Jay Carr

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Boston Globe
For 1,227 reviews, this critic has graded:
  • 64% higher than the average critic
  • 2% same as the average critic
  • 34% lower than the average critic
On average, this critic grades 0.7 points higher than other critics. (0-100 point scale)

Jay Carr's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 Husbands and Wives
Lowest review score: 0 Beaches
Score distribution:
  1. Positive: 845 out of 1227
  2. Mixed: 223 out of 1227
  3. Negative: 159 out of 1227
1227 movie reviews
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per page
    • 84 Metascore
    • 100 Jay Carr
    Homicide
    At times Mantegna's character seems little more than his dilemma, but Mamet's stylized dialogue crackles urgently and colorfully, each word landing with a weight you find only in good writing. The dislocation accelerates compellingly into ironic absurdity as Mamet lets his cop swing in the wind in this mordant parable of wrong things done for right reasons. There have been a lot of cop movies, but never one like Homicide. It has a way all its own of raising your consciousness by whacking you in the head. [18 Oct 1991, p.33]
    • Boston Globe
    • 84 Metascore
    • 75 Jay Carr
    Shrek
    Suggests a summit meeting between ''The Princess Bride'' and ''Bridget Jones's Diary,'' it has a decided charm of its own.
    • Boston Globe
    • 84 Metascore
    • 88 Jay Carr
    The Day I Became a Woman
    What you're not prepared for in Marziyeh Meshkini's astonishing debut film is the way its central image instantly leaps into the pantheon of world cinema with a rightness and an urgency that glue your eyes to the screen.
    • 84 Metascore
    • 75 Jay Carr
    Glengarry Glen Ross
    If Foley's strategies don't quite regenerate the caged-animal urgency of the play, the tradeoff of some verbal fireworks for piercing closeups isn't all bad. [16 Sep 1992, p.72]
    • Boston Globe
    • 84 Metascore
    • 75 Jay Carr
    Together
    The best thing about Together, apart from the way some of its characters grow on you even as others put you off, is the way it snatches idealism back from the brink of life-smothering orthodoxy.
    • 45 Metascore
    • 63 Jay Carr
    Crazy in Alabama
    The pieces don't always fit together smoothly, but there's a lot of flavorful work to savor.
    • 83 Metascore
    • 100 Jay Carr
    A Little Princess
    With its beautifully crafted starburst of colors and themes spanning its requisite Victorian gravity, A Little Princess is a beguiling little supernova of a movie I can't imagine anyone not loving. [19 May 1995, p.64]
    • Boston Globe
    • 83 Metascore
    • 88 Jay Carr
    The Snapper
    It sounds like what in this country would be a grim tale, but in The Snapper (Dublin working-class slang for baby) Stephen Frears and an Irish cast turn it into a terrific little comedy of nonstop vitality and warmth. [17 Dec 1993, p.98]
    • Boston Globe
    • 83 Metascore
    • 50 Jay Carr
    The Graduate
    The Graduate is not subtle in its writing off of the parental generation as hopelessly corrupt. [Review of re-release]
    • Boston Globe
    • 83 Metascore
    • 88 Jay Carr
    Amores Perros
    As bloody as any recent film. But it's shot through with a harsh, stony humor that's invigorating enough to be regarded as a slap back at death.
    • Boston Globe
    • 83 Metascore
    • 100 Jay Carr
    Wild Reeds
    Wild Reeds is not only Andre Techine's best film in a decade, it's one of France's, too. [22 Sep 1995, p.57]
    • Boston Globe
    • 83 Metascore
    • 88 Jay Carr
    Ladybird Ladybird
    Ladybird, Ladybird is full of heart and compassion, but it's also uncompromising and unconsoling. [10 Mar 1995, p.52]
    • Boston Globe
    • 70 Metascore
    • 88 Jay Carr
    Quills
    A witty yet fiery and, in the best sense, provocative play of ideas about freedom of expression.
    • 83 Metascore
    • 75 Jay Carr
    Fireworks
    Fireworks is anything but the usual cop thriller. It's a piercing meditation on mortality, with a heartbroken tough guy at its center. [20 Mar 1998, p.C8]
    • Boston Globe
    • 83 Metascore
    • 88 Jay Carr
    Henry V
    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
    • 41 Metascore
    • 75 Jay Carr
    Godzilla 2000
    A ton of fun, and then some.
