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

J.R. Jones' Scores

  • Movies
  • TV
Average review score: 58
Highest review score: 100 Beasts of the Southern Wild
Lowest review score: 0 Bad Boys II
Score distribution:
1,480 movie reviews
    • 75 Metascore
    • 80 J.R. Jones
    The movie is taut with suspense but culminates in wise resignation as the hero comes to understand he's running from a part of himself.
    • 64 Metascore
    • 80 J.R. Jones
    Smart dialogue, an impeccably crafted story, and eye-catching LA locations make this low-budget feature by Alex Holdridge the most worthwhile date movie I've seen in some time.
    • 82 Metascore
    • 80 J.R. Jones
    A first-rate thriller, maintaining a high level of suspense.
    • 70 Metascore
    • 80 J.R. Jones
    They deliver a clear and compelling primer on the federal budget deficit, the trade deficit, and the personal debt crisis, all of which are driving our country toward a catastrophic financial meltdown.
    • 62 Metascore
    • 80 J.R. Jones
    This is scandal-mongering fun that also lays bare the deforming power of the male aristocracy.
    • 82 Metascore
    • 80 J.R. Jones
    It's not a terribly disciplined exercise--the rehearsal dinner and wedding ceremony go on so long I felt like I was watching "The Deer Hunter"--but the performances are outstanding, especially Hathaway's and Debra Winger's in a small but devastating turn as her chilly, resentful mother.
    • 78 Metascore
    • 80 J.R. Jones
    Fleet, gripping documentary.
    • 80 Metascore
    • 80 J.R. Jones
    Masterful low-budget drama.
    • 69 Metascore
    • 80 J.R. Jones
    Fully exploits the drama, with scenes, dialogue, and even key visuals pulled from the text.
    • 81 Metascore
    • 80 J.R. Jones
    He looks like a truck ran over him, but at 52 he's still ripped enough to get away with the role; in the end the movie is about Rourke's indomitability more than the character's.
    • 92 Metascore
    • 80 J.R. Jones
    Most impressive, Cantet tracks the racial and ethnic resentments that simmer beneath the classroom discussions but become harder to quell when the parents get involved.
    • 70 Metascore
    • 80 J.R. Jones
    Apatow became the hottest comedy director in the business by seamlessly combining relationship comedy that didn't bore the guys and wild comedy that didn't nauseate the girls; this is a knockoff, pure and simple, but its wit and ingenuous characters prove how far the bar's been raised.
    • 61 Metascore
    • 80 J.R. Jones
    It's a solid indie effort with plenty of nice character strokes by screenwriter Megan Holley and razor-sharp performances by Amy Adams and Emily Blunt.
    • 74 Metascore
    • 80 J.R. Jones
    The performances are solid: pulling inward in every scene, Phoenix taps into the New York loneliness that defined Paddy Chayefsky's Marty, and Rossellini is excellent as the worried mother, who doesn't have much to say but watches her beloved boy like a cat.
    • 89 Metascore
    • 80 J.R. Jones
    The emotion here is genuine, but the outlook is tough: in Bahrani's movies we're all aliens to each other.
    • 82 Metascore
    • 80 J.R. Jones
    This is a drama of shifting values and compromised ideals, arriving at a view of life that's wise, complicated, and tinged with melancholy.
    • 82 Metascore
    • 80 J.R. Jones
    Gervasi has tapped into a powerful if much-overlooked truth: humanity rocks.
    • 54 Metascore
    • 80 J.R. Jones
    The sentimentality is held in check by Caine, who rises to the occasion with a bleak, angry performance.
    • 83 Metascore
    • 80 J.R. Jones
    The resulting portrait shows a seriously troubled man whose brutality was bred into him on the punishing streets of Brooklyn and whose modest wisdom seems as hard-won as any title. Tyson's fight career may be over, but his battle with himself has many rounds to go.
    • 73 Metascore
    • 80 J.R. Jones
    Strikes an impressive balance between the gathering tension of its noirish plot and the philosophical implications of the characters' compromises. That balance slips in a morose and dreadfully lethargic third act, but before Ceylan goes all Kiarostami on us this is a substantial European entry in a genre that American filmmakers can't seem to master anymore.
    • 78 Metascore
    • 80 J.R. Jones
    Strange, unpredictable, and sometimes magical.
    • 62 Metascore
    • 80 J.R. Jones
    Hysterically funny CGI fight sequences, which pit the chubby superhero against a series of creatures so bizarre they'd keep Hieronymus Bosch awake at night.
    • 58 Metascore
    • 80 J.R. Jones
    The episodic structure works to the movie's benefit, highlighting the eccentric supporting characters and allowing Mendes to smoothly downshift from hilarity to sadness.
    • 55 Metascore
    • 80 J.R. Jones
    Crisp supporting turns by John Turturro (as a hostage negotiator) and James Gandolfini (as the mayor) combine with plenty of vehicular mayhem to make this a superior diversion.
    • 67 Metascore
    • 80 J.R. Jones
    This eerie drama harks back to sci-fi movies of the late 60s and early 70s that explored inner as well as outer space (2001, Solaris, and particularly Silent Running).
    • 80 Metascore
    • 80 J.R. Jones
    Lorna's sudden change of heart is a pointed example of what the Dardenne brothers' movies are all about. Capitalism may seem at times like a raging river, but every day, all over the world, people try to make it flow in the opposite direction.
    • 82 Metascore
    • 80 J.R. Jones
    The Maid may turn mostly on issues of housework, but it never feels trivial, because Silva is so skillful in exposing the alliances and levers of power inside the household.
    • 71 Metascore
    • 80 J.R. Jones
    Ruppert makes a compelling argument that the world is approaching a paradigm shift unlike anything in human history.
    • 69 Metascore
    • 80 J.R. Jones
    Herzog deserves the lion's share of the credit for the movie's quality, but Port of Call New Orleans is also a comeback for Cage.
    • 76 Metascore
    • 80 J.R. Jones
    This melancholy romance is the first Almodovar feature I’ve ever really liked, an expertly fashioned melodrama that steers mercifully clear of his usual puckishness and star-mongering.

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