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

J.R. Jones' Scores

  • Movies
  • TV
Average review score: 58
Highest review score: 100 In Bruges
Lowest review score: 0 The Back-up Plan
Score distribution:
1,480 movie reviews
    • 74 Metascore
    • 80 J.R. Jones
    The equation of Gilliam with Quixote is so obvious to everyone involved that Fulton and Pepe can hardly be blamed for adopting it.
    • 64 Metascore
    • 80 J.R. Jones
    AKA
    Roy's story is fascinating in its own right, exploring the hero's mingled shame over his class background and homosexuality, and painting a vicious portrait of Britain's coke-snorting upper crust in the late 70s.
    • 85 Metascore
    • 80 J.R. Jones
    Disappointment, delusion, dementia, death--did I mention this is a comedy?
    • 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.
    • 80 Metascore
    • 80 J.R. Jones
    A brief but piercing cameo by Imelda Staunton (Vera Drake), as a desolate old woman who fiercely rejects professional counseling for depression, drives home Leigh's greatest insight, that true happiness is not found but realized.
    • 79 Metascore
    • 80 J.R. Jones
    Cheadle's quiet, superbly modulated performance as an ordinary man driven to heroism by hellish events reminds us that the slogan "no justice, no peace" has a private as well as a public dimension.
    • 62 Metascore
    • 80 J.R. Jones
    Turns out to be surprisingly layered.
    • 55 Metascore
    • 80 J.R. Jones
    Sitting in the theater, you're liable to buy all this simply for the pleasure of watching Caine work. Like Eastwood and other actors of his vintage, Caine brings to the project not only his own formidable skills but more than half a century of movie history.
    • 68 Metascore
    • 80 J.R. Jones
    No simple tabloid recap. Gibney applies himself to two mysteries, neither of which he unravels but both of which make for gripping cinema.
    • 72 Metascore
    • 80 J.R. Jones
    The illicit lovers in this eerie South Korean drama communicate whole worlds without ever speaking.
    • 85 Metascore
    • 80 J.R. Jones
    Given what Young charges for concert tickets, all his organs could be gold. So I was even more grateful for this documentary of his August 2005 shows at the fabled Ryman Auditorium in Nashville, expertly directed by Jonathan Demme.
    • 76 Metascore
    • 80 J.R. Jones
    Durkin reveals how the sisters have been pulled in opposite directions by the death of their parents. But the story structure also nurtures a creeping, finally unbearable dread that may have you looking over your shoulder all the way home.
    • 62 Metascore
    • 80 J.R. Jones
    This is scandal-mongering fun that also lays bare the deforming power of the male aristocracy.
    • 80 Metascore
    • 80 J.R. Jones
    As scripted by Michael Arndt, this isn't much more than a glorified sitcom, but it deftly dramatizes our conflicting desires for individuality and an audience to applaud it.
    • 72 Metascore
    • 80 J.R. Jones
    This documentary about Crazy Horse, the legendary Parisian nude cabaret, is so warm, colorful, and sensuous that it seems like a real anomaly for the highly disciplined filmmaker.
    • 76 Metascore
    • 80 J.R. Jones
    John Cameron Mitchell directed, making an impressive detour in style and subject matter after his flamboyant "Shortbus" (2006) and "Hedwig and the Angry Inch" (2001).
    • 53 Metascore
    • 80 J.R. Jones
    But aside from a few overblown production numbers, Columbus respects the show's smaller scale, and the property itself is a knockout, with great tunes and engaging portraits of East Village bohemians in the AIDS-ravaged late 80s.
    • 75 Metascore
    • 80 J.R. Jones
    A runaway hit in Hong Kong, this 2002 crime thriller reinvigorated the genre with its airtight script, taut editing, and sleek cinematography.
    • 71 Metascore
    • 80 J.R. Jones
    Long, grim, but utterly engrossing.
    • 65 Metascore
    • 80 J.R. Jones
    Director Oliver Schmitz is particularly attentive to the superstition and ingrained sexism that make life miserable for these people, though he also seems to view women as the country's best hope.
    • 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.
    • 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.
    • 82 Metascore
    • 80 J.R. Jones
    This is superior family entertainment--warm, thoughtful, and connected to the landscape.
    • 63 Metascore
    • 80 J.R. Jones
    The plot of the picture is familiar, but it's realized with such delicacy and affection for the characters that it seems as fresh and warm as its verdant setting.
    • 72 Metascore
    • 80 J.R. Jones
    As the star-crossed couple, Joaquin Phoenix and Reese Witherspoon contribute all their own vocals, and their soapier scenes together reminded me of no less than the 1954 "A Star Is Born."
    • 72 Metascore
    • 80 J.R. Jones
    Because the first narrative is so crushingly generic (which turns out to be the point), most of the amusement derives from trying to figure out what the second one is all about. I'm not sure I ever did, but the climactic one-two punch of special-effects chaos and meta-movie chin stroking should have the fanboys trembling with delight.
    • 63 Metascore
    • 80 J.R. Jones
    Absorbing thriller.
    • 70 Metascore
    • 80 J.R. Jones
    I wondered if the movie would end with a round of knock-knock jokes, but instead there's a hilarious trash-talking session with the four guys sitting around gutting one another like fish.
    • 89 Metascore
    • 80 J.R. Jones
    The premise of this South Korean import may call to mind that of another, Bong Joon-ho's recent suspense film "Mother," but Poetry is another bird entirely: true to the title, writer-director Lee Chang-dong is principally concerned with rendering emotions that seem inexpressible.
    • 62 Metascore
    • 80 J.R. Jones
    Ted
    MacFarlane gets an impressive amount of comic mileage from having a plush toy talk like a Boston low-life, though for gut laughs nothing compares to the brutal, frantic, and completely wordless fight scene between Wahlberg and his little buddy in a cheap hotel room.

Top Trailers