    • Boston Globe
    • 83 Metascore
    • 100 Jay Carr
    Intervista
    It's a relief that when Fellini decided to sum up his career, he still had enough left to do it so wittily, jauntily and with such expansiveness of spirit. Lovely stuff, just lovely. [19 Feb 1993, p.30]
    • Boston Globe
    • 83 Metascore
    • 75 Jay Carr
    Winchester '73
    This tight, tense black-and-white Anthony Mann film revived Westerns and kept Jimmy Stewart's career alive during the actor's Korean War stint. [19 Apr 1991, p.46]
    • Boston Globe
    • 77 Metascore
    • 75 Jay Carr
    Fly Away Home
    Nobody does a better job of putting animals and people in the same movie than Carroll Ballard, and he does it again, humanely as ever, in Fly Away Home. [13 Sep 1996, p.D8]
    • Boston Globe
    • 83 Metascore
    • 100 Jay Carr
    Election
    An invigoratingly mordant comedy that proves that Alexander Payne's rambunctious debut, "Citizen Ruth," was no fluke.
    • 83 Metascore
    • 88 Jay Carr
    Memento
    The most disorienting and trippiest data-retrieval caper in years.
    • Boston Globe
    • 82 Metascore
    • 88 Jay Carr
    Parenthood
    Funny, gritty, filled with surprising stabs of feeling, Parenthood is a stretch for Ron Howard, its director. This new adult comedy has the generosity of "Cocoon" and "Splash," but it takes Howard into deeper, darker, messier territory. [2 Aug 1989, p.57]
    • Boston Globe
    • 82 Metascore
    • 88 Jay Carr
    The Nightmare Before Christmas
    The Nightmare Before Christmas is the black diamond of family films, brilliantly conceived, touchingly pure of heart, much more endearing than scary. [22 Oct 1993, p.55]
    • Boston Globe
    • 82 Metascore
    • 88 Jay Carr
    Paris Is Burning
    With unpatronizing empathy, Paris Is Burning beckons us into a subculture. [09 Aug 1991, p.39]
    • Boston Globe
    • 72 Metascore
    • 88 Jay Carr
    Six Degrees of Separation
    It's got sharp wit and a wise heart, and as good as it was onstage, it's even better as a movie. [22 Dec 1993, p.33]
    • Boston Globe
    • 82 Metascore
    • 88 Jay Carr
    La Promesse (The Promise)
    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
    • 82 Metascore
    • 88 Jay Carr
    Hands on a Hardbody: The Documentary
    Bindler's recognition of the rich and intense human drama boiling away beneath the laconic surfaces and underplayed verbalizations turns Hands on a Hardbody into a surprisingly affecting metaphor for American life as an ongoing exercise in endurance. [30 Jul 1999, p.D7]
    • Boston Globe
    • 82 Metascore
    • 88 Jay Carr
    The Story of Louis Pasteur
    The Story of Louis Pasteur dates from the golden age of Hollywood biofilm, marked by conviction and craftsmanship. [13 Dec 1991, p.60]
    • Boston Globe
    • 82 Metascore
    • 88 Jay Carr
    Drugstore Cowboy
    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
    • 36 Metascore
    • 25 Jay Carr
    The Fly II
    Even an experienced director would have his hands full making anything out of this script. Four screenwriters are credited, and as any movie buff knows, the more writers, the worse the movie. Nowhere Faustian, this one aspires to camp classic status, but lurches lamely into vile gross-out territory. [10 Feb 1989, p.48]
    • Boston Globe
    • 82 Metascore
    • 88 Jay Carr
    Three Kings
    You walk out amazed and refreshed by the way it kicks the assumptions out from under the genre.
