For 1,481 reviews, this critic has graded:
  • 42% higher than the average critic
  • 3% same as the average critic
  • 55% lower than the average critic
On average, this critic grades 3.4 points lower than other critics. (0-100 point scale)

J.R. Jones' Scores

  • Movies
  • TV
Average review score: 59
Highest review score: 100 Atonement
Lowest review score: 0 I Hate Valentine's Day
Score distribution:
1481 movie reviews
    • 63 Metascore
    • 50 J.R. Jones
    This has some currency as ethnography, showing how tribal and interpersonal matters mesh with sports mania, but it remains a formidably dull account of an inherently exciting pastime.
    • 31 Metascore
    • 50 J.R. Jones
    Pine, who expertly approximated William Shatner in the Star Trek reboot, seems to have picked up some of the actor's air of self-serious buffoonery, and it suits him well; as Witherspoon's best pal, late-night TV comedian Chelsea Handler holds down what might be called the Nora Ephron part, dispensing an endless stream of bawdy man jokes.
    • 59 Metascore
    • 50 J.R. Jones
    Film noir has seldom been so blanc.
    • 52 Metascore
    • 50 J.R. Jones
    Pederson has no smoking gun that connects Nashi to dirty tricks or violence, but there are plenty of both swirling around Moscow.
    • 52 Metascore
    • 50 J.R. Jones
    If the project was intended to enlarge the comedian's audience, it may be a wash: for every prospective Ferrell fan who can't understand English, there must be an existing one who can't understand subtitles.
    • 60 Metascore
    • 50 J.R. Jones
    There are some funny scenes in which the two brothers spy on the wife, who may be having an affair, but the movie's climax is a badly contrived attempt to ratify Jeff's notion of personal destiny.
    • 49 Metascore
    • 50 J.R. Jones
    Writer-directors Jon Hurwitz and Hayden Schlossberg are content to trot out the familiar gags and characters, and the murmurs of recognition I heard in the preview audience indicate that the series has become some kind of sad generational touchstone.
    • 65 Metascore
    • 50 J.R. Jones
    You may feel fussy asking for a coherent narrative, though, because director Ridley Scott delivers so many of the shocking set pieces that are the real hallmark of the series.
    • 59 Metascore
    • 50 J.R. Jones
    The true schism here, however, is between the brainless fun of the action plot and Stone's cheap exploitation of the cartels' real-life sadism.
    • 44 Metascore
    • 50 J.R. Jones
    It’s one thing to make a movie filled with mayhem and then implicate the audience for watching it; it’s another thing entirely to come back ten years later with the same movie, hype it with a marketing campaign, and try to implicate the viewer again. One nice thing about America is that you can’t be tried twice for the same crime.
    • 36 Metascore
    • 40 J.R. Jones
    Spade claims he latched onto his snide persona to distinguish himself from the pack; it's served him well as an ensemble player and a big-screen foil to Chris Farley, but as a romantic lead he's hopeless.
    • 38 Metascore
    • 40 J.R. Jones
    Watching John Leguizamo labor to keep this leaky vessel afloat, I was reminded of all those Hell's Kitchen melodramas James Cagney rescued in the early 30s.
    • 18 Metascore
    • 40 J.R. Jones
    Schizoid romantic comedy -- The first half of the movie is full of broad but capable comedy, but the original film's sexual and class politics are clumsily handled, and the mood turns serious with all the subtlety of a falling guillotine blade.
    • 35 Metascore
    • 40 J.R. Jones
    Buffeted by the usual car crashes and explosions, Wilson and Murphy never develop any comic chemistry.
    • 52 Metascore
    • 40 J.R. Jones
    You can't set the comedy bar much lower than spoofing the old Rock Hudson-Doris Day romances.
    • 65 Metascore
    • 40 J.R. Jones
    I found it warm, humane, pretty, and dull enough to anesthetize patients awaiting massively invasive surgery.
    • 62 Metascore
    • 40 J.R. Jones
    Indifferently scripted and shoddily animated feature.
    • 42 Metascore
    • 40 J.R. Jones
    This dull actioner, written and directed by Mark Steven Johnson, uses voice-over to hurry along Daredevil's genesis tale, and Affleck's rigid performance is a perpetual drag on the story.
    • 38 Metascore
    • 40 J.R. Jones
    Without Diesel's brooding lunkhead presence it's more like "1/2 Fast 1/2 Furious."
