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 Rififi (re-release)
Lowest review score: 0 Cocktail
Score distribution:
  1. Negative: 96 out of 753
753 movie reviews
    • 84 Metascore
    • 88 Jay Carr
    Never settling for mere irony, High Hopes becomes a small banner of sanity and good humor among the social ruins. Leigh never shies away from his unflinching dead-end class view of contemporary London. Nor does he wallow in '60s nostalgia. Which is part of the reason his passionate, life-embracing High Hopes is so exhilarating. [31 Mar. 1989, p.30]
    • Boston Globe
    • 70 Metascore
    • 88 Jay Carr
    A terrific little uppercut of a boxing movie and close to a perfect one.
    • Boston Globe
    • 65 Metascore
    • 88 Jay Carr
    Miraculously, the opera comes off, simultaneously ridiculous and thrilling, in a blaze of pageantry.
    • Boston Globe
    • 83 Metascore
    • 88 Jay Carr
    One of the things that make [Branagh's] Henry V so thrilling is his audacity in trying to turn it into an antiwar play - a view that would have astounded Shakespeare. Astonishingly, he pretty much brings it off, emerging with steadily growing power as the young king who isn't afraid to bloody his hands. [15 Dec 1989]
    • Boston Globe
    • 69 Metascore
    • 88 Jay Carr
    It's lively, edgy, full of zigs and zags, juicy performances, and offbeat fun.
    • 82 Metascore
    • 88 Jay Carr
    You walk out amazed and refreshed by the way it kicks the assumptions out from under the genre.
    • 75 Metascore
    • 88 Jay Carr
    You'll care what happens in this film with more than enough freshness and originality to avoid succumbing to girls-on-the-run cliches.
    • 87 Metascore
    • 88 Jay Carr
    A tender genuflection to the women's energies that keep that spinning world from keeling over.
    • 86 Metascore
    • 88 Jay Carr
    It's a meditation on life and death, but it's less somber and more light-handed, subtle, and mischievously funny.
    • Boston Globe
    • 74 Metascore
    • 88 Jay Carr
    It's slick, sleek, and stylish, and if it doesn't quite redefine cool, it certainly offers a snazzy update.
    • Boston Globe
    • 78 Metascore
    • 88 Jay Carr
    There was little mirth or innocence in the world that Wharton was able to write her way out of (she was much happier living in Paris), and Davies and his leading lady lift the silks to reveal it as the minefield it was.
    • Boston Globe
    • 50 Metascore
    • 88 Jay Carr
    You expect virtuosic technique from Spielberg, and it's there, in spades. What you don't expect is heartfelt romanticism. But that's there, too... Always is a terrific-looking throwback to those large-scale '40s cinematic stews of romantic longing. [22 Dec. 1989, p.43]
    • Boston Globe
    • 56 Metascore
    • 88 Jay Carr
    The season's brightest piece of counterprogramming.
    • 64 Metascore
    • 88 Jay Carr
    The Pillow Book is Peter Greenaway's most stunning and accessible film since "The Cook, the Thief, His Wife and Her Lover." Dense, gorgeous and inexorable - once you give yourself over to its logic - it's a boldly erotic explosion of Asian chic, taken to places no film has gone before. [20 Jun 1997]
    • Boston Globe
    • 65 Metascore
    • 88 Jay Carr
    The film works because Raimi's motor-rhythmed pop sensibility was ready to take off in this movie, and does, in a series of wonderfully hyperkinetic comic-strip lurches. [24 Aug. 1990, p.34]
    • Boston Globe
    • 62 Metascore
    • 88 Jay Carr
    Stark, haunting, epic, and mournful, The Claim is a mountain of a film.
    • Boston Globe
    • 74 Metascore
    • 88 Jay Carr
    It's also [Coppola's] most gloriously extravagant film since "One from the Heart." [12 Aug 1988]
    • Boston Globe
    • 71 Metascore
    • 88 Jay Carr
    Mad Dog and Glory is the funniest and most original studio comedy since "White Men Can't Jump." What makes it fun is its ability to find new ways to do old things. [5 Mar 1993, p.61]
    • Boston Globe
    • 85 Metascore
    • 88 Jay Carr
    Such moral outrage, apart from the artistry in which it is embedded, tells us that the forces of change are stirring in Iran.
    • Boston Globe
    • 66 Metascore
    • 88 Jay Carr
    It's easily the best of the movies I've seen by the various "Saturday Night Live" alumni, and part of the reason it's funny and satisfying is that it doesn't strain. [09 Jun 1983]
    • Boston Globe
    • 68 Metascore
    • 88 Jay Carr
    Angst-ridden, yet graceful, stylish, and optimistic allegory about swerving off one road and finding your way back via another.
    • 75 Metascore
    • 88 Jay Carr
    It's filled with vivid characters and action. Beneath its modesty of gesture, it's one of the year's richest, most humane films.
    • 75 Metascore
    • 88 Jay Carr
    While it preserves his baseball feats, it looks beyond them to clarify Greenberg's place in American culture.
    • 86 Metascore
    • 88 Jay Carr
    A miracle of data retrieval as the grown schoolchildren are measured against their footage from the earlier films.
    • 77 Metascore
    • 88 Jay Carr
    There's plenty of invention and exuberant vigor in the chopsocky, and Wilson's cool, ironic drollery provides the perfect foil for Chan's heroics.
    • 67 Metascore
    • 88 Jay Carr
    A League of Their Own may not boost its material into the level of pop myth as, say, last year's great female buddy movie, "Thelma & Louise," did. It's a bit too concerned with being likable to make that kind of bold leap. But if A League of Their Own doesn't knock the ball out of the park, it's a clean hit, with extra bases written all over it. [1 July 1992, p.41]
    • Boston Globe
    • 85 Metascore
    • 88 Jay Carr
    Most of all it's the emotional and spiritual arc of an exile, in all its terrible isolation, that gives ''Before Night Falls'' its power.
    • Boston Globe
    • 62 Metascore
    • 88 Jay Carr
    What Gibson gives us is a portrait of a man behaving gracefully under several kinds of pressure, some of it shamefully unfair. It's a solid acting achievement, and his directing, which never calls attention to itself, is right on the money, too. The Man Without a Face is an affecting evocation of a man of principle who teaches a boy what's important. [25 Aug 1993, p.53]
    • Boston Globe
    • 82 Metascore
    • 88 Jay Carr
    Drugstore Cowboy, Gus Van Sant's fresh, gutsy societal underbelly film, never wallows in picturesque down-and-outism, except at the end, when Dillon's character, frightened by the death of a girl he didn't like much and spooked by his own paranoiac suspicion, checks into a seedy hotel while trying to go cold turkey and not yield to the influence of a junkie priest drolly played by William Burroughs. [27 Oct 1989]
    • Boston Globe
    • 75 Metascore
    • 88 Jay Carr
    A story about the ravages of one war on a single man's soul and psyche becomes an eloquent plea for peace.
    • Boston Globe

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