For 1,480 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 2.1 points lower than other critics. (0-100 point scale)

J.R. Jones' Scores

  • Movies
  • TV
Average review score: 58
Highest review score: 100 Burn After Reading
Lowest review score: 0 Cop Out
Score distribution:
1480 movie reviews
    • 55 Metascore
    • 60 J.R. Jones
    As usual, the three instrumentalists (Ray Manzarek, John Densmore, Robby Krieger) take a backseat to their gorgeous front man, though their nimble, idiosyncratic playing has aged much better than his pretentious poetry.
    • 58 Metascore
    • 60 J.R. Jones
    The end result is more like a supermarket on Saturday afternoon. The content is engaging, though.
    • 67 Metascore
    • 60 J.R. Jones
    Fans of Coppola's movies (and/or perfume ads) will find this free of the absurd pop-rock flourishes in "Antoinette" and more consistent with the skilled tonality and narrative ambiguity of "Translation."
    • 70 Metascore
    • 60 J.R. Jones
    Helms's screen persona-the stiff-necked nerd who triumphs through sheer doggedness-is heavily reminiscent of Harold Lloyd's, though Lloyd was handsome and endearing enough to succeed as a romantic lead.
    • 68 Metascore
    • 60 J.R. Jones
    As an avid media watcher, I didn't come away from this with any new insights, but the movie is a pretty good snapshot of the daily newspaper business in transition and turmoil.
    • 71 Metascore
    • 60 J.R. Jones
    Michael Webber's documentary "The Elephant in the Living Room" (2010) makes such a powerful case against private ownership of exotic wild animals that this portrait of circus owner David Balding and his beloved elephant Flora seems sentimental by comparison.
    • 60 Metascore
    • 60 J.R. Jones
    Like Nicole Holofcener's "Please Give" (2010), this turns on the friction between an unusually altruistic character and the self-centered people around him, though screenwriters David Schisgall and Evgenia Peretz never pursue their premise into the sort of moral comedy that so distinguished the other movie.
    • 44 Metascore
    • 60 J.R. Jones
    By accident or design, the resolution here is morally ambiguous and vaguely distasteful, which may be the reason I liked it.
    • 78 Metascore
    • 60 J.R. Jones
    Though it easily surpasses most American action flicks, it suffers from the old commercial imperative of making the protagonist a nice guy, something Refn has seldom bothered with in Europe.
    • 61 Metascore
    • 60 J.R. Jones
    Shepard is the whole show here, as weathered and elemental as the harsh Bolivian locations; the movie's best scenes are those that pit him against Stephen Rea as a former Pinkerton man who tracked the outlaws for years and can't believe Cassidy is still drawing breath.
    • 60 Metascore
    • 60 J.R. Jones
    Director Anne Sewitsky aims for quirky humanism along the lines of Finland's Aki Kaurismaki; she's helped along considerably by Kittelsen's sunny performance, though the film crosses over into Scandinavian kitsch with a series of country-swing interludes sung a capella by a male quartet.
    • 59 Metascore
    • 60 J.R. Jones
    Highly recommended if you want to watch an assortment of rich movie stars feel your pain.
    • 85 Metascore
    • 60 J.R. Jones
    Like the earlier film, this one has an airless quality, much of the action taking place in the hushed and colorless offices of "the Circus." But whereas the dank tone of "Let the Right One In" served to heighten the moments of poignance and shrieking horror, Tinker, Tailor, Soldier, Spy begins to seem phlegmatic after a while.
    • 62 Metascore
    • 60 J.R. Jones
    This French biopic of Nicolas Sarkozy plays like a competent TV miniseries, moving briskly and focusing on the hustle and bustle of electoral politics as the protagonist climbs toward the presidency.
    • 64 Metascore
    • 60 J.R. Jones
    Passably creepy chiller.
    • 37 Metascore
    • 60 J.R. Jones
    The auction makes for a pretty good hinge between the two narratives and, more importantly, allows Madonna to indulge her fetish for fine English things.
    • 73 Metascore
    • 60 J.R. Jones
    Donzelli, a busy actress in France, directed this drama from a script she wrote with Elkaim, which may explain why the parents become the center of the movie while the ostensibly suffering boy never takes shape as a character.
    • 55 Metascore
    • 60 J.R. Jones
    The movie is fairly entertaining, but the high production values and shticky humor invert the dynamic of the show, which was played totally straight despite the fact that the sets were always threatening to fall down.
    • 58 Metascore
    • 60 J.R. Jones
    The comedy sci-fi franchise returns after a ten-year hiatus, with the same formula of respectably funny wisecracks and obsessively detailed space monsters.
    • 57 Metascore
    • 60 J.R. Jones
    A box office phenomenon in France, this crowd-pleasing drama is based on a true story but sticks closely to the template for a Hollywood buddy movie.
    • 42 Metascore
    • 50 J.R. Jones
    By the time the high-octane ending arrived I didn't even care what happened to the kid.
    • 61 Metascore
    • 50 J.R. Jones
    The chills are functional at best and the attempts at pathos negligible.
    • 69 Metascore
    • 50 J.R. Jones
    Its numerous ancillary characters are so closely observed that even those without speaking parts register as people, in a manner than blurs the line between strangeness and intimacy.
    • 47 Metascore
    • 50 J.R. Jones
    As a romantic comedy this is a cut above the norm, satirical in its treatment of both spiritually bereft New Yorkers and materialistic Indian immigrants.
    • 39 Metascore
    • 50 J.R. Jones
    Most of the humor is of the kick-daddy-in-the-shins variety, though Anjelica Huston has a few choice moments as "Ms. Harridan."
    • 28 Metascore
    • 50 J.R. Jones
    The movie's "Beverly Hillbillies" humor had me laughing moderately, and by the end I wasn't even looking around to make sure no one noticed.
    • 44 Metascore
    • 50 J.R. Jones
    Sluggish comedy drama.
    • 25 Metascore
    • 50 J.R. Jones
    Alternates between chunks of opaque exposition delivered by cardboard characters and eruptions of colorful and highly imaginative action.
    • 61 Metascore
    • 50 J.R. Jones
    Notorious on the festival circuit for its excruciating scenes of self-mutilation.
    • 37 Metascore
    • 50 J.R. Jones
    This tepid sequel to Harold Ramis's mobster-on-the-couch comedy "Analyze This" (1999) is partially redeemed by Robert De Niro's handful of scenes with Cathy Moriarty-Gentile, who made her screen debut as the teenage wife in "Raging Bull."

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