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

Jay Carr's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 The Last September
Lowest review score: 0 Cocktail
Score distribution:
  1. Negative: 96 out of 753
753 movie reviews
    • 47 Metascore
    • 50 Jay Carr
    Cries out for the brisk pacing of a Sturges or a Wilder. As is, it's too lumpish, languid, and lukewarm to hit even the guilty pleasure zone.
    • Boston Globe
    • 48 Metascore
    • 50 Jay Carr
    Although dated, it's not a bad musical.
    • Boston Globe
    • 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]
    • Boston Globe
    • 48 Metascore
    • 50 Jay Carr
    Rarely has a movie that looked so good on paper fallen so flat as the aptly named Charlotte Gray. It's not a bad movie. Bad movies have more flavor.
    • 60 Metascore
    • 50 Jay Carr
    Beverly D'Angelo, Rufus Sewell, Georgina Cates, Leo Bassi - tumble with zest through a daisy chain of sexual capers. But while warmly energized, their carryings-on also seem a little generic.
    • Boston Globe
    • 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]
    • Boston Globe
    • 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]
    • Boston Globe
    • 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.
    • 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.
    • Boston Globe
    • 47 Metascore
    • 50 Jay Carr
    Cool killers - Kitano's stock in trade - do not necessarily make for cool movies.
    • 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]
    • Boston Globe
    • 55 Metascore
    • 50 Jay Carr
    There's nothing really wrong with Agnes Browne, except a tendency to take a few easy, convenient outs.
    • 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]
    • Boston Globe
    • 42 Metascore
    • 50 Jay Carr
    You'll laugh at Bones a lot more often than you'll be scared by it, assuming you'll be scared at all.
    • Boston Globe
    • 39 Metascore
    • 50 Jay Carr
    Bait ends up seeming pretty wormy.
    • Boston Globe
    • 29 Metascore
    • 50 Jay Carr
    Never brings its potentially intriguing plot strands into focus.
    • 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]
    • Boston Globe
    • 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.
    • Boston Globe
    • 47 Metascore
    • 50 Jay Carr
    There are many things that Better Than Sex is better than, although sex is not among them. It is better than a root canal, an IRS audit, or a rained-out ballgame.
    • 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]
    • Boston Globe
    • 57 Metascore
    • 50 Jay Carr
    Intermittently engaging but inescapably overextended.
    • Boston Globe
    • 84 Metascore
    • 50 Jay Carr
    It seems more a geek show than a slab of marketing wizardry.
    • 38 Metascore
    • 50 Jay Carr
    Don't Say a Word can be thought of as a case of Dial B for Boring.
    • Boston Globe
    • 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]
    • Boston Globe
    • 48 Metascore
    • 50 Jay Carr
    Seems to be going through a series of motions so obviously virtual that it makes you wish that the filmmakers had stayed away from the computer keyboards entirely and stuck with the rotting tape look.
    • 27 Metascore
    • 50 Jay Carr
    The film is gentle and carries a simple moral.
    • Boston Globe
    • 53 Metascore
    • 50 Jay Carr
    The film's biggest problem, however, is its naive inability to understand that sex comedies, to amuse, must be about more than sex.
    • Boston Globe
    • 33 Metascore
    • 50 Jay Carr
    A flimsy sister act.
    • 47 Metascore
    • 50 Jay Carr
    Disappoints.
    • 30 Metascore
    • 50 Jay Carr
    Degenerates into a lot of dull declaiming and attitudinizing, despite a sly tongue-in-cheek quality brought by a preening Stuart Townsend to the Lestat role he inherited from the utterly humorless Tom Cruise.
    • Boston Globe
    • 59 Metascore
    • 50 Jay Carr
    Wonderfully cast and slickly directed, but so crudely written.
    • Boston Globe
    • 64 Metascore
    • 50 Jay Carr
    In both senses of the word, American Psycho wastes its women.
    • Boston Globe
    • 61 Metascore
    • 50 Jay Carr
    Seems so preoccupied with genuflection that it never achieves its subject's heart-pounding immediacy.
    • 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]
    • Boston Globe
    • 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.
    • Boston Globe
    • 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]
    • Boston Globe
    • 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]
    • Boston Globe
    • 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]
    • Boston Globe
    • 44 Metascore
    • 50 Jay Carr
    Dramatically speaking, The Caveman's Valentine is a dead end.
    • Boston Globe
    • 32 Metascore
    • 50 Jay Carr
    A high-impact, high-powered mess that raises the bar for over-the-topness.
    • Boston Globe
    • 37 Metascore
    • 50 Jay Carr
    Conspicuously short on the kind of texture that makes us feel we're watching real people living real lives.
    • 45 Metascore
    • 50 Jay Carr
    More machine than mean, although it's anything but a smoothly running operation.
