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 2.8 points lower than other critics. (0-100 point scale)

J.R. Jones' Scores

  • Movies
  • TV
Average review score: 58
Highest review score: 100 Bridesmaids
Lowest review score: 0 Miss March
Score distribution:
1480 movie reviews
    • 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.
    • 60 Metascore
    • 50 J.R. Jones
    Tasteful, unremarkable art-house fare, rescued from complete irrelevance by Stephen Dillane's bottled-up performance as a writer scarred by the Holocaust.
    • 56 Metascore
    • 50 J.R. Jones
    Proves that a movie can be true to life and still seem utterly preposterous.
    • 57 Metascore
    • 50 J.R. Jones
    McAdams is typically effervescent here, but she can't rescue this weak comedy from a wooden Ford, whose stick-up-the-ass character is unimaginatively goosed by screenwriter Aline Brosh McKenna.
    • 66 Metascore
    • 50 J.R. Jones
    Washes onto the big screen with a tide of weak one-liners, exaggerated reactions, and vaguely nauseating gags.
    • 55 Metascore
    • 50 J.R. Jones
    The gentle Wood isn't very convincing as a bare-knuckle brawler (which bodes ill for his forthcoming role as Iggy Pop), and the movie settles into a payback soap opera reminiscent of "West Side Story."
    • 48 Metascore
    • 50 J.R. Jones
    Watchable but not very gripping. Patricia Clarkson does her best with an underwritten part as the young man's terminally ill mother, and British actor Ken Stott is excellent as the grieving husband she leaves behind.
    • 49 Metascore
    • 50 J.R. Jones
    Director Brian De Palma will probably take the rap for this tepid noir, but the real culprits are Josh Hartnett and Scarlett Johansson, red-hot lovers in life but (as ever) gorgeous stiffs on-screen.
    • 49 Metascore
    • 50 J.R. Jones
    Michael Mann was one of the producers, and his daughter Ami Canaan Mann directed; a couple more Manns fill out the credits, which makes you wonder why they couldn't just have a nice picnic and softball game at a state park somewhere.
    • 70 Metascore
    • 50 J.R. Jones
    The real problem, however, is the male protagonist and his foul inner life: Almodovar's impressive recent work has focused on the rich emotionality of women, and though the film provides an interesting take on gender and submission, this sort of nastiness just isn't his thing.
    • 72 Metascore
    • 50 J.R. Jones
    Eastwood is still a primal force on-screen, but his unusual practice of shooting scripts as written, which served him well on "Unforgiven" and "Million Dollar Baby," here leaves him exposed to Nick Schenk's familiar situations and awkward dialogue.
    • 67 Metascore
    • 50 J.R. Jones
    Not having read the Richler novel, I can't comment on the movie's fidelity to it, but this has the overstuffed feel of a sprawling, life-spanning story that's been wrestled down to feature length.
    • 63 Metascore
    • 50 J.R. Jones
    The genre shows serious signs of wear in this needlessly fictionalized feature about Vince Papale.
    • 66 Metascore
    • 50 J.R. Jones
    Despite the two-hours-plus running time, major plot developments like the actual escape and the eventual departure of Colin Farrell's hardened Stalinist flit by so quickly that they barely register.
    • 52 Metascore
    • 50 J.R. Jones
    Mike White contributed to the script, and though he shares with the Hesses an innocence that can be both sweet and slightly grotesque (e.g., Chuck and Buck), his influence is most evident here in the conventional plotting.
    • 68 Metascore
    • 50 J.R. Jones
    This passable live-action feature from Christian mogul Philip Anschutz (The Lion, the Witch and the Wardrobe) also relies heavily on the voices, though the actors are sometimes miscast (Julia Roberts as the spider) or chosen more for their on-screen personas than their pipes (Steve Buscemi as the rat).
    • 44 Metascore
    • 50 J.R. Jones
    Kruger's elaborations on the original mystery are superfluous, but Watts gives this everything she's got.
    • 61 Metascore
    • 50 J.R. Jones
    Being male, I can't relate to this at all; on the other hand, I don't need Midol either, but I'm glad it's on the market.
    • 63 Metascore
    • 50 J.R. Jones
    This was shot at the legendary Ealing Studios, but I hesitate to call it a British comedy: its two stars are American, it currently has no UK release date, and its innocuous naughtiness seems pitched at grandmothers who watch BBC America.
    • 40 Metascore
    • 50 J.R. Jones
    Cox has some wonderfully funny moments, but both actors are playing heavily to type.
    • 63 Metascore
    • 50 J.R. Jones
    Wyatt Cenac, the latest addition to "The Daily Show" With Jon Stewart, is the best reason to see this easygoing romantic comedy.
    • 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.
    • 40 Metascore
    • 50 J.R. Jones
    The stock characters and leaden stretches of expository dialogue are welcome evidence that there's still no computer program capable of telling a decent story.
    • 64 Metascore
    • 50 J.R. Jones
    Watching this is like watching kids play with Hot Wheels--not a bad time at all, but I wouldn't pay ten bucks for it.
    • 54 Metascore
    • 50 J.R. Jones
    Perry hasn't lost his touch for stroking his loyal audience of Oprah women; his enforced happy endings are the car keys taped under your seat.
    • 35 Metascore
    • 50 J.R. Jones
    The story doesn't arc so much as unspool like a stretch of desert highway, but the Ghost Rider is such a powerful amalgam of hot-rod iconography that this is still fairly watchable.
    • 42 Metascore
    • 50 J.R. Jones
    Intelligent, moving, but annoyingly self-satisfied.
    • 32 Metascore
    • 50 J.R. Jones
    Schmidt works the slasher formula for all it's worth, but the repulsive stereotype at the center of the movie dampens the fun.
    • 30 Metascore
    • 50 J.R. Jones
    Suitable entertainment for boys too young to shave.
    • 45 Metascore
    • 50 J.R. Jones
    The drag-racing saga "The Fast and the Furious" (2001) made stars of Vin Diesel, who promptly ditched the series, and Paul Walker, who bailed after "2 Fast 2 Furious" (2003). Both actors return for this fourth installment.

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