    • 60 Metascore
    • 40 J.R. Jones
    Frank Whaley and Philip Seymour Hoffman play minor characters so annoying they might as well wear T-shirts reading "Eat My Brain."
    • 47 Metascore
    • 40 J.R. Jones
    Like the first movie, this has some cute gags but collapses like a soggy paper plate because it can't decide whether to mock or celebrate the heroine's shallow materialism.
    • 30 Metascore
    • 40 J.R. Jones
    It's a pleasure to see Jill Clayburgh on the big screen in a story about middle-aged love and sexuality, but she can't rescue this alternately trite and implausible comedy.
    • 33 Metascore
    • 40 J.R. Jones
    This operates at the intellectual level of the old "Star Trek" in its limp last season, and the professed humanism is belied by the extreme violence and Nazi-chic production design (not to mention a voice-over that traces the outlawing of emotion to "the revolutionary precept of the hate crime").
    • 37 Metascore
    • 40 J.R. Jones
    It takes forever to get moving, but when it finally does, the Quaid and Stone characters still seem ill defined.
    • 48 Metascore
    • 40 J.R. Jones
    A Sears catalog of rock 'n' roll cliches.
    • 28 Metascore
    • 40 J.R. Jones
    This big-budget adventure is based on a recent Michael Crichton thriller, though its premise is too stale to instill the sense of wonder critical to great sci-fi.
    • 37 Metascore
    • 40 J.R. Jones
    The performers all move a lot better than they talk, which is bad news for the insipid melodrama but good news whenever the characters hit the floor in furious competitions between rival crews.
    • 48 Metascore
    • 40 J.R. Jones
    As Adam Sandler vehicles go, this isn't quite as dire as "Eight Crazy Nights," but any movie that has to fall back on Rob Schneider rubbing his nipples has some serious script issues.
    • 45 Metascore
    • 40 J.R. Jones
    Sicko horror flick.
    • 52 Metascore
    • 40 J.R. Jones
    It's more like a feature-length music video, with grainy images illustrating songs from (Youngs) recent album of the same title and actors lip-synching to his reedy vocals.
    • 37 Metascore
    • 40 J.R. Jones
    The characters' undiluted self-interest will seem one-dimensional to all but the worst cynics.
    • 53 Metascore
    • 40 J.R. Jones
    This has wit and energy to burn, but I can't call it escapism, because tackiness and snarkiness are among the things I most need to escape.
    • 44 Metascore
    • 40 J.R. Jones
    Writer-director Toni Kallem generates some touching moments (most of them involving Tom Bower as Taylor's wisp of a father), but this never surmounts the woeful miscasting of its two leads.
    • 35 Metascore
    • 40 J.R. Jones
    This has its moments--most of them thanks to Kilmer and Joe Mantegna as the boy's abusive father--but the troubled romance is unconvincing and the big-name actors hang on the story like ornaments on a spindly tree.
    • 43 Metascore
    • 40 J.R. Jones
    Andrews is still a treasure, but the series's currency is plummeting.
    • 47 Metascore
    • 40 J.R. Jones
    This drama about Baltimore firefighters makes a serious effort to honor the sacrifices of professional rescue workers, but blasts of hokum keep threatening to collapse the building.
    • 47 Metascore
    • 40 J.R. Jones
    Manages to transplant the action to Chicago without completely ruining it, though the emotional impact is largely deflated by the change in cultures.
    • 54 Metascore
    • 40 J.R. Jones
    The ghoulish tone and Mikkelsen's glassy performance smother any laughs.
    • 39 Metascore
    • 40 J.R. Jones
    Weak comedy.
    • 27 Metascore
    • 40 J.R. Jones
    Ice Cube tries his hand at family comedy in this phony story.
    • 32 Metascore
    • 40 J.R. Jones
    Nicely paced but so fluffy it threatens to waft away.
    • 42 Metascore
    • 40 J.R. Jones
    This forced spoof seems to be targeted at lesbian couples and hetero men with severe schoolgirl fetishes; that may be a legitimate market, but I'd hate to be sitting between them.
    • 74 Metascore
    • 40 J.R. Jones
    There's a lot less here than meets the eye.
    • 33 Metascore
    • 40 J.R. Jones
    Forgettable coming-of-age story.
    • 30 Metascore
    • 40 J.R. Jones
    Involves a team of divers exploring a vast cave system, an appropriate setting given the hollowness of the story and acting.
    • 29 Metascore
    • 40 J.R. Jones
    It isn't bad enough to be good.
