For 741 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 7.1 points higher than other critics. (0-100 point scale)

Jay Carr's Scores

  • Movies
Average review score: 66
Highest review score: 100 A Hard Day's Night (re-release)
Lowest review score: 0 The Skulls
Score distribution:
  1. Negative: 95 out of 741
741 movie reviews
    • 43 Metascore
    • 88 Jay Carr
    As a flawed but lovably lionhearted woman, Barrymore triumphantly comes of age as an actress.
    • 86 Metascore
    • 88 Jay Carr
    It's the best drug-busting movie since ''The French Connection.''
    • 64 Metascore
    • 88 Jay Carr
    Reveals real feelings.
    • 77 Metascore
    • 88 Jay Carr
    It's the kind of romantic comedy that doesn't cheapen the word ''heartwarming.''
    • 68 Metascore
    • 88 Jay Carr
    Richly compelling.
    • 73 Metascore
    • 88 Jay Carr
    Plays like a dislocated version of ''Death in Venice,'' but in a dryer, higher climate that features exponentially more firepower.
    • 75 Metascore
    • 88 Jay Carr
    It's brilliantly precise in its detailing, stylishly jagged and sensual by turns, and utterly unpredictable.
    • 43 Metascore
    • 88 Jay Carr
    After revitalizing baseball movies with "Field of Dreams" and "Bull Durham," he's now three for three with the funny, quirky, rueful, and richly textured For Love of the Game.
    • 88 Metascore
    • 88 Jay Carr
    There's nothing paltry about its poultry.
    • 84 Metascore
    • 88 Jay Carr
    Haunting, powerfully acted, penetratingly written, it's about people coming home -- and not coming home -- to their marriages.
    • 62 Metascore
    • 88 Jay Carr
    Stark, haunting, epic, and mournful, The Claim is a mountain of a film.
    • 71 Metascore
    • 88 Jay Carr
    Nobody's going to think of The Score as trail-blazing, but there's nothing small-time about its dramatic and acting payoff.
    • 72 Metascore
    • 88 Jay Carr
    The film makes more apparent than ever that Howard is quite underrated as a filmmaker, possibly because he's been hidden in full view in the mainstream for so long.
    • 76 Metascore
    • 88 Jay Carr
    From start to finish there's a shimmer of discovery about it - our discovery of it, Coppola's discovery of how much she can do.
    • 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.
    • 70 Metascore
    • 88 Jay Carr
    A witty yet fiery and, in the best sense, provocative play of ideas about freedom of expression.
    • 79 Metascore
    • 88 Jay Carr
    Souffle-light and airily playful.
    • 69 Metascore
    • 88 Jay Carr
    The film's triumph - and it is a triumph - in the end rests on the ability of Hrebejk and his actors to convince us that they never stop being normal people.
    • 82 Metascore
    • 88 Jay Carr
    An upsetting landmark. Don't take the children.
    • 77 Metascore
    • 88 Jay Carr
    The film's bountiful warmth and gusto do their work. By the end, we feel part of the family, too.
    • 52 Metascore
    • 88 Jay Carr
    Serendipity returns us, if only for a couple of hours, to the Manhattan of our dreams.
    • 80 Metascore
    • 88 Jay Carr
    The most disorienting and trippiest data-retrieval caper in years.
    • 82 Metascore
    • 88 Jay Carr
    You walk out amazed and refreshed by the way it kicks the assumptions out from under the genre.
    • 79 Metascore
    • 88 Jay Carr
    Sad, funny, brilliant.
    • 87 Metascore
    • 88 Jay Carr
    A tender genuflection to the women's energies that keep that spinning world from keeling over.
    • 69 Metascore
    • 88 Jay Carr
    Delightful and original, the film conjures up a corner of Paris distinct and specific, yet fairy-tale fanciful.
    • 70 Metascore
    • 88 Jay Carr
    A terrific little uppercut of a boxing movie and close to a perfect one.
    • 71 Metascore
    • 88 Jay Carr
    He's (Dafoe) the stuff bad dreams are made of. He's also the best movie vampire since Schreck's original. He deserves a bloody Oscar.
    • 59 Metascore
    • 88 Jay Carr
    The film is rightfully carried by Nico and Dani and under Gay's artful helmsmanship it's carried with remarkable sympathy and believability.
    • 56 Metascore
    • 88 Jay Carr
    Throughout the history of film, nothing turns campier faster than dinosaur movies. This one will have a much longer shelf life than most.