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

J.R. Jones' Scores

  • Movies
  • TV
Average review score: 58
Highest review score: 100 An Unreasonable Man
Lowest review score: 0 Repo Men
Score distribution:
1480 movie reviews
    • 89 Metascore
    • 100 J.R. Jones
    As clever as he is crude, Cohen alchemizes bad-taste comedy into Strangelovean satire.
    • 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.
    • 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.
    • 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.
    • 81 Metascore
    • 100 J.R. Jones
    The good humor bubbles up from a deep reservoir of affection for Hollywood schlock.
    • 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."
    • 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."
    • 69 Metascore
    • 100 J.R. Jones
    French director Gaspar Noe has kept a pretty low profile since his 2002 drama "Irreversible" notorious for its brutal nine-minute anal rape scene. But this epic, psychedelic mindfuck confirms him once again as the cinema's most imaginative nihilist.
    • 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.
    • 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
    Such is the extraordinary achievement of The Hurt Locker: it has the perspective of years when those years have yet to pass.
    • 85 Metascore
    • 100 J.R. Jones
    A sense of reconciliation is Malick's great accomplishment in The Tree of Life, affording us equal wonder at grace and nature alike. 
    • 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.
    • 76 Metascore
    • 100 J.R. Jones
    Visually witty, flawlessly played romantic comedy.
    • 84 Metascore
    • 100 J.R. Jones
    Extraordinary 2008 French drama.
    • 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.
    • 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.
    • 76 Metascore
    • 100 J.R. Jones
    An explosive but scrupulously journalistic drama about the radical group that terrorized Germany for nearly 30 years.
    • 56 Metascore
    • 100 J.R. Jones
    As with the earlier movie, this one turns in on its own morality like a Möbius strip, endorsing kindness by practicing slaughter, and pulls us along for the ride. Detractors will call its reasoning ridiculous, and they'll be right - though I doubt that will bother Goldthwait, who makes a living being ridiculous.
    • 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.
    • 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.
    • 78 Metascore
    • 100 J.R. Jones
    Holofcener's work is often classified as comedy of manners, but at her best she trades in something much more resonant--the comedy of mores. Here she dives into the fascinating matter of why some people impulsively give and others compulsively take, and how people are taught to second-guess and quash their own generous impulses.
    • 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.
    • 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.
    • 73 Metascore
    • 100 J.R. Jones
    Dogtooth, a bizarre black comedy from Greece that won the Un Certain Regard prize at the 2009 Cannes film festival, involves a conventional middle-class family--mom, dad, teenage son, two teenage daughters--that turns out to be warped beyond belief.
    • 83 Metascore
    • 100 J.R. Jones
    Given the movie's slow, careful development, I was hardly prepared for the cold-sweat suspense of the last half hour.
    • 94 Metascore
    • 100 J.R. Jones
    I haven't seen the shorter version, but I would hate to lose one moment of the gripping 66-minute sequence-really the heart of the movie-in which Carlos plots and executes his spectacular 1975 raid on the meeting of OPEC ministers in Vienna.
    • 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.
    • 86 Metascore
    • 100 J.R. Jones
    "The whole universe depends on everything fitting together just right," declares Hushpuppy, the fierce, nappy-headed girl at the center of this extraordinary southern gothic.
    • 75 Metascore
    • 100 J.R. Jones
    Bridesmaids is hilariously funny, but what makes it exhilarating is how boldly it defies that conventional wisdom about what men and women like.

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