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 Carlos
Lowest review score: 0 Play the Game
Score distribution:
1481 movie reviews
    • 64 Metascore
    • 30 J.R. Jones
    The U.S. vs. John Lennon isn't so much a history of Lennon's pacifism as a continuation of it, the last bed-in, so to speak, with contemporary figures like Gore Vidal and Noam Chomsky on hand to connect Vietnam with Iraq, President Nixon with President Bush, and the FBI's spying on Lennon with the current administration's domestic surveillance.
    • 52 Metascore
    • 30 J.R. Jones
    As it turns out, what's going on is yet another cinematic rip-off, this time of “The Exorcist.” Apparently rec stands not for record but for recycle
    • 35 Metascore
    • 30 J.R. Jones
    It's a victory of tone over storytelling, though perhaps a Pyrrhic one.
    • 38 Metascore
    • 30 J.R. Jones
    I'm guessing Donald Sutherland agreed to do this tedious horror flick because he heard Sissy Spacek was on board, and Spacek agreed to do it because she heard Sutherland was on board.
    • 41 Metascore
    • 30 J.R. Jones
    Initially this struck me as something you'd take your grandmother to see, but by the end it seemed more like something your grandmother would take her grandmother to see.
    • 57 Metascore
    • 30 J.R. Jones
    Smirky, gum-in-your-hair humor dominates this dreadful 2005 feature.
    • 43 Metascore
    • 30 J.R. Jones
    A dearth of game footage and a wealth of inspirational platitudes contribute to the sense of a powerful tale having already faded into yellowed newspaper clippings.
    • 60 Metascore
    • 30 J.R. Jones
    Despite the 138-minute running time, Temple holds all the artists to one song (or less), devoting about half the movie to kaleidoscopic--and ultimately wearying--montage of festivalgoers past and present.
    • 22 Metascore
    • 30 J.R. Jones
    The thesis-driven story precludes much dramatic discovery, and the looming shuttle disaster only exacerbates the sense of heavy-handedness.
    • 35 Metascore
    • 30 J.R. Jones
    Like so many other CGI behemoths, this dull action fantasy ultimately squashes rather than inspires one's sense of wonder.
    • 48 Metascore
    • 20 J.R. Jones
    Distributors are clearly scraping the bottom of the barrel with this flimsy exposé of presidential adviser Karl Rove.
    • 16 Metascore
    • 20 J.R. Jones
    Shameless exercise in high-tech sadism.
    • 31 Metascore
    • 20 J.R. Jones
    The dearth of ideas is exemplified at the end by a Mary Tyler Moore freeze-frame of Graham leaping in the air.
    • 34 Metascore
    • 20 J.R. Jones
    Creatively it's a giant step backwards.
    • 36 Metascore
    • 20 J.R. Jones
    Stephen Gaghan, who scripted this turkey, landed in the director's chair after Edward Zwick (Glory) bailed out, and you can almost smell the flop sweat.
    • 51 Metascore
    • 20 J.R. Jones
    Only in the last third, when he gets down to the business of telling a story, does The Brown Bunny become a porn movie -- though not in the sense you'd expect.
    • 46 Metascore
    • 20 J.R. Jones
    Saw
    Sicko horror film from Australia, whose sadism is topped only by its absurdity.
    • 22 Metascore
    • 20 J.R. Jones
    Even with the bar lowered, this seems appallingly bad, a lazy assortment of weak punch lines, sentimental music cues, and trite situations.
    • 30 Metascore
    • 20 J.R. Jones
    The serious Catholic themes that made the original film genuinely disturbing have been flattened out into a cartoonish backstory.
    • 25 Metascore
    • 20 J.R. Jones
    No laughs here, just the dull ache of seeing Heder slotted into a standard piece of Hollywood twaddle.
    • 18 Metascore
    • 20 J.R. Jones
    Cuba Gooding Jr. is the kind of guy who does ten minutes of shtick every time the little light in the fridge comes on, and for years I've been waiting for him to just go away. If this dud comedy is any indication of the scripts he's getting, I may not have to wait much longer.
    • 66 Metascore
    • 20 J.R. Jones
    The witty title aside, this is a miserably dull exercise in stingy-Jew humor and post-Jarmusch nonreaction.
    • 28 Metascore
    • 20 J.R. Jones
    A better name for it would have been the Herschell Gordon Lewis: the godfather of gore himself couldn't have topped this succession of grisly deaths.
    • 38 Metascore
    • 20 J.R. Jones
    Bloody gangsta crap.
    • 39 Metascore
    • 20 J.R. Jones
    As with many R-rated studio comedies, the transgressive humor isn't nearly as offensive as the phony sentiment that's supposed to redeem it, supplied here in stale scenes of the sitter bonding with his little charges.
    • 23 Metascore
    • 20 J.R. Jones
    Dismal.
    • 35 Metascore
    • 20 J.R. Jones
    Without the grandiose narrative structure of the six live-action releases, this feels even more pointless, a mechanical attempt to milk the kids for every last dime.
    • 49 Metascore
    • 20 J.R. Jones
    A career low for Mark Wahlberg and director John Singleton (Boyz N the Hood), this ridiculous mean-streets adventure starts out like a Hell's Kitchen melodrama from the 30s and eventually spins off into a series of gunfights, beat downs, and trite Motown numbers.
    • 29 Metascore
    • 20 J.R. Jones
    Corrupt warden, sadistic guards, new inmate debauched by her surroundings, prison-break hostage drama--could have come straight from an old George Raft vehicle.
    • 47 Metascore
    • 20 J.R. Jones
    This is mostly a listless hodgepodge of half-improvised whatever, the seven lead characters so flatly conceived they're like the Keystone Kops (without the chops).

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