    • 45 Metascore
    • 40 J.R. Jones
    This isn't very good--the puritanical impulses of the slasher genre collide head-on with the sweet-butt requirements of gay exploitation flicks--but a gender studies major could have a field day with it.
    • 45 Metascore
    • 40 J.R. Jones
    An especially lame variation on Crowe's feel-good formula.
    • 24 Metascore
    • 40 J.R. Jones
    There's a gothic backstory to all this, which makes no sense but looks pretty cool.
    • 41 Metascore
    • 40 J.R. Jones
    This UK drama by Stephen Woolley, a longtime producer for Neil Jordan making his directing debut, presents a fairly convincing version of what might have happened.
    • 63 Metascore
    • 40 J.R. Jones
    ATL
    The movie's first half hour is a barrage of lazy narrative pointers--endless expository voice-over, freeze frames and captions to identify the numerous characters--and by the time screenwriter Tina Gordon Chism decides to write an extended scene, the story is already dead in the water.
    • 40 Metascore
    • 40 J.R. Jones
    The fourth installment in the horror-parody franchise combines plot elements from "The Grudge," "The Village," and "War of the Worlds," with abbreviated spoofs of "Saw," "Brokeback Mountain," and "Million Dollar Baby." The amount of screen time allotted to each movie is roughly proportional to its box office take, suggesting that the first draft of the screenplay was written on a calculator.
    • 51 Metascore
    • 40 J.R. Jones
    Despite a provocative climax, the movie settles into a ponderous collection of soliloquies.
    • 33 Metascore
    • 40 J.R. Jones
    RV
    This miserable comedy is enlivened occasionally by Jeff Daniels and Kristin Chenoweth as a cheerfully tacky couple who keep crossing paths with the dysfunctional clan.
    • 46 Metascore
    • 40 J.R. Jones
    The story lurches from heavy-handed satire to heavy-handed drama. Heigl gives a winning performance, though Slattery-Moschkau seldom misses an opportunity to show her prancing around in her underwear.
    • 64 Metascore
    • 40 J.R. Jones
    Packs a punch in its first act with a passionate lead performance by Cyndi Williams and a painfully concrete sense of modern life closing in. But gradually it slips into the indie paradigm of an alienated soul rushing into darkness, climaxing with a semiabstract montage sequence that's more rhetorical than dramatic.
    • 48 Metascore
    • 40 J.R. Jones
    Any guy who sits through this date movie deserves to get to third base at least.
    • 66 Metascore
    • 40 J.R. Jones
    Judge races through some of his most provocative ideas in the opening minutes and ignores his story's many logical inconsistencies; the movie is bracing for its bile but ultimately more frustrating than funny.
    • 43 Metascore
    • 40 J.R. Jones
    It's gooey fun for the first reel or two despite an abundance of close-ups that render the frantic action nearly unreadable.
    • 41 Metascore
    • 40 J.R. Jones
    The gender-bending comedy of Billy Wilder and Blake Edwards gets a teenpic makeover in this 2005 debut feature by Martin Curland.
    • 65 Metascore
    • 40 J.R. Jones
    Coppola based her script on a revisionist biography by Antonia Fraser, though the film reads most poignantly as a personal statement; like Marie, the director was born to a life of privilege and carries the burden of a proud family legacy.
    • 38 Metascore
    • 40 J.R. Jones
    With the "Lord of the Rings" trilogy completed and the next "Chronicles of Narnia" movie two years away, fantasy aficionados needing a Yuletide fix may have to settle for this dull sword-and-sorcery epic.
    • 33 Metascore
    • 40 J.R. Jones
    Never really generates any serious laughs.
    • 44 Metascore
    • 40 J.R. Jones
    Holding all this together would be enough of a chore even without the hollow black-pride message.
    • 35 Metascore
    • 40 J.R. Jones
    Ulliel, the meek missing soldier in "A Very Long Engagement," makes such a tedious Lecter that this quickly becomes a chore, though Dominic West ("The Wire") is good as a French detective on the madman's trail.
    • 65 Metascore
    • 40 J.R. Jones
    Various news stories have noted the movie's accuracy, which I don't doubt, but the blanket antipathy makes for a wearying and predictable story.
    • 39 Metascore
    • 40 J.R. Jones
    No one breaks into song, but this fact-based legal drama about a battered Anglo-Indian wife on trial for murdering her husband is infected with a fatal strain of heaving Bollywood melodrama.
