it plays out its labored jokes before bringing them together in a gooey Christmas ending. [21 Dec 1994, p.94]
    • 54 Metascore
    • 38 Jay Carr
    By now, Rocky of the drooping eyes and damaged brain has turned guru, emphasizing heart, soul and family ties when the evil promoter starts goading him and playing mind games with his protege. Stallone, said to be following Arnold Schwarzenegger into comedy, is starting earlier than anyone realized. [16 Nov 1990, p.78]
    • 42 Metascore
    • 38 Jay Carr
    There's no getting around the fact that it's an uneven exercise that shows signs of having gestated too long. [04 Jun 1999]
    • 46 Metascore
    • 38 Jay Carr
    The Dead Pool is not a subtle movie or a bloodless one, although it does manage to put its own twist on the usual car chase sequence. [13 Jul 1988, p.59]
    • 42 Metascore
    • 38 Jay Carr
    The Disney people have taken such obvious care in making Return to Oz that it's a shame it didn't turn out better. It has its moments - mostly visual - but when it isn't a grim downer, it's largely inert. [21 Jun 1985, p.21]
    • 46 Metascore
    • 38 Jay Carr
    Despite its good looks and expertly turned performances, it trivializes Kafka and his work. The simplistic optimism behind it is more terrifying than anything we actually see on screen. Sitting through Kafka is like watching somebody staff a suicide hotline by telling callers to just lighten up. [21 Feb. 1992, p.28]
    • 57 Metascore
    • 38 Jay Carr
    The sequel goes down the tubes by spreading itself across four time zones and inviting comparison to the original by spending most of its time back in 1955, where another mess must be set right. [22 Nov 1989, p.35]
    • 52 Metascore
    • 38 Jay Carr
    Hook touches neither fantasy nor soulfulness nor yearning. Mostly, it's benign spectacle in which the actors keep yielding the camera to some expensive playground or other. Hook is neither wistful nor primal. It's film's most expensive wind-up toy. [11 Dec. 1991. p.53]
    • 45 Metascore
    • 38 Jay Carr
    Alien Nation quickly abandons any possibility of an equivalently fascinating world for the formulas of a routine cop movie. [7 Oct 1988, p.40]
    • 10 Metascore
    • 25 Jay Carr
    A crass, witless knockoff of better films.
    • 40 Metascore
    • 25 Jay Carr
    For all its antic grasping it lies flatter on the screen than its graphic novel source lies on the page.
    • 44 Metascore
    • 25 Jay Carr
    A supernatural thriller that is neither super, natural, nor thrilling.
    • 37 Metascore
    • 25 Jay Carr
    A sequel whose time has come - and gone.
    • 22 Metascore
    • 25 Jay Carr
    The kind of comedy that takes the fun out of stupidity.
    • 35 Metascore
    • 25 Jay Carr
    Slides instantly into the realm of the forgettable.
    • 33 Metascore
    • 25 Jay Carr
    Gooding plays the worst role I've ever seen him play in a movie...he perpetuates a kind of black stereotype that should have become history years ago.
    • 20 Metascore
    • 25 Jay Carr
    The most dumbed-down mob comedy in years. It's the kind of movie you tie around the ankles of a stiff you're tossing into deep water and never want to see again.
    • 35 Metascore
    • 25 Jay Carr
    The flat tire of summer movies.
    • 18 Metascore
    • 25 Jay Carr
    A flagrantly retro example of a tired genre that would vanish in a puff of smoke if anger management classes were to enter the picture, or if it would ever occur to any one of its endless stream of victims to reach for a light switch before proceeding into a spooky place.
    • 23 Metascore
    • 25 Jay Carr
    A reassuring little cheeseball of a movie.
    • 24 Metascore
    • 25 Jay Carr
    Should have been an inaudible man movie. Every time the characters open their mouths, they hammer it deeper into the ground.
    • 34 Metascore
    • 25 Jay Carr
    The question in Red Planet isn't whether there's any life on Mars, but whether there's any life in the film. The answer is no.
    • 27 Metascore
    • 25 Jay Carr
    A lame romantic comedy that is neither romantic nor comedic.