    • Boston Globe
    • 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.
    • Boston Globe
    • 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.
    • Boston Globe
    • 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.
    • Boston Globe
    • 49 Metascore
    • 50 Jay Carr
    The B-movie is still very much with us.
    • 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]
    • Boston Globe
    • 59 Metascore
    • 50 Jay Carr
    While the film grabs us on cue with its sudden strikes that end with blood dripping from the monster's dragon fangs as it zips back into the dark, it's also true that predictability robs the thrust and counterthrust of the purely visceral impact it once had. The monsters just aren't that scary anymore, and so the film mostly just sits there, gloomy and inert, sunk in exhausted myth, looking and sounding Wagnerian but feeling underpowered despite its diversionary moves. [22 May 1992, p.29]
    • Boston Globe
    • 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]
    • Boston Globe
    • 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.
    • Boston Globe
    • 48 Metascore
    • 50 Jay Carr
    Ultimately, the kids carry this manipulative tear-jerker. They're warm, lively charmers.
    • Boston Globe
    • 61 Metascore
    • 50 Jay Carr
    Rich as it looks, it lacks the feverishness of Goya's art.
    • 49 Metascore
    • 50 Jay Carr
    As it is, Behind Enemy Lines will satisfy only those in search of a rousingly, if simplistically, patriotic bloodbath.
    • Boston Globe
    • 72 Metascore
    • 50 Jay Carr
    Has more ambition than the usual serial killer film, but curiously less urgency.
    • 47 Metascore
    • 50 Jay Carr
    Von Trier's The Idiots is both lively and juvenile.
    • Boston Globe
    • 52 Metascore
    • 50 Jay Carr
    She's (Dunst) the big reason the film rises above instantly rejectable formula to campy pop.
    • Boston Globe
    • 38 Metascore
    • 50 Jay Carr
    Hell itself is going to hell in Sandler's new comedy.
    • 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]
    • Boston Globe
    • 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.
    • Boston Globe
    • 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]
    • Boston Globe
    • 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.
    • 53 Metascore
    • 38 Jay Carr
    Except for a few coups de style, Amateur is a screenful of cool nothingness. [05 May 1995]
    • Boston Globe
    • 22 Metascore
    • 38 Jay Carr
    Isn't even worth a glance.
    • 34 Metascore
    • 38 Jay Carr
    Takes a vacation from quality.
    • 42 Metascore
    • 38 Jay Carr
    Consumerism is running more amok than ever, but this satire of it isn't.
    • 16 Metascore
    • 38 Jay Carr
    Awful in ways that are just clever enough often enough to make it intermittently watchable.
    • 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.
    • 14 Metascore
    • 38 Jay Carr
    Meretricious without being entertaining, it's an easy game -- and an easier film -- to sit out.
    • Boston Globe
    • 40 Metascore
    • 38 Jay Carr
    A fatally insubstantial film.
    • Boston Globe
    • 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]
    • Boston Globe
    • 33 Metascore
    • 38 Jay Carr
    It seems endless. It's also unusually crude and stupid, even for an Arnold Schwarzenegger movie.
    • 55 Metascore
    • 38 Jay Carr
    Occasionally wills itself to rude, crude life. But most of the time it's pretty limp.
    • 23 Metascore
    • 38 Jay Carr
    The tame, confused script eventually sinks the film, although Field shows skill directing actors.
    • Boston Globe
    • 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]
    • Boston Globe
    • 32 Metascore
    • 38 Jay Carr
    Isn't going to be a contender
    • 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.
    • 39 Metascore
    • 38 Jay Carr
    It's a lame and painfully overextended satire of homophobia.
    • Boston Globe
    • 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.
    • Boston Globe
    • 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.
    • Boston Globe
    • 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.
    • 24 Metascore
    • 38 Jay Carr
    A sodden-looking film.
    • Boston Globe
    • 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]
    • Boston Globe
    • 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.
    • Boston Globe
    • 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.
    • 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.
    • Boston Globe
    • 25 Metascore
    • 38 Jay Carr
    Maudlin script mars teen love.
    • Boston Globe
    • 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.
    • 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]
    • Boston Globe
    • 27 Metascore
    • 38 Jay Carr
    Such an utter piece of fluff so conceptually barren it might as well be a music video.
    • Boston Globe
    • 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.
    • Boston Globe
    • 49 Metascore
    • 38 Jay Carr
    Blurs the line between black comedy and black hole.
    • Boston Globe
    • 16 Metascore
    • 38 Jay Carr
    Full of atmosphere and visuals, it's empty of anything that really matters.
    • 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]
    • Boston Globe
    • 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]
    • Boston Globe
    • 51 Metascore
    • 38 Jay Carr
    It plays like a pilot for what I imagine will be network TV's first all-gay sitcom.
