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 Palindromes
Lowest review score: 0 Suddenly
Score distribution:
1480 movie reviews
    • 65 Metascore
    • 40 J.R. Jones
    There's one nifty and original sequence--an assassination attempt during a state funeral where the pipe organs in the church all go haywire--but otherwise, this is crushingly generic.
    • 65 Metascore
    • 50 J.R. Jones
    As the phlegmatic, beer-guzzling protagonist, Will Ferrell manages to keep this rolling, though Rush's corny narrative devices (each of the minor characters receives an ironic gift at the end) couldn't be less consistent with Carver's stubborn minimalism.
    • 65 Metascore
    • 50 J.R. Jones
    Director Nigel Cole is best known for "Calendar Girls" (2003), another condescending exercise in you-go-girl uplift.
    • 65 Metascore
    • 50 J.R. Jones
    The famously oblique French director Alain Resnais (Last Year at Marienbad) won a special award at the Cannes film festival for this existential comedy (2009), whose masterful technique fails to compensate for its glassy characters and mercilessly self-amused tone.
    • 65 Metascore
    • 50 J.R. Jones
    You may feel fussy asking for a coherent narrative, though, because director Ridley Scott delivers so many of the shocking set pieces that are the real hallmark of the series.
    • 65 Metascore
    • 40 J.R. Jones
    I found it warm, humane, pretty, and dull enough to anesthetize patients awaiting massively invasive surgery.
    • 65 Metascore
    • 50 J.R. Jones
    As "Kick-Ass" proved, there's a ready audience for the spectacle of a school-age girl who's a relentless killing (as opposed to texting) machine.
    • 65 Metascore
    • 50 J.R. Jones
    I hate to rap this serious-minded filmmaker, but I'm beginning to wonder whether her scripts aren't better realized when they're held in check.
    • 64 Metascore
    • 50 J.R. Jones
    What makes Outrage a bankable indie film is the promise of personal embarrassment--everyone loves a good outing. Except for the person at the center of it.
    • 64 Metascore
    • 50 J.R. Jones
    Elf
    The film is soon bogged down by fake hugs and a faker climax.
    • 64 Metascore
    • 60 J.R. Jones
    Passably creepy chiller.
    • 56 Metascore
    • 50 J.R. Jones
    This adaptation of the best-selling novel by Stephenie Meyer never rises above the level of a teen soaper on the CW, and its pale, sulky boy toys (Kellan Lutz, Peter Facinelli, Jackson Rathbone) are more silly than scary.
    • 64 Metascore
    • 50 J.R. Jones
    Adapted from a Stephen King story, this trite but watchable chiller plays like a scaled-down version of "The Shining," with Cusack driven over the edge by hallucinations of his abusive father and dead daughter.
    • 64 Metascore
    • 50 J.R. Jones
    For the most part this reminded me of a hysterical passenger pushing random buttons in the cockpit of a plunging airplane.
    • 64 Metascore
    • 60 J.R. Jones
    Watt's script is a bit overstuffed, and by the end the roiling animated sequences (drawn by Emma Kelly and inked by Watt and Clare Callinan) are wearing out their welcome. But the convincing characters and hearty examination of mortality make this fresh and oddly uplifting.
    • 64 Metascore
    • 50 J.R. Jones
    This is hysterically funny in parts, but most of the laughs are raunchy or scatological--always a sure bet when puppets are involved.
    • 64 Metascore
    • 50 J.R. Jones
    As the smirking title might suggest, the movie is least prepared to process the feminist backlash against porn movies that followed their early-70s crossover -- in a way the most interesting part of the story.
    • 64 Metascore
    • 40 J.R. Jones
    Packs a punch in its first act with a passionate lead performance by Cyndi Williams and a painfully concrete sense of modern life closing in. But gradually it slips into the indie paradigm of an alienated soul rushing into darkness, climaxing with a semiabstract montage sequence that's more rhetorical than dramatic.
    • 64 Metascore
    • 50 J.R. Jones
    Throughout the tour O'Brien makes it a point of pride to oblige his fans, though even this comes off as self-centered.
    • 64 Metascore
    • 50 J.R. Jones
    This male weepie is ridden with cliches (Farina's character tends to a pigeon coop on his roof, for God's sake) and climaxes with a predictable act of self-abnegation.
    • 64 Metascore
    • 60 J.R. Jones
    Ben Stiller produced, and the movie is so reminiscent of "Zoolander" that I wish he had rounded up Owen Wilson and starred in it himself. Farrell and Heder are pretty funny, but they're consistently upstaged by supporting players William Fichtner, Will Arnett, and Amy Poehler.
    • 64 Metascore
    • 50 J.R. Jones
    This manages to make the real seem generic, rather than the other way around.
    • 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.
    • 64 Metascore
    • 60 J.R. Jones
    This pleasant romantic comedy is essentially "Far From Heaven" with the races reversed.
    • 64 Metascore
    • 60 J.R. Jones
    I came to this expecting a standard rock doc, but its cobwebbed tale of an aged parent and grown child's debilitating relationship seems closer to "Grey Gardens."
    • 63 Metascore
    • 50 J.R. Jones
    The result is notably dim and flat on a big screen, and the giant-monster scenes, often cloaked in darkness, are few and disappointing. Edwards tries to take the high road with a politically intriguing premise (a la District 9) and a tight focus on the evolving relationship between his two traveling companions, but his shapeless script doesn't do much with either element.
    • 63 Metascore
    • 50 J.R. Jones
    This has some currency as ethnography, showing how tribal and interpersonal matters mesh with sports mania, but it remains a formidably dull account of an inherently exciting pastime.
    • 63 Metascore
    • 60 J.R. Jones
    I guessed the big plot twist as soon as Franklin began setting it up, which gave me a good 40 minutes to appreciate the fine supporting cast and weathered coastal Florida locations while waiting for Washington's character to catch up with me.
    • 63 Metascore
    • 50 J.R. Jones
    There's something wrong with a suspense film when the sets are more interesting than the characters.
    • 63 Metascore
    • 50 J.R. Jones
    Apatow and director Jake Kasdan deliver a fair number of laughs, though nearly every good idea is pressed into service as a running gag. The biggest disappointment is their survey of rock history, which has all the depth of a Time-Life book.

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