    • 20 Metascore
    • 25 Jay Carr
    Pretty lame stuff. Already it seems to be passing with the speed of light into the limbo of utterly forgettable "who-will-I-take-to-the-prom?" movies.
    • 50 Metascore
    • 25 Jay Carr
    French Kiss is a French miss. It's got the settings, but it has little magic, less charm and almost no chemistry between Meg Ryan's heartsick American innocent and Kevin Kline's shady Frenchman. [5 May 1995, p.57]
    • 28 Metascore
    • 25 Jay Carr
    Van Sant winds up with disconnected, dispirited pieces that never come together and lift off the screen with a whoosh of sly high spirits. [20 May 1994]
    • 65 Metascore
    • 25 Jay Carr
    It plays like a crude "Godfather" parody, the sort that might amuse as a 10-minute sketch on "Saturday Night Live," but curdles and collapses as a 143-minute film. [09 Dec 1983]
    • 17 Metascore
    • 25 Jay Carr
    Staying Alive, the sequel to John Travolta's "Saturday Night Fever," plays like wet cement. [16 Jul 1983]
    • 16 Metascore
    • 25 Jay Carr
    Although the limits on Beverly Hills Cop III are pretty obvious, it's not a total write-off. Still, it's time to stop making movies about Murphy's Motown cop and start making one about Serge. [25 May 1994, p.69]
    • 58 Metascore
    • 25 Jay Carr
    Its squandering of talent makes Class Action a film that deserves to be disbarred, not reviewed. [15 Mar 1991]
    • 36 Metascore
    • 25 Jay Carr
    Lethal Weapon 3 is a big, dumb, noisy, comic strip of a movie that begins and ends in flames.
    • 33 Metascore
    • 25 Jay Carr
    The concept of Air America is refreshing, but its enactment goes nowhere fast. [10 Aug 1990]
    • 23 Metascore
    • 25 Jay Carr
    Eddie Murphy and Nick Nolte are back in Another 48 HRS., and so is some of the chemistry between them. But although this sequel is more amped up than the original "48 HRS.," most of the thrills are gone. [8 Jun 1990, p.35]
    • 39 Metascore
    • 25 Jay Carr
    It's amazingly suspenseless and devoid of substance. [05 Mar 1993]
    • 40 Metascore
    • 25 Jay Carr
    Nightwatch quickly declines from creepy to silly. [17 Apr 1998]
    • 53 Metascore
    • 25 Jay Carr
    Johnny Suede is too devoid of content to sustain our interest. [19 Sep 1992]
    • 28 Metascore
    • 25 Jay Carr
    The only thing that keeps Cool World from imploding is that Bakshi turns it into a series of animator's riffs, with little explosions of toon action erupting like video game novas into the foreground of the story that isn't happening. [10 Jul 1992]
    • 45 Metascore
    • 25 Jay Carr
    This one is hollow and caves in on itself, growing wearisome and posed, ending in a burst of salvational violence and a coda of sentimentality masquerading as transcendent toughness. [13 Jan 1995]
    • 55 Metascore
    • 25 Jay Carr
    Phar Lap wastes its brilliant potential through embarrassingly inept acting, a cloying soundtrack, stereotyped characters and pedestrian direction. [13 Jul 1984]
    • 39 Metascore
    • 25 Jay Carr
    Virtuosity doesn't really compute, but there's going to be more of its kind of cyberaction, not less. [4 Aug 1995, pg. 51]
    • 55 Metascore
    • 25 Jay Carr
    Back to the Future III has no future. The reason is that it never works up much of a past as it sends its gull-winged DeLorean time machine back to the Old West. In effect, it goes back to the Age of Steam and runs out of gas. [25 May 1990, p.45]
    • 13 Metascore
    • 12 Jay Carr
    The buzz was that Fair Game reshot its ending. They should have reshot its painfully fabricated beginning and middle, too. [03 Nov 1995]
    • 24 Metascore
    • 0 Jay Carr
    Plummets into the realm of ludicrous failure.
    • 12 Metascore
    • 0 Jay Carr
    There isn't a scene in Cocktail that isn't cheap and dumb, and whether its camp entertainment value compensates for its contempt for women is a question. Cocktail makes beer commercials look deep, makes "Top Gun" look like "Hamlet." [29 Jul 1988, p.21]