Jessica Kiang
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For 147 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 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 Cemetery of Splendor
Lowest review score: 25 Beauty and the Beast
Score distribution:
  1. Negative: 8 out of 147
147 movie reviews
    • 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.
    • 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.
    • 77 Metascore
    • 50 Jessica Kiang
    The people of Jia’s film are mysterious, their reactions and motivations, outside of that first segment in which we get the best-drawn and therefore most anomalous character, are all but unknowable.
    • 38 Metascore
    • 50 Jessica Kiang
    It's such a disappointment when you consider the wild portraits of pioneers that Herzog has given us before, that he's so reverent here. Isn't he the director who can locate the madness in everything he sees? Where is Bell's madness?
    • 69 Metascore
    • 50 Jessica Kiang
    With the themes of this play not exactly subtle or delicate, particularly at the climax, it all becomes a bit grating -- inescapable in its heavy-handedness.
    • 34 Metascore
    • 50 Jessica Kiang
    This is one slow-ass "novel," in which no one ever cracks a joke and potentially melodramatic moments (a fairground ride collapse, the initial accident, a suicide attempt) are so painstakingly crafted to avoid splashiness that any momentum is killed. A little splashiness would have been most welcome.
    • 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.
    • 67 Metascore
    • 50 Jessica Kiang
    Muntean is so careful to avoid any whisper of contrivance or manipulation that he doesn't even land on any particular conclusion or moral.
    • 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.
    • 45 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.
    • 55 Metascore
    • 42 Jessica Kiang
    It's quite difficult to hate 5 Flights Up as much as a project this pointless and trite deserves, because of the attractive playing of the central pair. Keaton and Freeman share absolutely zero sexual chemistry, but watching them twinkle at each other and ruefully indulge each other's tiny mood swings is an experience so aggressively engineered for adorability it becomes hypnotic.
    • 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.
    • 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.
    • 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.
    • 46 Metascore
    • 42 Jessica Kiang
    Where Jacquot largely knows what he's doing on a micro-level within individual scenes, and the sets and costuming are pretty special, he seems unable to assemble the parts into a coherent, consistent whole. So the film meanders and hiccups.
    • 59 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.
    • 54 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.”
    • 60 Metascore
    • 33 Jessica Kiang
    It's not funny enough to be a comedy, not well plotted enough to be a thriller but it's also not smart enough to be an actual exploration of all or even any of the many philosophies it, and Abe Lucas, espouses.
    • 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.
    • 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.
    • 51 Metascore
    • 25 Jessica Kiang
    Is it fair to make Woman in Gold representative of the failings of the whole historical-true-story-designed-to-remind-an-older-skewing-middle-class-white-audience-that-people-have-triumphed-over-adversity genre? Perhaps not, but as one of its most egregious and fallacious examples, it's as good a line to draw in the sand as any.
    • 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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