    • 55 Metascore
    • 40 J.R. Jones
    The movie's idea of funny is giving the two lovers identical moles bordering their upper lips.
    • 36 Metascore
    • 40 J.R. Jones
    War
    Routine crime thriller.
    • 49 Metascore
    • 40 J.R. Jones
    Director Kenneth Branagh has mercifully pared the action down to 88 minutes (the first movie dragged on for 138), but the final act, with its obscure homosexual flirtation, still seems to go on forever.
    • 47 Metascore
    • 40 J.R. Jones
    There's no real reason it should be set in the 70s, except that the freaky wigs, loud clothes, and wall-to-wall soul classics are needed to bolster the nothing script.
    • 48 Metascore
    • 40 J.R. Jones
    Dylan Moran has a few funny moments as Pegg's shiftless pal, and Mike Leigh regular Ruth Sheen puts in an all-too-brief appearance.
    • 33 Metascore
    • 40 J.R. Jones
    The gags are consistently weak, though actor Miles Fisher turns in a hair-raising impression of Tom Cruise.
    • 56 Metascore
    • 40 J.R. Jones
    Hunt's crabby performance weighs on the film, though it's nothing compared to Colin Firth's scenery-chewing turn as her self-lacerating new beau.
    • 69 Metascore
    • 40 J.R. Jones
    The September Issue fixates on status and professional one-upmanship; if you want to see a movie that actually treats fashion as personal expression--in other words, art--keep a lookout for Anne Fontaine’s forthcoming biopic "Coco Before Chanel."
    • 39 Metascore
    • 40 J.R. Jones
    With its sappy musical vignettes and encounter-session dialogue, the movie consistently overplays its insights, though all three leads contribute thoughtful and genuine performances.
    • 43 Metascore
    • 40 J.R. Jones
    This terminally sappy romance delivers heartache, sacrifice, a make-out scene in the pouring rain, and not one but two autistic characters.
    • 42 Metascore
    • 40 J.R. Jones
    Well-meaning but thick with cliches.
    • 43 Metascore
    • 40 J.R. Jones
    At long last, the Dead series may be ready for that final bullet between the eyes.
    • 30 Metascore
    • 40 J.R. Jones
    Beneath all the forced hilarity lies an awful fear of aging--and Sandler is only 43! This is gonna be rough.
    • 55 Metascore
    • 40 J.R. Jones
    A chaotic sequence midway through shows Mormon and gay-rights protesters shouting abuse at each other in San Francisco, and that's pretty much what the whole movie feels like.
    • 65 Metascore
    • 40 J.R. Jones
    There's one nifty and original sequence--an assassination attempt during a state funeral where the pipe organs in the church all go haywire--but otherwise, this is crushingly generic.
    • 56 Metascore
    • 40 J.R. Jones
    A perfect example of the modern comedy mill gone wrong, a prolonged muddle whose plot, specific situations, and improvised quips never line up.
    • 51 Metascore
    • 40 J.R. Jones
    This odd-couple comedy reunites Galifianakis with Todd Phillips, who directed "The Hangover," but don't expect anything like the other movie's novel plotting or wild slapstick.
    • 27 Metascore
    • 40 J.R. Jones
    The Focker franchise has become such a swell payday (Meet the Parents grossed $166 million; Meet the Fockers, $279 million) that now everyone wants in on the act.
    • 49 Metascore
    • 40 J.R. Jones
    It's so played out at this point that not even the enjoyably no-nonsense Statham can pump any life into it.
    • 42 Metascore
    • 40 J.R. Jones
    As on their TV collaboration, "That '70s Show," the time period never extends much farther than hairdos, costume design, and soundtrack hits.
    • 36 Metascore
    • 40 J.R. Jones
    Three decades of skyrocketing income inequality have soured the comedy of Arthur's astronomically expensive self-indulgences.
    • 75 Metascore
    • 40 J.R. Jones
    This low-budget sci-fi item was produced by some of the Brits who made "Shaun of the Dead" and "Hot Fuzz," including their writer and director, Edgar Wright, but it hardly compares, despite Nick Frost's brief appearance as a mangy pot dealer.
    • 65 Metascore
    • 40 J.R. Jones
    A strong cast fails to rescue this ponderous Oscar bait.
    • 60 Metascore
    • 40 J.R. Jones
    The result is a problem drama with more problem than drama.
    • 39 Metascore
    • 40 J.R. Jones
    Inevitably, however, this oh-so-cosmopolitan setup gradually devolves into resentment, messy romance, and marital strife.

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