    • 82 Metascore
    • 75 Jay Carr
    Sick: The Life & Death of Bob Flanagan, Supermasochist
    Those who can endure it will find Kirby Dick's film provocative and surprisingly touching. [14 Nov 1997, p.D11]
    • Boston Globe
    • 81 Metascore
    • 100 Jay Carr
    Georgia
    It's one of the great sister movies and one of the great performance movies. [26 Jan 1996]
    • Boston Globe
    • 81 Metascore
    • 100 Jay Carr
    Fresh
    Fresh is urgent, impressively thought out, tightly coiled. Written, directed and acted with invigorating subtlety, there's nothing stale about Fresh. It's an original, and it's terrific. [31 Aug 1994, p.27]
    • Boston Globe
    • 62 Metascore
    • 88 Jay Carr
    The Man Without a Face
    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
    • 81 Metascore
    • 88 Jay Carr
    Chocolat
    In the crowded landscape of anti-imperial and anti-colonial film, Claire Denis' Chocolat is a standout. Never raising its voice, avoiding the usual didacticism, Denis brings subtlety, sensitivity and an uncommonly clear personal vision to her memories of colonialism in Africa, where she spent her youth. [31 Mar 1989, p.34]
    • Boston Globe
    • 81 Metascore
    • 75 Jay Carr
    Living in Oblivion
    Living in Oblivion needs more shoot-the-works outrageousness. But even if it thins out, it has an engaging spirit, bright energies and a wry feel for the clashing agendas on the set filled with edgy, starry-eyed pit bulls trying to convince themselves that what they're doing is a career move. [21 July 1995, p.46]
    • Boston Globe
    • 81 Metascore
    • 100 Jay Carr
    Driving Miss Daisy
    Driving Miss Daisy, about the deepening relationship between a Jewish matron in Atlanta and her black chauffeur, is a luminous joy of a film, heartbreakingly delicate, effortlessly able through indirection to invoke the civil rights era without ever once slipping into portentous pronouncements. [12 Jan. 1990, p.35]
    • Boston Globe
    • 81 Metascore
    • 100 Jay Carr
    Autumn Tale
    Few, if any, films this year will approach, let alone equal, Autumn Tale in its subtle sparkle.
    • 67 Metascore
    • 50 Jay Carr
    Deep Cover
    Although expertly directed by Bill Duke, Deep Cover becomes the cinematic equivalent of a drive-by shooting, posing as community uplift. [15 Apr 1992, p.91]
    • Boston Globe
    • 63 Metascore
    • 75 Jay Carr
    Songcatcher
    Somewhat sanitized but gorgeous Americana, with another impressive turn by McTeer.
    • Boston Globe
    • 81 Metascore
    • 88 Jay Carr
    Sweetie
    Every frame in this comic horror story of two unstable sisters tingles with an arresting mix of deadpan humor and yawning dread. [21 Sep 1989, p.60]
    • Boston Globe
    • 81 Metascore
    • 88 Jay Carr
    The Wedding Banquet
    The Wedding Banquet is one of the year's most joyful film discoveries - multiculturally hip, acted and directed with finesse, full of bright surprises, with lots of heart. [27 Aug 1993, p.81]
    • Boston Globe
    • 34 Metascore
    • 50 Jay Carr
    On the Line
    In the end, it's much ado about not very much, certainly not enough to catapult Bass into a film career, but probably enough to satisfy 'N Sync fans.
    • Boston Globe
    • 80 Metascore
    • 100 Jay Carr
    Much Ado About Nothing
    When Branagh's camera soars above the final celebratory dancing and choral anthem, you'll soar, too. [21 May 1993, p.23]
    • Boston Globe
    • 81 Metascore
    • 75 Jay Carr
    The Eel
    The Eel careens all over the stylistic map, from irony to slapstick. But it's chaos in the service of rebirth and redemption, a rich screenful of zigzagging. [16 Oct 1998, p.C5]
    • Boston Globe
    • 81 Metascore
    • 88 Jay Carr
    The Scent of Green Papaya
    The Scent of Green Papaya is an astonishingly rich evocation of maternal energies and gestures, expressed in lovingly lingered-on images. [25 Feb 1994, p.47]
    • Boston Globe
    • 81 Metascore
    • 88 Jay Carr
    The General
    The General is a gravely beautiful film (in wide-screen black and white) by John Boorman about an Irish career criminal who was an antiauthoritarian folk hero, a warm family man to a menage a trois, and also a dangerous psychopath.
    • Boston Globe
    • 81 Metascore
    • 100 Jay Carr
    I'm the One That I Want
    We're in a golden age of comedy, and one of the reasons is Margaret Cho.
