For 1,480 reviews, this critic has graded:
  • 43% higher than the average critic
  • 3% same as the average critic
  • 54% lower than the average critic
On average, this critic grades 1.1 points lower than other critics. (0-100 point scale)

J.R. Jones' Scores

  • Movies
  • TV
Average review score: 58
Highest review score: 100 4 Months, 3 Weeks and 2 Days
Lowest review score: 0 I Hate Valentine's Day
Score distribution:
1,480 movie reviews
    • 27 Metascore
    • 30 J.R. Jones
    This dismal comedy joins a growing pile of Murphy disasters.
    • 33 Metascore
    • 30 J.R. Jones
    This teen romance doesn't have a single authentic moment.
    • 70 Metascore
    • 30 J.R. Jones
    But the big scare scenes seem particularly isolated here, supported by neither the flat characters nor the vague plot.
    • 18 Metascore
    • 30 J.R. Jones
    Director Kurt Wimmer has an eye for jackboot chic (Equilibrium), and the images here have been digitally polished so that the characters' skin is smoother than porcelain. It's a cool effect--I spent most of this interminable actioner wondering if one could bounce a quarter off Jovovich's bare midriff.
    • 55 Metascore
    • 30 J.R. Jones
    Verde is too blankly amoral to sustain interest, but the film has isolated moments of haunting poetry.
    • 56 Metascore
    • 30 J.R. Jones
    Insipid, TV-bland drama.
    • 42 Metascore
    • 30 J.R. Jones
    Armitage adds a slick veneer of one-liners and slapstick to Leonard's novel, but the story has been so spun around that it barely knows how to end.
    • 54 Metascore
    • 30 J.R. Jones
    Unbearably twee mockumentary.
    • 31 Metascore
    • 30 J.R. Jones
    Jackman and McGregor throw their best American accents behind the effort, but Michelle Williams seems fairly bored as the sex-club partner who wins McGregor's heart. I'm with her.
    • 45 Metascore
    • 30 J.R. Jones
    How long do you have to be gone to make a triumphant return to the screen, and how triumphant can your return be when all three movies are duds?
    • 49 Metascore
    • 30 J.R. Jones
    This Spanish comedy showcases a gallery of popular actresses, but writer-director Manuel Gomez Pereira gives them nothing to work with aside from tiresome romantic complications.
    • 54 Metascore
    • 30 J.R. Jones
    I've observed this Seth Rogen comedy, and I can report that it's not very good.
    • 36 Metascore
    • 30 J.R. Jones
    Despite the syncopated score and subtitled patois, this is just another "Scarface" knockoff, with the usual array of bling, booty, and ballistics.
    • 37 Metascore
    • 30 J.R. Jones
    Overblown and unconvincing, the director's bright, poppy style clashing with the grim subject matter.
    • 37 Metascore
    • 30 J.R. Jones
    With any luck this biopic of Amelia Earhart will also vanish without a trace. Hilary Swank is sorely miscast as the legendary aviator.
    • 16 Metascore
    • 30 J.R. Jones
    The troubled star writhes her way through a red-lit pole dance in the opening credits and shrieks her way through a prolonged torture-porn sequence; after those lurid turns the movie settles into an indifferent mystery plot as the cops pressure the girl to help them find the culprit.
    • 35 Metascore
    • 30 J.R. Jones
    This story line turns out to be a put-on, and the latter half of the movie is a tedious mockumentary exercise.
    • 56 Metascore
    • 30 J.R. Jones
    If a bullet hadn't killed John Lennon, this Beatles-scored musical might have.
    • 38 Metascore
    • 30 J.R. Jones
    Put this one back on the shelf, and walk away.
    • 64 Metascore
    • 30 J.R. Jones
    The novelty wears off almost immediately, leaving this a real chore to watch; there's something bizarre about low-budget spontaneity being replicated in such a labor-intensive medium.
    • 30 Metascore
    • 30 J.R. Jones
    The best thing I can say about this sleep-inducing kiddie comedy is that the need to bring in a PG rating must have precluded the endless series of giant-turd gags promised by the title.
    • 78 Metascore
    • 30 J.R. Jones
    The script, by Nolan and his brother Jonathan, takes a few vague pokes at Wall Street and the financial elite but mainly revives the ponderous psychodrama of the first movie.
    • 27 Metascore
    • 30 J.R. Jones
    The remake begins with the same premise and appropriates the most striking visuals, grafting them onto a more explicable but equally dull George Romero-style doomsday scenario.
    • 56 Metascore
    • 30 J.R. Jones
    Predictable outrage.
    • 42 Metascore
    • 30 J.R. Jones
    Bland comedy romance. Grant and Bullock fail to put across the tired dialogue, and many scenes seem ad-libbed--in desperation.
    • 22 Metascore
    • 30 J.R. Jones
    In any normal year this dire comedy would be the undisputed lump of coal in our psychic stocking, but with "Surviving Christmas" still in theaters it's a close second.
    • 37 Metascore
    • 30 J.R. Jones
    The word "raunchy" doesn't begin to describe this.
    • 36 Metascore
    • 30 J.R. Jones
    Most of the action in this 2001 indie drama takes place on computer screens, with grainy faces framed by sharp little boxes; the 21st-century conceit is topical enough but the characters and their problems couldn't be more stale.
    • 33 Metascore
    • 30 J.R. Jones
    By the time Gooding showed up for one of his assignments disguised as a call girl, even "Boat Trip" looked good to me.
    • 62 Metascore
    • 30 J.R. Jones
    Writer-director Michel Leclerc keeps stressing how political all this is (the heroine labels almost everyone a "fascist"), but the movie never really decides what it's about, and its odd-couple romance is stale and unpersuasive.

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