    • 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.
    • Boston Globe
    • 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.
    • 17 Metascore
    • 38 Jay Carr
    Causes one to wish... that movies about the supernatural could make contact with supernatural script doctors.
    • Boston Globe
    • 42 Metascore
    • 38 Jay Carr
    Sitting through it is like waking up on Christmas morning to find a stockingful of styrofoam.
    • Boston Globe
    • 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]
    • Boston Globe
    • 36 Metascore
    • 38 Jay Carr
    Starts by cheating death and ends by cheating us.
    • 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.
    • Boston Globe
    • 36 Metascore
    • 38 Jay Carr
    Trips early and never gets up off the floor.
    • tbd Metascore
    • 38 Jay Carr
    Writer and director Tim Disney raises a provocative point about how radical and inconvenient true faith can be.
    • Boston Globe
    • 36 Metascore
    • 38 Jay Carr
    Offers little in the way of pleasure, even to its target audience -- the easily pleased and undemanding.
    • 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.
    • Boston Globe
    • 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]
    • Boston Globe
    • 43 Metascore
    • 38 Jay Carr
    It's "Beach Blanket Bingo" revisited, but with a Eurocast and more exotic locations.
    • 35 Metascore
    • 38 Jay Carr
    Mostly a screenful of nothingness.
    • 15 Metascore
    • 38 Jay Carr
    Isn't as funny as it is crude, and isn't as crude as it is labored.
    • Boston Globe
    • 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]
    • Boston Globe
    • 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.
    • 40 Metascore
    • 38 Jay Carr
    Hits mostly flat notes, then a few really sour ones.
    • Boston Globe
    • 42 Metascore
    • 38 Jay Carr
    Larceny at its most labored.
    • Boston Globe
    • 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]
    • Boston Globe
    • 56 Metascore
    • 38 Jay Carr
    A lame little flat liner.
    • 32 Metascore
    • 38 Jay Carr
    Stumbles over its own clumsiness until it goes down for the count.
    • 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]
    • Boston Globe
    • 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]
    • Boston Globe
    • 10 Metascore
    • 25 Jay Carr
    A crass, witless knockoff of better films.
    • Boston Globe
    • 35 Metascore
    • 25 Jay Carr
    The flat tire of summer movies.
    • Boston Globe
    • 35 Metascore
    • 25 Jay Carr
    Slides instantly into the realm of the forgettable.
    • 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]
    • Boston Globe
    • 36 Metascore
    • 25 Jay Carr
    Lethal Weapon 3 is a big, dumb, noisy, comic strip of a movie that begins and ends in flames.
    • Boston Globe
    • 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]
    • Boston Globe
    • 22 Metascore
    • 25 Jay Carr
    The kind of comedy that takes the fun out of stupidity.
    • Boston Globe
    • 27 Metascore
    • 25 Jay Carr
    A lame romantic comedy that is neither romantic nor comedic.
    • Boston Globe
    • 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.
    • Boston Globe
    • 23 Metascore
    • 25 Jay Carr
    A reassuring little cheeseball of a movie.
    • 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]
    • Boston Globe
    • 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.
    • Boston Globe
    • 17 Metascore
    • 25 Jay Carr
    Staying Alive, the sequel to John Travolta's "Saturday Night Fever," plays like wet cement. [16 Jul 1983]
    • Boston Globe
    • 40 Metascore
    • 25 Jay Carr
    Nightwatch quickly declines from creepy to silly. [17 Apr 1998]
    • Boston Globe
    • 37 Metascore
    • 25 Jay Carr
    A sequel whose time has come - and gone.
    • Boston Globe
    • 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]
    • Boston Globe
    • 44 Metascore
    • 25 Jay Carr
    A supernatural thriller that is neither super, natural, nor thrilling.
    • 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.
    • Boston Globe
    • 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.
    • 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.
    • 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.
    • 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]
    • Boston Globe
    • 33 Metascore
    • 25 Jay Carr
    The concept of Air America is refreshing, but its enactment goes nowhere fast. [10 Aug 1990]
    • Boston Globe
    • 58 Metascore
    • 25 Jay Carr
    Its squandering of talent makes Class Action a film that deserves to be disbarred, not reviewed. [15 Mar 1991]
    • Boston Globe
    • 39 Metascore
    • 25 Jay Carr
    It's amazingly suspenseless and devoid of substance. [05 Mar 1993]
    • Boston Globe
    • 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]
    • Boston Globe
    • 53 Metascore
    • 25 Jay Carr
    Johnny Suede is too devoid of content to sustain our interest. [19 Sep 1992]
    • Boston Globe
    • 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]
    • Boston Globe
    • 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.
    • Boston Globe
    • 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]
    • Boston Globe
    • 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]
    • Boston Globe
    • 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]
    • Boston Globe

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