    • Boston Globe
    • 76 Metascore
    • 88 Jay Carr
    Nil by Mouth
    Nil by Mouth is a scaldingly invigorating filmaking debut. [06 Mar 1998, p.D7]
    • Boston Globe
    • 81 Metascore
    • 88 Jay Carr
    A Self-Made Hero
    Ingeniously rising above the ongoing culture war between France and the United States, Jacques Audiard's A Self-Made Hero piquantly offers a distinct subtext for each country. [3 Oct 1997, p.D7]
    • Boston Globe
    • 80 Metascore
    • 75 Jay Carr
    The Last Temptation of Christ
    It could have been shorter, some of its exchanges misfire, but I respect The Last Temptation of Christ, and I'm much more for it than against it. It's the most spiritual biblical movie of our times. [2 Sep 1988, p.25]
    • Boston Globe
    • 80 Metascore
    • 88 Jay Carr
    Ridicule
    Loaded with heart, wit, originality, juicy performances and contemporary relevance, Patrice Leconte's Ridicule is one of the most rewarding costume dramas in years. [06 Dec 1996, p.C6]
    • Boston Globe
    • 45 Metascore
    • 75 Jay Carr
    The Little Vampire
    Sweetly macabre charmer.
    • 63 Metascore
    • 75 Jay Carr
    The Patriot
    It's often corny, but it's never boring, and it'll sweep you up in its momentum if you give it a chance.
    • 80 Metascore
    • 100 Jay Carr
    The Color of Paradise
    The story is spun forth ravishingly, tenderly, and urgently, with a captivating mix of beauty, spare sophistication, and profound humanity.
    • 80 Metascore
    • 75 Jay Carr
    The Secret of Roan Inish
    There's wonder and mystery in "The Secret of Roan Inish," a handful of utterly convincing characters, knit together by Sayles' ability to freight their naturalistic moves with larger, deeper meanings. [24 Feb 1995, p.71]
    • Boston Globe
    • 80 Metascore
    • 100 Jay Carr
    A Bronx Tale
    A Bronx Tale is a joy, a film that comes unerringly from someone's heart and experience, and not from a power lunch of agents with clients to be packaged. [1 Oct 1993, p. 49]
    • Boston Globe
    • 80 Metascore
    • 100 Jay Carr
    Bugsy
    Just when you thought gangster movies had peaked, here's Warren Beatty in Bugsy, a film so suave, outrageous, flamboyant, knowing and above all playful that you're liable to overlook the fact that it's more loaded with American resonances than any three pop culture courses you could sign up for. [20 Dec 1991, p.53]
    • Boston Globe
    • 80 Metascore
    • 88 Jay Carr
    Henry: Portrait of a Serial Killer
    With its hypnotic performance by Rooker as Henry, it's most terrifying not in its carnage (although that's terrifying enough), but when it forces us to confront our own blinkered passage through the world, our blindness to the closeness of violent death. [5 Jan 1990, p.69]
    • Boston Globe
    • 80 Metascore
    • 88 Jay Carr
    Une journée d'Andrei Arsenevitch
    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.
    • 80 Metascore
    • 75 Jay Carr
    Minority Report
    Cruise will never be a master thespian, but there's no one better at putting across the charisma of control, and the opening sequence of ''Report'' is an astonishingly fluid demonstration of his gifts.
    • 80 Metascore
    • 88 Jay Carr
    Irma Vep
    Olivier Assayas's Irma Vep is a spicy, propulsive, invigorating paradox - a French film of great gusto about the exhaustion of French film culture. Written in 10 days and shot in four weeks with a very busy Super 16mm camera, it looks and plays as breathlessly as its on-the-fly circumstances. [27 July 1997, p.C8]
    • Boston Globe
    • 61 Metascore
    • 88 Jay Carr
    Star Maps
    Miguel Arteta's Star Maps is an uneven first feature, but what's good in it is very good. It's got invigorating rawness to spare, making its low budget work in its favor. [22 Aug 1997, p.F5]
    • Boston Globe
    • 80 Metascore
    • 75 Jay Carr
    Lorenzo's Oil
    In short, the film removes any possible shred of gloss or glamorization of the situation. It's gritty, honest and admirable. Sarandon is perfect as the combative mother. You can't take your eyes off her. And Nolte eventually is touching as the dogged father determined to find a cure in the Library of Congress. [15 Jan 1993, p.45]
    • Boston Globe
    • 80 Metascore
    • 100 Jay Carr
    Human Resources
    Terrific French film about that most universal of subjects - work.
