Jessica Kiang
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For 111 reviews, this critic has graded:
  • 54% higher than the average critic
  • 3% same as the average critic
  • 43% lower than the average critic
On average, this critic grades 10.1 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: 74 out of 111
  2. Negative: 6 out of 111
111 movie reviews
    • 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.
    • 51 Metascore
    • 50 Jessica Kiang
    It’s a competent, unobjectionable history lesson but Cesar Chavez’ legacy needs a more inspired and inspiring telling if it's to get the exposure this crusading figure deserves.
    • 87 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.
    • 78 Metascore
    • 50 Jessica Kiang
    At best a handful of transitory pleasures, Sils Maria threads through the peaks and valleys of weighty, interesting topics, but makes no lasting impression on them.
    • 60 Metascore
    • 50 Jessica Kiang
    It’s a twee and tweedy period “Footloose,” into which Loach’s trademark left wing sympathies are not so much woven as photocopied and stapled onto alternate pages of the script.
    • 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.
    • 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.
    • 54 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.
    • 51 Metascore
    • 42 Jessica Kiang
    It’s handsome, stately and deathly dull.
    • 51 Metascore
    • 42 Jessica Kiang
    Over the twenty-odd years the film covers, Saint Laurent is scene-by-scene depicted as a genius, a manic-depressive, a polyamorist, a drug taker, a mercurial friend, a partier and a terribly, terribly sensitive soul. He undoubtedly was all of these things and more, it's just a pity he doesn't also come across as a person.
    • 58 Metascore
    • 42 Jessica Kiang
    A missed opportunity that squanders the talents of a pretty stacked cast and jeopardizes the audience’s patience and care for its spoiled characters for too long.
    • 43 Metascore
    • 42 Jessica Kiang
    The story is bloated and episodic (the film's 2h 18m length doesn't help the pacing), and remarkably unengaging for what should be emotionally epic.
    • 57 Metascore
    • 42 Jessica Kiang
    A film which for the most part is enervatingly classic in format: stately, reverential despite the conflicting accounts the various narrators give of Hong's motivations, and often quite dull, despite its focus not on her work or talent but on the more salacious and controversial aspects of her personal life.
    • 44 Metascore
    • 42 Jessica Kiang
    The inescapably precious Still Life doesn’t deal in anything as truthful, complex and difficult as empathy; its only currency is pity, and that is the basest coin of all.
    • 28 Metascore
    • 33 Jessica Kiang
    It only ever connects in the small moments that fall through the cracks of the supposed formal and thematic experimentation—when the fine actors are allowed to walk and talk like real human beings, rather than a collection of tropes.
    • 39 Metascore
    • 33 Jessica Kiang
    Michael Almereyda’s Cymbeline works best as a cautionary tale concerning the dangers of of believing that everything written by The Bard is “timeless.”
    • 49 Metascore
    • 25 Jessica Kiang
    Strangely old-fashioned in its construction and requiring a Golden Gate-level feat of engineering to achieve the suspension of disbelief necessary to unironically enjoy it.
    • 34 Metascore
    • 25 Jessica Kiang
    The film is awful, but it is not unwatchable.
    • 24 Metascore
    • 25 Jessica Kiang
    The choking pictorialism of the sets and CG backgrounds, coupled with the barely-there performances, contribute to an inescapable sense of lifelessness and sterility.
    • 36 Metascore
    • 25 Jessica Kiang
    Retreading "Prisoners" territory to an extent that at times makes you wonder if they’re two parts of some sort of Canadian auteur experiment that no one else is in on, what is lost in the transfer, however, is any of the Villeneuve film’s subtlety or shading, and we are left only with its most lurid, credulity-stretching highlights, with all other textures blasted out to snowy blankness.

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