Jessica Kiang

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For 220 reviews, this critic has graded:
  • 59% higher than the average critic
  • 2% same as the average critic
  • 39% lower than the average critic
On average, this critic grades 10.7 points higher than other critics. (0-100 point scale)

Jessica Kiang's Scores

  • Movies
  • TV
Average review score: 71
Highest review score: 100 Foxcatcher
Lowest review score: 25 Beauty and the Beast
Score distribution:
  1. Negative: 8 out of 220
220 movie reviews
    • 52 Metascore
    • 58 Jessica Kiang
    The pathos of this situation is clear, the stakes, which obviously involve genocide, justice and actual Nazis, are sky high and Plummer is completely extraordinary. So why on earth isn't Remember a better film?
    • 64 Metascore
    • 58 Jessica Kiang
    There is no shading, there is no ambiguity, and while there are observations and stilted epithets aplenty, there is precious little wisdom.
    • 42 Metascore
    • 58 Jessica Kiang
    The more dramatic moments feel unanchored to the more farcical, and the humor ranges erratically from scatological to tender/heartwarming and back to cheap shots at slightly uncomfortable stereotypes. "Uneven" would be the kind way of putting it, but "messy" is probably nearer to the truth.
    • 45 Metascore
    • 58 Jessica Kiang
    There are jokes that land, and every time Kathryn Hahn steps on screen the film threatens to tilt on its axis and point toward a truer north.
    • 67 Metascore
    • 58 Jessica Kiang
    Personal Shopper is a mess — not an uninteresting one, and better that than a staid, unadventurous bore, but a mess nonetheless.
    • 36 Metascore
    • 58 Jessica Kiang
    Unfortunately Things People Do scuppers its own chances by having people do things we just don't ever, ever believe they would.
    • 34 Metascore
    • 58 Jessica Kiang
    An irreproachably tasteful, easily digestible but an unsurprising, undemanding watch.
    • 55 Metascore
    • 58 Jessica Kiang
    Though it's impressive in many technical and surface ways, The Croods lets us down on the essentials of character and story, and no amount of late-stage father/daughter bonding or vertiginous 3D cliffside tumbling can make up for that.
    • 53 Metascore
    • 58 Jessica Kiang
    A Single Shot does not add up to anywhere near the sum of its parts.
    • 64 Metascore
    • 58 Jessica Kiang
    A loving and in fact overly adulatory genre film which is not so much a take on the revenge Western as a deeply faithful recreation of it, at times so faithful as to veer dangerously close to pastiche.
    • 41 Metascore
    • 58 Jessica Kiang
    For every moment of comedy that lands or drama that touches a nerve, there are ten of “why the bloody hell should I bloody care?” or “cry me a river, you had to sell your Brueghel.”
    • 66 Metascore
    • 58 Jessica Kiang
    It's a sterile affair, no ambiguity, no ambivalence, just people doing one thing and then another.
    • 34 Metascore
    • 58 Jessica Kiang
    Aloft and its icy landscapes and feel of gently dropping barometric pressure can only distract so far from what is essentially an overwrought melodrama that here and there tips over into heavy-handedness despite the restrained beauty of its images.
    • 65 Metascore
    • 58 Jessica Kiang
    Alternating immense bombast with long stretches of longueur in its psychologically questionable evocation of the formative years of a future despot, the film is formally confident, stylistically inventive and intensely irritating.
    • 77 Metascore
    • 58 Jessica Kiang
    Perversely episodic, strangely empty, and unfolding in a series of beautifully composed but static wide shots (giving us the unusual experience of literally yearning for a close-up), the film is a test of patience.
    • 57 Metascore
    • 58 Jessica Kiang
    A film that, while often beautiful to look at, feels oddly bloodless in execution.
    • 68 Metascore
    • 58 Jessica Kiang
    Shot in pedestrian fashion, it is set in an intriguing and entirely foreign milieu, but the film ends up just too inscrutable and oblique for us to really engage with it, or its often incomprehensibly motivated characters.
    • 51 Metascore
    • 58 Jessica Kiang
    Despite Seyfried’s gameness, we come away a little deadened from the experience and knowing precious little more than before about the person who inhabited the body, the life and the throat of Linda Lovelace.
    • 65 Metascore
    • 58 Jessica Kiang
    The film makes distant what surely should be vital and alive.
    • 51 Metascore
    • 50 Jessica Kiang
    For a movie that is all about accumulation, it adds up to very little, and for a story all about connectedness, 11 minutes, intermittently enjoyable though it may be, never connects.
    • 68 Metascore
    • 50 Jessica Kiang
    Devolving into clodhopping heavyhandedness...Stations of the Cross tackles a weighty, complex subject in simple-minded fashion.
    • 67 Metascore
    • 50 Jessica Kiang
    Manages to be both overwrought and strangely lacking in drama, staggering under the deadening weight of an uninvolving central character. It is a shame, because many of the elements were in place for something much more compelling.
    • 40 Metascore
    • 50 Jessica Kiang
    It promises a minute character study, but Franny, though embodied by a game Gere who in all fairness does visit places in his performance we have rarely seen him even stop by before, is less a person than a collection of quirks.
    • 30 Metascore
    • 50 Jessica Kiang
    Bloodless, far too genteel, and perfectly content to continually tell where a little showing would be nice; Night Train to Lisbon ends up a deeply unadventurous adventure story.
    • 69 Metascore
    • 50 Jessica Kiang
    It’s a heartfelt and undoubtedly well-meaning film, attempting a character study of a woman of an age and lifestyle that makes her an unusual and therefore unusually worthy subject. But Angelique’s overriding characteristic is that she is incapable of fundamental change which makes her at best a frustrating protagonist for this drama.
    • 67 Metascore
    • 50 Jessica Kiang
    The Connection feels at best like a cover version of the classic American crime films of the 1970s, and at worst like so much glossily mounted karaoke.
    • 60 Metascore
    • 50 Jessica Kiang
    Despite presenting an environment enriched to weapons-grade plutonium levels with potential for interpersonal drama, Vinterberg can’t seem to find any.
    • 55 Metascore
    • 50 Jessica Kiang
    Jackie & Ryan is supposedly all about learning how to git where ya gotta go, but none of the characters start or end in particularly interesting places.
    • 88 Metascore
    • 50 Jessica Kiang
    The overwriting of every single discussion smacks less of realistic debate than of a writer/director in the throes of a fit of didacticism who simply never trusts his audience to get his meaning without it being iterated and reiterated to the point of white noise.
    • 72 Metascore
    • 50 Jessica Kiang
    There is beauty here, and exquisite craft in both the pictures and the minutely designed soundscape, and there are some truly chewy ideas thrown up about the porosity of the boundary between public and private that would have lent terrific, atmospheric texture to a film... But there is little connection to the characters.

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