    • 80 Metascore
    • 75 Jay Carr
    Eternity and a Day
    It's poetic, resonant, wistful, convulsive, regretful, exultant. There also are times when it's demanding to sit through, when time passes slowly, urged on only by flickers of uncertainty on the face of its protagonist, or by his insistent peering after meanings that may not even exist. But it's also a film that offers the kinds of rewards possible only to the contemplative mindset. [25 Jun 1999, p.D5]
    • Boston Globe
    • 46 Metascore
    • 38 Jay Carr
    Flirt
    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
    • 80 Metascore
    • 88 Jay Carr
    Eat Drink Man Woman
    Lee's light hand with his timeless subjects deftly, affectingly, ruefully and hilariously covers all the bases. [19 Aug 1994, p.49]
    • Boston Globe
    • 79 Metascore
    • 63 Jay Carr
    Monsters, Inc.
    By any other standard, the creatures in Monsters, Inc. would be impressive. But by the high standard Pixar not only set itself, but invented, they're only ordinary.
    • Boston Globe
    • 79 Metascore
    • 63 Jay Carr
    Two Family House
    Worth staying with for the respect it pays to its characters' emotions.
    • 79 Metascore
    • 88 Jay Carr
    Red Rock West
    Red Rock West is one of the ongoing reasons noir is a genre that just won't say die. It's one of the most deviously entertaining detours since, well, Detour. [20 May 1994, p.53]
    • Boston Globe
    • 79 Metascore
    • 100 Jay Carr
    Eureka
    Quiet, powerful, contemplative, respectful of stillness, Eureka is the first film this year in which there is obvious greatness.
    • 79 Metascore
    • 88 Jay Carr
    Cyrano de Bergerac
    Depardieu and Rappeneau have not so much revived Cyrano as restored it. [25 Dec 1990, p.87p]
    • Boston Globe
    • 48 Metascore
    • 50 Jay Carr
    Sleeping with the Enemy
    The script and direction are her real enemies here. Sleeping with the Enemy is a vehicle with too many manufacturing defects. [08 Feb 1991, p.39p]
    • Boston Globe
    • 79 Metascore
    • 88 Jay Carr
    Chunhyangdyun
    It's sweeping yet intimate, stately yet impassioned, stylized yet immediate.
    • Boston Globe
    • 79 Metascore
    • 88 Jay Carr
    High Fidelity
    Sad, funny, brilliant.
    • Boston Globe
    • 79 Metascore
    • 100 Jay Carr
    Terms of Endearment
    It rates a resounding yes because it doesn't insult our emotional intelligence. [23 Nov 1983]
    • Boston Globe
    • 79 Metascore
    • 63 Jay Carr
    Beautiful People
    It's a spirited and essentially optimistic film, but it's also simplistic.
    • Boston Globe
    • 79 Metascore
    • 75 Jay Carr
    Sexy Beast
    Slightly misshapen and unbalanced, with a few loose ends, a few extraneous dream sequences. But there's something going on all the time.
    • Boston Globe
    • 52 Metascore
    • 50 Jay Carr
    The Frighteners
    It's technically sophisticated and intermittently engaging, and its showdown is more than up to genre standards. But fresh it isn't. [19 July 1996, p.G4]
    • Boston Globe
    • 79 Metascore
    • 75 Jay Carr
    Iron Monkey
    They're as special as special effects get.
    • Boston Globe
    • 79 Metascore
    • 75 Jay Carr
    An Angel at My Table
    Dodging the pitfalls of making a film about a writer is no small challenge, but Campion succeeds unforgettably in Angel at My Table. [14 Jun 1991, p.31]
    • Boston Globe
    • 79 Metascore
    • 88 Jay Carr
    Salaam Bombay!
