For 1,481 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 3.5 points lower than other critics. (0-100 point scale)

J.R. Jones' Scores

  • Movies
  • TV
Average review score: 59
Highest review score: 100 Avatar
Lowest review score: 0 Blindness
Score distribution:
1481 movie reviews
    • 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.
    • 63 Metascore
    • 50 J.R. Jones
    Produced by MTV Films, this step-dancing drama is mired in cliche, but with its dingy ghetto settings and hardened, despondent young characters, it's marginally more interesting than "Stomp the Yard," the 2007 movie that inaugurated the subgenre.
    • 63 Metascore
    • 50 J.R. Jones
    The famously passive-aggressive musicians manage to keep any real drama offscreen; the overriding impression is of four people enduring each other long enough to get their retirement portfolios in order.
    • 63 Metascore
    • 60 J.R. Jones
    As usual with Stallone's Rocky sequels, the schmaltz is unbearable, but the fight is plausibly handled, and Stallone's sincere sadness at growing older makes this an unexpectedly satisfying conclusion to the series.
    • 63 Metascore
    • 50 J.R. Jones
    This typically bloated production from Jerry Bruckheimer is good swashbuckling fun for the first few reels but eventually slows to a halt under the weight of too many doubloons.
    • 63 Metascore
    • 50 J.R. Jones
    Weird anachronisms (cars, telephones, home computers) contribute to the craziness, but despite the copious imagination on display, this is a fairly long haul.
    • 63 Metascore
    • 50 J.R. Jones
    Director Paul Greengrass has applied his jumpy, tumbling visual style to action blockbusters with Matt Damon and serious dramatizations of political events. This Iraq war drama makes a game attempt to meld the two, though manufacturing thrills takes precedence over any kind of journalistic insight.
    • 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.
    • 63 Metascore
    • 50 J.R. Jones
    A suitable mainstream vehicle for Malkovich's bruised aloofness.
    • 63 Metascore
    • 50 J.R. Jones
    I'd have preferred less personality stuff and more hard information about the current technical and commercial challenges, but if polishing these guys' egos is the only way to make them do the right thing, then so be it.
    • 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.
    • 63 Metascore
    • 50 J.R. Jones
    An overloaded script by Heidi Thomas... defeats a fine cast
    • 63 Metascore
    • 50 J.R. Jones
    The details of Saint-Laurent's creative process are fairly scant compared to the endless display of material possessions; when the movie is over, it seems more like a catalog than a life story.
    • 63 Metascore
    • 50 J.R. Jones
    The genre shows serious signs of wear in this needlessly fictionalized feature about Vince Papale.
    • 63 Metascore
    • 40 J.R. Jones
    ATL
    The movie's first half hour is a barrage of lazy narrative pointers--endless expository voice-over, freeze frames and captions to identify the numerous characters--and by the time screenwriter Tina Gordon Chism decides to write an extended scene, the story is already dead in the water.
    • 62 Metascore
    • 40 J.R. Jones
    Indifferently scripted and shoddily animated feature.
    • 62 Metascore
    • 50 J.R. Jones
    Hamstrung by its polemics.
    • 62 Metascore
    • 50 J.R. Jones
    The movie's studied tranquillity will appeal to some, though its embrace of traditional village life struck me as self-satisfied to the point of smugness.
    • 62 Metascore
    • 60 J.R. Jones
    This French biopic of Nicolas Sarkozy plays like a competent TV miniseries, moving briskly and focusing on the hustle and bustle of electoral politics as the protagonist climbs toward the presidency.
    • 62 Metascore
    • 60 J.R. Jones
    The leads are good, and Timothy Hutton is memorably off-putting as the pitcher's disengaged dad. But having created the aching umpire, Ponsoldt occupies him with some fairly shopworn situations.
    • 62 Metascore
    • 50 J.R. Jones
    In a novel twist, the movie's dumbest element--joke commercials for racist consumer products--turns out to be the most provocative when end titles reveal the products were all real.
    • 62 Metascore
    • 50 J.R. Jones
    The movie clicks along pretty well until they launch their elaborate plot against the merchants of death, which seems to go on forever.
    • 62 Metascore
    • 60 J.R. Jones
    This has its sappy moments, but both women give wonderfully detailed performances, aided by Michael Learned as Hunt's mother and Chris Sarandon as the calm, cold minister.
    • 62 Metascore
    • 60 J.R. Jones
    This Argentinean comedy is short on plot and leisurely in its character development, though by the end it's become a modest and genial portrait of a dysfunctional family.
    • 62 Metascore
    • 50 J.R. Jones
    An agreeably shallow comedy.
    • 61 Metascore
    • 50 J.R. Jones
    George Clooney produced and stars in this international spy thriller, which he probably thought of as existential but which registers onscreen as a giant bore.
    • 61 Metascore
    • 50 J.R. Jones
    Though its intentions are noble, it's hampered by a stock romantic subplot (Phillipe falls for his friend's squeeze, Abbie Cornish), a familiar structure (since The Best Years of Our Lives soldiers invariably come home in threes), and a lack of symmetry (some of Gordon-Levitt's story seems to have wound up on the cutting-room floor).
    • 61 Metascore
    • 50 J.R. Jones
    The Israeli academy showered awards--best picture, director, screenplay, editing, cinematography, sound, costumes, actress, supporting actress, supporting actor--on this coming-of-age story, which makes its modest whimsy even harder to get excited about.
    • 61 Metascore
    • 50 J.R. Jones
    Watching Best Worst Movie, you can't help but notice that the Troll 2 crowd consists almost exclusively of people in their 20s, which makes perfect sense: manufacturing an obsession with a terrible movie probably seems more worthwhile if you think you've got all the time in the world.
    • 61 Metascore
    • 50 J.R. Jones
    Notorious on the festival circuit for its excruciating scenes of self-mutilation.

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