Jessica Kiang

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For 222 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 10.6 points higher than other critics. (0-100 point scale)

Jessica Kiang's Scores

  • Movies
  • TV
Average review score: 71
Highest review score: 100 45 Years
Lowest review score: 25 The Best Offer
Score distribution:
  1. Negative: 8 out of 222
222 movie reviews
    • 76 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.
    • 92 Metascore
    • 91 Jessica Kiang
    Every family is its own country with culture and customs and embarrassments that seem alien beyond its borders, but the genius of Maren Ade‘s brilliantly funny and slyly crushing Toni Erdmann is that it makes the utterly foreign nation of its central father/daughter relationship feel so much like home.
    • 86 Metascore
    • 91 Jessica Kiang
    A dexterous, mischievous, almost incomprehensibly intelligent film that has such invention packed into every frame that the only real danger is overload, Neruda works most thrillingly as an effusive love letter to the very concept of fiction and all the ways it can set you free, written in lyrical but staccato meter, perhaps with a rose between the teeth.
    • 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.
    • 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.
    • 86 Metascore
    • 91 Jessica Kiang
    An unfeasibly charming film full of little wisdoms and quiet comforts where we might expect to find provocations, its only deception is that it is so much richer than it seems at first glance.
    • 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.
    • 75 Metascore
    • 91 Jessica Kiang
    Without overly romanticizing it or suggesting that, ultimately, it is anything more than a business built around the talents of some very singular men, Sunada's film becomes a love letter of a most unusual kind, because it is addressed to a place that is unremarkable in every way except for the spirit that flowed through it.
    • 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.
    • 78 Metascore
    • 91 Jessica Kiang
    Puiu scoops up storylines and arguments and revelations armful by messy armful and the inexplicably titled “Sieranevada” becomes by turns pit-of-stomach-sad, flight-of-fancy funny and pin-in-heart moving. And never less than wincingly true in its deadpan acknowledgement of the beautiful absurdity of family life.
    • 84 Metascore
    • 91 Jessica Kiang
    The current of informed anger, directed at those who stand by while injustice and bigotry flourish, is unmistakable and turns the whole film into a kind of clever folk fable-cum-protest song.
    • 80 Metascore
    • 91 Jessica Kiang
    Guzmán's essential thesis seems to be that, in turning its back on the ocean, modern Chile lost a crucial part of its identity. But he also puts forward the extraordinary idea that the water has a memory, and that if you listen closely enough, you can hear the voices of the disappeared.
    • 81 Metascore
    • 91 Jessica Kiang
    "Pigeon" is a near-perfect cap to a near-perfect trilogy, a cavalcade of oddness, humor, banality and even horror.
    • 87 Metascore
    • 91 Jessica Kiang
    Force Majeure is a brutally smart and original film.
    • 81 Metascore
    • 91 Jessica Kiang
    The real war of A War is waged within Claus, with Lindholm's camera trained mercilessly on Asbæk as he delivers yet another faultlessly committed performance, within a large ensemble in which every performer feels note-perfect.
    • 66 Metascore
    • 83 Jessica Kiang
    Gitai rightly trusts in the fascination of material that needs no sensationalism or gimmickry to command our whole attention.
    • 80 Metascore
    • 83 Jessica Kiang
    This kind of vérité surrealism doesn’t come along very often, and the glorious oddness that Zurcher manages to infuse into even the most routinely domestic activities is really the gift the film keeps on giving.
    • 77 Metascore
    • 83 Jessica Kiang
    This first section is so charming and well-observed, and creates such real chemistry between the two terrific leads, that it's almost a shame that it's there to invest us in them just so the fast-paced genre flick to come has an anchor.
    • 71 Metascore
    • 83 Jessica Kiang
    As polished a film in terms of craft and performance as Nichols has ever made, the director’s trademark considered intelligence shows itself in how subtly it reworks and refreshes the tired conceits of the historical biopic, while still remaining a conventionally appealing and, yes, Oscar-y example of the genre.
    • 92 Metascore
    • 83 Jessica Kiang
    For all its value in bearing witness to the kind of atrocious acts that get but little attention on the world stage, this is not mere testimony, this is cleverly crafted and remarkably affecting storytelling.
    • 50 Metascore
    • 83 Jessica Kiang
    It’s kind of a blast, with fully enough plot to fill a two-hour feature crammed efficiently into less than half that time in a manner that demands nothing from you except that you enjoy the ride.
    • 86 Metascore
    • 83 Jessica Kiang
    The list of the film’s transgressions against the culturally acceptable is almost gratuitously long. But the spine of self-aware intelligence that runs through even its most grotesque, exploitative, and offensive twists, and the basically incredible, irreplaceable central performance from Isabelle Huppert, make this queasily hilarious mass of contradictions just about cohere.
    • 75 Metascore
    • 83 Jessica Kiang
    A highly polished film that belies the soap opera melodrama of its plotline by having the twists and turns spring directly from well-observed human behavior, Stone's The Daughter is a quiet, immensely affecting triumph.
    • 78 Metascore
    • 83 Jessica Kiang
    His new film Zero Days may ostensibly be an investigation of the 2010 malware worm known as Stuxnet, but over its swift-moving 116-minute runtime, Gibney does a much broader and more important job: relating the rather airless, abstract concepts of cyber-terrorism and internet espionage to their real-world consequences.
    • 71 Metascore
    • 83 Jessica Kiang
    A true blue dark comedy that isn’t so concerned with its darkness that it forgets to be laugh-out-loud silly at times too, “In Order of Disappearance” is a bitter, bloody treat for the black of heart.
    • 70 Metascore
    • 83 Jessica Kiang
    Uplifting in a tiny, understated and very authentic way, Sworn Virgin shows us gently how its possible to be living in exile in the world you know best, and how it's possible to come home to a place you've never been before.
    • 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.
    • 87 Metascore
    • 83 Jessica Kiang
    All Is Lost is a taut, superbly crafted addition to the survival story genre.
    • 85 Metascore
    • 83 Jessica Kiang
    Amy
    It's a gripping and thoroughly effective, perhaps even brilliant piece of biographical documentary filmmaking.
    • 62 Metascore
    • 83 Jessica Kiang
    Containing not one single jump scare, but building a disquieting atmosphere of dread that leads us to make some brilliantly gruesome inferences, it’s a classy take on the often trashy pregnancy horror category, with a subtle social critique underlying its neo-gothic texture.

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