    Nair, to her credit, doesn't succumb to any special pleading, which deepens her film's impact. Time and again, you sense that she and her subjects come from a place that believes in film, as "Salaam, Bombay" specifies its world and compels us to inhabit it. [15 Sep 1988, p.68]
    • Boston Globe
    • 79 Metascore
    • 88 Jay Carr
    Ju Dou
    Ju Dou is far richer and more jolting than "The Postman Always Rings Twice," which it suggests. When it comes to film noir entrapment, we have nothing on the Chinese. [05 Sep 1990, p.63p]
    • Boston Globe
    • 79 Metascore
    • 75 Jay Carr
    Thieves
    There's a grim fatalism in Les Voleurs, with more than a few pangs of resignation and a melancholy respect for the problematic nature of life. But it's also bold and powerful and totally unpredictable as it draws its narrative strands together to conclude that the human heart can be the biggest thief of all. [17 Jan 1997, p.D5]
    • Boston Globe
    • 79 Metascore
    • 88 Jay Carr
    Trolösa
    Ullmann's film is an achievement of heart and consequence, as full of integrity as Bergman, yet demonstrating more mercy.
    • Boston Globe
    • 79 Metascore
    • 75 Jay Carr
    Into the Arms of Strangers: Stories of the Kindertransport
    Movingly recounts a hitherto untold story in the voices of the people who lived it.
    • Boston Globe
    • 51 Metascore
    • 50 Jay Carr
    High Heels
    Mostly it's Paredes' imperious - then surprisingly generous - high-handedness that carries High Heels. [20 Dec 1991]
    • Boston Globe
    • 79 Metascore
    • 88 Jay Carr
    Va Savoir (Who Knows?)
    Souffle-light and airily playful.
    • Boston Globe
    • 78 Metascore
    • 75 Jay Carr
    The Devil's Backbone
    A seductively corrosive horror story that also potently suggests the ways war can shatter childhood.
    • Boston Globe
    • 78 Metascore
    • 75 Jay Carr
    Bird
    It's more than a labor of love -- it's a powerful summoning of devoted craft, conveying the pain and complexity of a great musical innovator, avoiding almost totally the usual Hollywood cliches. [14 Oct 1988, p. 53]
    • Boston Globe
    • 78 Metascore
    • 100 Jay Carr
    A Brief History of Time
    It's more than science, more than biography, more than metaphor. Fusing all three and linking them to a profound human dimension that never cheapens the man or his macrospeculations, it ties them to shared human destiny. As Morris' elliptical style circles and deepens its themes with each pass, A Brief History of Time turns into film's own expanding universe. [14 Sep 1992, p.50]
    • Boston Globe
    • 78 Metascore
    • 75 Jay Carr
    Thirty Two Short Films About Glenn Gould
    There are several kinds of wit at work here - Gould deserved no less - and they add up to an entertainingly offbeat evocation of a stimulating character whose wistful side is touchingly and glancingly evoked as well. [02 Feb 1994, p.66]
    • Boston Globe
    • 78 Metascore
    • 88 Jay Carr
    The House of Mirth
    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
    • 39 Metascore
    • 63 Jay Carr
    Flashdance
    Flashdance makes liberal use of jump cuts, strobe lighting and hard-edged, post-punk chic in its dance sequences, it registers as the end product of energy being released by an essentially lyrical temperament. It charms us, makes us want to refrain from scrutinizing it too closely. [31 Jul 1983, p.1]
    • Boston Globe
    • 44 Metascore
    • 50 Jay Carr
    Nowhere
    In short, Nowhere needs more humor, more wildness. Its pandemonium is only on the surface - which could have been the premise of a really humorous take on teen chaos. But it doesn't push the envelope as much as Araki's previous films. Although it gives his pop sensibility a vigorous workout, Nowhere is Araki's Mallrats. [06 June 1997, p.D6]
    • Boston Globe
    • 78 Metascore
    • 100 Jay Carr
    Gas Food Lodging
    Gas Food Lodging is a film about nourishment on a financial and emotional shoestring. It's a delight. [19 Sept 1992, p.29]
    • Boston Globe
    • 78 Metascore
    • 100 Jay Carr
    Princess Mononoke
    Its breadth, profundity, and stunningly rendered vision make idealism seem renewed and breathtaking again.
    • 78 Metascore
    • 88 Jay Carr
    Glory
    Glory is the long-needed antidote to Birth of a Nation and Gone with the Wind. With a grave clarity that echoes Augustus Saint-Gaudens' Boston Common monument and Robert Lowell's angry poem, For the Union Dead, Glory not only does justice to its deserving subject, but brings it into the popular consciousness with a distinction that compels respect. [12 Jan 1990, p.36p]
    • Boston Globe
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