Jessica Kiang
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For 105 reviews, this critic has graded:
  • 55% higher than the average critic
  • 2% same as the average critic
  • 43% lower than the average critic
On average, this critic grades 11 points higher than other critics. (0-100 point scale)

Jessica Kiang's Scores

  • Movies
  • TV
Average review score: 70
Highest review score: 100 Mommy
Lowest review score: 25 A Long Way Down
Score distribution:
  1. Positive: 73 out of 105
  2. Negative: 6 out of 105
105 movie reviews
    • 89 Metascore
    • 100 Jessica Kiang
    Presenting a terrifying view of a hidden holocaust and a moral apocalypse in which the most basic humanities have become twisted beyond recognition, The Act of Killing is a towering achievement in filmmaking, documentary or otherwise.
    • 88 Metascore
    • 100 Jessica Kiang
    Blue is the Warmest Color is a masterpiece of human warmth, empathy and generosity, because in a mere three hours, it gives you a whole new life to have lived.
    • 91 Metascore
    • 100 Jessica Kiang
    With Foxcatcher, [Miller] has outdone himself, turning his uniquely meticulous eye to a tiny story in a totally rarefied, specific environment and through whatever alchemy he has perfected, created something so universal and resonant that it feels epic, sprawling, almost ancient in its mythic overtones. Foxcatcher is an enormous film.
    • 81 Metascore
    • 100 Jessica Kiang
    There are ups and downs and soapish highs and lows, but what stops this from ever becoming a telenovela is the riveting wonder of the performances and the sheer brio of the filmmaking.
    • 92 Metascore
    • 100 Jessica Kiang
    perhaps the greatest achievement is in how brilliantly the film balances the trademark Dardennes social conscience with a conceit that plays out almost like a ticking-clock thriller, as well as being a deeply felt character study.
    • 98 Metascore
    • 100 Jessica Kiang
    The actions and events are naked to our eyes, not couched in reasons and justifications, not softened by explanations, by words.
    • 88 Metascore
    • 100 Jessica Kiang
    It’s borderline miraculous.
    • 91 Metascore
    • 100 Jessica Kiang
    The film does not stab as deeply in laying bare the schizoid moral hypocrisy of the perpetrators of the Indonesian genocide as its peerless predecessor, but instead offers an extraordinarily poignant, desperately upsetting meditation on the legacy of those killings, and on the bravery required to seek any kind of truth about them.
    • 83 Metascore
    • 100 Jessica Kiang
    If it presents an accurate picture of this reality, then it feels like it’s a reality that is unstable, so far cut off from the mainstream of life that it has begun to fray into the surreal and the magic at the edges.
    • 74 Metascore
    • 91 Jessica Kiang
    On both a political and a personal level, the film is pessimistic, yes, but it feels truthful, and never lapses into easy cynicism.
    • 66 Metascore
    • 91 Jessica Kiang
    With pitch-perfect performances across the board, and boasting crisp photography and editing, the film never ceases to twist, turn and surprise, taking wicked joy in constantly switching us back on ourselves and our expectations of the characters.
    • 76 Metascore
    • 91 Jessica Kiang
    For anyone with even a halfway developed sense of justice The Hunt may prove stressful, frustrating, even enraging, but it’s also an unbelievably effective watch, that, if nothing else signals an undeniable return to form for Vinterberg, and yet another blistering performance from Mikkelsen. See it, if only for the debates it will cause afterward.
    • 83 Metascore
    • 91 Jessica Kiang
    Gloria is an endlessly watchable creation—a wonderful example of an actress melting into a role, and a co-writer/director with almost superhuman levels of sensitivity and empathy for his characters.
    • 79 Metascore
    • 91 Jessica Kiang
    Director Pavich, his first time at bat, has crafted an unalloyed pleasure of a documentary, especially for those of us who care about "Dune," about sci-fi, and about the value and power of creative passion.
    • 81 Metascore
    • 91 Jessica Kiang
    The supporting cast all do excellent work too, but this is Eric’s story, and so it’s O’Connell’s film. His performance is a revelation.
    • 78 Metascore
    • 91 Jessica Kiang
    Overall a triumphantly idiosyncratic film with smarts and visceral impact in equal measure.
    • 99 Metascore
    • 91 Jessica Kiang
    Girlhood is a fascinatingly layered, textured film that manages to be both a lament for sweetness lost and a celebration of wisdom and identity gained, often at the very same moment.
    • 86 Metascore
    • 91 Jessica Kiang
    Force Majeure is a brutally smart and original film.
    • 71 Metascore
    • 91 Jessica Kiang
    99 Homes is by no means a perfect film, but it can achieve something more precious, and rarer than glossy perfection: it can take you by the shoulders and shake the apathy and complacency away.
    • 93 Metascore
    • 91 Jessica Kiang
    "Pigeon" is a near-perfect cap to a near-perfect trilogy, a cavalcade of oddness, humor, banality and even horror.
    • 73 Metascore
    • 83 Jessica Kiang
    By turns moving, absorbing and downright rage-inducing.
    • 65 Metascore
    • 83 Jessica Kiang
    Challenging, complex and frequently ugly, Paradise: Love is a ruthless exploration of how unlike our everyday selves we can behave when we’re "on holiday," and how much that illuminates who we really are.
    • 87 Metascore
    • 83 Jessica Kiang
    All Is Lost is a taut, superbly crafted addition to the survival story genre.
    • 76 Metascore
    • 83 Jessica Kiang
    The Immigrant is contained, restrained, thoughtful filmmaking that satisfies on nearly every level, except for the desire for a little chaos.
    • 77 Metascore
    • 83 Jessica Kiang
    It’s an offbeat, fun, and frequently very funny film, lifted out of disposability by some wonderfully rich production design, music cuts and photography, and by the cherishable performances of the leads.
    • 73 Metascore
    • 83 Jessica Kiang
    The film is the most formally experimental, and probably the least approachable, of the director's titles to date. But it's further proof of Wheatley's singular sensibilities as a filmmaker.
    • 83 Metascore
    • 83 Jessica Kiang
    The Selfish Giant preaches compassion by showing us in its very closing moments, the fathomless goodness that can lie beneath even the spittingest, snarlingest exterior.
    • 71 Metascore
    • 83 Jessica Kiang
    While Felix von Groeningen's film, which centers around a couple whose child is diagnosed with cancer, could easily have strayed into maudlin territory, the deft, non-chronological structure and the constantly surprising, beautiful performances -- both acting and the musical -- elevate it well clear of any Movie of the Week associations.
    • 71 Metascore
    • 83 Jessica Kiang
    We Are What We Are is just a great yarn, well-acted, elegantly shot and put together cleverly so that even its more visceral delights feel well-earned.
    • 82 Metascore
    • 83 Jessica Kiang
    Guiraudie creates an ambiance of eerie atmospherics that is at once crisp and observant, and oddly dreamlike, or nightmarish.