For 751 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 6.7 points higher than other critics. (0-100 point scale)

Jay Carr's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 American Beauty
Lowest review score: 0 The Skulls
Score distribution:
  1. Negative: 96 out of 751
751 movie reviews
    • 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
    • 80 Metascore
    • 88 Jay Carr
    If there is any message in Tarkovsky's work, although as a poet he would never stoop to anything as banal as a message, it is that life is an internal affair, played out in one's soul, not in public.
    • 69 Metascore
    • 88 Jay Carr
    Soderbergh's sleekly malignant Underneath is a nasty little winner. [28 April 1995, p.81]
    • 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
    • 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
    • 82 Metascore
    • 88 Jay Carr
    Hurtling from the screen with a vigor and importance that are all but absent from contemporary film, it's a deeply moving social drama, raw and gritty in style, shining with moral purpose as it delivers a scathing take-it-into-the-streets critique of feral capitalism and racism. [18 July 1997, p.D1]
    • Boston Globe
    • 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
    • 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
    • 69 Metascore
    • 75 Jay Carr
    A lively and affectionate cross between an infomercial and a genuflection.
    • Boston Globe
    • 74 Metascore
    • 75 Jay Carr
    Warm, wry, endearing.
    • Boston Globe
    • 67 Metascore
    • 75 Jay Carr
    Enough originality and emotional weight to keep you engrossed even when it lapses into some pretty standard moves at the end.
    • Boston Globe
    • 59 Metascore
    • 75 Jay Carr
    Aims its big, bold mother-daughter conflicts straight at the heart by way of the tear ducts, and connects.
    • 64 Metascore
    • 75 Jay Carr
    Brings the '30s vividly to the screen.
    • 65 Metascore
    • 75 Jay Carr
    Hedaya is sublime.
    • 44 Metascore
    • 75 Jay Carr
    Scott makes it easy to overlook the conventionality beneath his sometimes overdone but almost always enjoyable combination of atmosphere and propulsiveness.
    • 49 Metascore
    • 75 Jay Carr
    It brings an enlivening wit to a comedy of culture collision.
    • 74 Metascore
    • 75 Jay Carr
    Frears makes every note count for a lot in this beautifully gauged microcosm of big emotions expressed in small gestures.
    • Boston Globe
    • 63 Metascore
    • 75 Jay Carr
    Could have been -- and should have been -- richer and more resonant. It's Hollywood Babylon Lite, only TV movie-deep. But at least it's tangy.
    • 53 Metascore
    • 75 Jay Carr
    Invigorating excellence.
    • Boston Globe
    • 49 Metascore
    • 75 Jay Carr
    The film never drags, but one of the enjoyable things about it is its way of taking its time letting us get to know and savor the characters.
    • 70 Metascore
    • 75 Jay Carr
    A small film and, ultimately, a satisfying one.
    • 64 Metascore
    • 75 Jay Carr
    Watson's character grows in importance until she eclipses the recessive Luzhin.
    • Boston Globe
    • 58 Metascore
    • 75 Jay Carr
    Its attributes and achievements are modest, but its arias, duets, and ensembles are engaging all the same.
    • 79 Metascore
    • 75 Jay Carr
    Movingly recounts a hitherto untold story in the voices of the people who lived it.
    • Boston Globe
    • 75 Metascore
    • 75 Jay Carr
    The triumph of La Cienaga lies in Martel's way of fashioning the kind of ensemble performance that draws us in by convincing us we're watching behavior, not acting.
    • 49 Metascore
    • 75 Jay Carr
    The film's flaws seem unimportant, and it passes the big test, making you want to find out what happens to these characters, even when what does happen is predictable.
    • Boston Globe
    • 61 Metascore
    • 75 Jay Carr
    Breathes fresh life into old formulas.
    • 70 Metascore
    • 75 Jay Carr
    Sentimental and has its heart on its sleeve, but never heavy-handedly so, and its delicacy and tenderness will get to you if you give it half a chance.
    • Boston Globe
    • 45 Metascore
    • 75 Jay Carr
    Sweetly macabre charmer.
    • 75 Metascore
    • 75 Jay Carr
    Engrossing and eye-opening in several respects and even, when you least expect it, humorous.
    • Boston Globe