Jessica Kiang
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For 155 reviews, this critic has graded:
  • 56% higher than the average critic
  • 1% 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 The Tribe
Lowest review score: 25 The Best Offer
Score distribution:
  1. Negative: 8 out of 155
155 movie reviews
    • 56 Metascore
    • 67 Jessica Kiang
    When it comes to capturing some of the gonzo, amoral, substance-fueled verve that Welsh’s novels can display, Filth can take the silver medal with its head held relatively high.
    • 75 Metascore
    • 67 Jessica Kiang
    The odd rhythm of very fast and slick followed by very slow and arty is difficult to settle into, and the film ultimately frustrates, willfully obscuring the apparatus of what appears at first to be a promising film noir framework.
    • 76 Metascore
    • 67 Jessica Kiang
    Jodorowsky throws everything and several kitchen sinks into the film, yet it all has its place, and the overall effect is not of the headachey mess it would be in anyone else’s hands, but of a kind of joyous, absurdist melange of highbrow concepts, personal memoir and potty humor.
    • 62 Metascore
    • 67 Jessica Kiang
    While tears will be jerked, heartstrings plucked and throats enlumpened, it has to go down as a disappointment in the director’s catalogue.
    • 72 Metascore
    • 67 Jessica Kiang
    It’s a meticulous and tightly coiled cautionary tale, but it’s hard to imagine any of its characters having life outside the narrow confines of its stagy plot, or the edges of its carefully composed frames.
    • 37 Metascore
    • 67 Jessica Kiang
    A hard film to hate, but an even harder one to defend, Joe Dante’s throwback zombie comedy Burying the Ex is a completely unreconstructed B-movie that is perfectly happy to breeze by on charm, nostalgia and the attractiveness of its leads.
    • 63 Metascore
    • 67 Jessica Kiang
    Niccol’s film takes a somber, nuanced and compelling look at the War on Terror as it is waged by U.S. drone pilots, right up until a final five minutes that, in a shower of pat resolutions and conclusions, delivers something of a surgical strike on the its credibility.
    • 60 Metascore
    • 67 Jessica Kiang
    Abel Ferrara’s Pasolini is a frustrating film, despite vast stretches of compelling storytelling.
    • 56 Metascore
    • 67 Jessica Kiang
    As a director, Colangelo has a firm if cautious grasp on the material, but as a writer her grip is less sure.
    • 62 Metascore
    • 67 Jessica Kiang
    It looks pretty, and is visually often a creditable recreation of times past, but it gives no substance to Stock and Dean's relationship, just circumstances. It lacks life.
    • 70 Metascore
    • 67 Jessica Kiang
    The film's own spin toward a liberal audience means it chokes into ineffectuality when it tries to take a less ironic and more active stance on society's biggest current white whale, because the persuasive sermon it preaches, it preaches exclusively to the choir.
    • 37 Metascore
    • 67 Jessica Kiang
    Marfa Girl is not going to convince Clark’s detractors, nor will it disappoint his fans, as most of what people consider his trademarks are in place.
    • 55 Metascore
    • 67 Jessica Kiang
    Too transitory and too undemanding to be termed a mindfuck, for Reality minditch seems about right, and it's one you even occasionally get the pleasure of scratching.
    • 54 Metascore
    • 67 Jessica Kiang
    While the sexuality is pushed far too far for mainstream audiences, it's also true that Noe's conception of sentiment and romance pulls the film back from being truly transgressive about its gender or sexuality politics.
    • 70 Metascore
    • 67 Jessica Kiang
    Kore-eda's trademark humility and humanism is here, and we do get glimpses, even stretches, that suggest the piercingly bittersweet vitality of his best work. But "Our Little Sister" feels like "Kore-eda lite."
    • 50 Metascore
    • 67 Jessica Kiang
    Maïwenn makes no apologies for liking her characters and being invested in their problems, even though in the scheme of things, they could well seem insignificant. And Cassel and Bercot reward her faith with a believable portrayal of a couple who are either the best or the worst things to ever have happened to each other, and very probably both.
    • 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.
    • 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.
    • 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.”
    • 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.
    • 53 Metascore
    • 58 Jessica Kiang
    A Single Shot does not add up to anywhere near the sum of its parts.
    • 65 Metascore
    • 58 Jessica Kiang
    The film makes distant what surely should be vital and alive.
    • 57 Metascore
    • 58 Jessica Kiang
    A film that, while often beautiful to look at, feels oddly bloodless in execution.
    • 66 Metascore
    • 58 Jessica Kiang
    It's a sterile affair, no ambiguity, no ambivalence, just people doing one thing and then another.
    • 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.
    • 52 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.
    • 76 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.
    • 34 Metascore
    • 58 Jessica Kiang
    An irreproachably tasteful, easily digestible but an unsurprising, undemanding watch.
    • 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.
    • 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.

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