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 God Bless America
Lowest review score: 0 Blindness
Score distribution:
1,480 movie reviews
    • 83 Metascore
    • 100 J.R. Jones
    A quantum leap in movie magic; watching it, I began to understand how people in 1933 must have felt when they saw "King Kong."
    • 94 Metascore
    • 100 J.R. Jones
    Such is the extraordinary achievement of The Hurt Locker: it has the perspective of years when those years have yet to pass.
    • 83 Metascore
    • 100 J.R. Jones
    The result is an instant classic. The material allows Anderson to neutralize the most irritating aspects of his work (the precociousness, the sense of white-bread privilege) and maximize the most endearing (the comic timing, the dollhouse ordering of invented worlds).
    • 81 Metascore
    • 100 J.R. Jones
    The only person who seems to understand the angry teen is mom's new boyfriend (Michael Fassbender of Hunger), though their friendship oscillates between intimate and vaguely creepy.
    • 79 Metascore
    • 100 J.R. Jones
    This drama about an obese, illiterate black teen in Harlem practically guarantees some emotional uplift. But when it arrives, eventually, its authority is unimpeachable, so deeply has director Lee Daniels (Monster's Ball) immersed us in the depths of human ugliness.
    • 94 Metascore
    • 100 J.R. Jones
    Captivating, mesmerizing, spellbinding.
    • 97 Metascore
    • 100 J.R. Jones
    In a truly great movie the form becomes indistinguishable from the story, and that’s certainly the case here.
    • 76 Metascore
    • 100 J.R. Jones
    Visually witty, flawlessly played romantic comedy.
    • 84 Metascore
    • 100 J.R. Jones
    Extraordinary 2008 French drama.
    • 68 Metascore
    • 100 J.R. Jones
    The production design is superb, and the actors deliver their dialogue in subtitled Yucatecan Maya, but despite all the anthropological drag, this is really just a crackerjack Saturday-afternoon serial.
    • 88 Metascore
    • 100 J.R. Jones
    The songs don't advance the narrative lyrically so much as follow the two characters' uncertain relationship through the slow realization of their themes; in particular a scene in which they first jam together in the back room of a music store is a gem.
    • 90 Metascore
    • 100 J.R. Jones
    If "Ratatouille" taught the world that rats have feelings too, Persepolis teaches the same thing about the people of Iran, who in the current political climate are probably in greater danger of being eradicated.
    • 89 Metascore
    • 100 J.R. Jones
    Zhang weaves in both thrilling martial-arts set pieces and stunning studies of period silk tapestry and costume.
    • 63 Metascore
    • 100 J.R. Jones
    After the portentous "No Country for Old Men," Joel and Ethan Coen return to their trademark brand of cruel, misanthropic farce, and for dark laughs and hurtling narrative momentum this spy caper is their best work since "Fargo."
    • 85 Metascore
    • 100 J.R. Jones
    Atonement is that rare combo: a good movie based on a good book.
    • 88 Metascore
    • 100 J.R. Jones
    For a movie about the importance of memory, Away From Her is appropriately sophisticated in its treatment of time. Polley has broken the chronological story into three sections of unequal length and woven them together, approximating our own mercurial journeys through the past.
    • 85 Metascore
    • 100 J.R. Jones
    The mix of dark humor, creeping suspense, and a sort of apocalyptic tenderness makes this the best horror flick in years.
    • 70 Metascore
    • 100 J.R. Jones
    At the very least, it's more honest and involved in its portraiture of American soldiers in Iraq than anything TV news of any political persuasion has given us.
    • 53 Metascore
    • 100 J.R. Jones
    Most comedies start with a straight story and hang jokes on it; Solondz begins with a cosmic joke and takes his characters by the hand as they suffer through it.
    • 70 Metascore
    • 100 J.R. Jones
    This powerful South African drama turns on the debut performance of young Presley Chweneyagae as the hood, and it's magnificent: a stone-faced killer in the opening scenes, he becomes an open book as the story progresses, as frightened, confused, and needy as the baby he drags around town in a shopping bag.
    • 73 Metascore
    • 100 J.R. Jones
    Directed by John Hillcoat, this Aussie feature perfectly re-creates the charbroiled landscapes and cruel psychodrama of the old Sergio Leone westerns, with John Hurt particularly fine as a raging old mountain goat.
    • 74 Metascore
    • 100 J.R. Jones
    Of course no Western director can make a movie about Africa without being accused of colonialism himself, and some critics have faulted The Last King of Scotland for focusing on its white hero as black corpses pile up around him. But although the movie takes place on an international political stage, it's still a drama of individual allegiance.
    • 84 Metascore
    • 100 J.R. Jones
    This seventh installment is utterly fascinating.
    • 89 Metascore
    • 100 J.R. Jones
    As clever as he is crude, Cohen alchemizes bad-taste comedy into Strangelovean satire.
    • 75 Metascore
    • 100 J.R. Jones
    Through it all Nader, as ruefully funny as ever, comments on his adventures.
    • 81 Metascore
    • 100 J.R. Jones
    The good humor bubbles up from a deep reservoir of affection for Hollywood schlock.
    • 80 Metascore
    • 100 J.R. Jones
    The show has been the gold standard for satirical TV ever since it debuted in 1989. This long-awaited movie adaptation has plenty of laughs, plus an assortment of milestones for fans.
    • 82 Metascore
    • 100 J.R. Jones
    A triumph not of reporting but of synthesis.
    • 67 Metascore
    • 100 J.R. Jones
    The movie gradually deepens from odd-couple comedy into Catholic-themed drama, but it remains marvelously funny throughout. Instead of hitting the easy notes of black humor, McDonagh skillfully modulates between broad character laughs and the men's piercing anguish as the story nears its bloody conclusion.
    • 80 Metascore
    • 100 J.R. Jones
    Werner Herzog is a stranger in a strange land as soon as he gets out of bed in the morning: in this travelogue of Antarctica, his perverse curiosity and zest for the harshest extremes of nature transform what might have been a standard TV special into an idiosyncratic expression of wonder.

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