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 3.4 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
    • 77 Metascore
    • 80 J.R. Jones
    The movie endorses the liberal conception of the Chicks as free-speech heroes, which doesn't quite wash: Maines shot her mouth off to a receptive overseas crowd, then issued an apology as soon as the backlash began back home.
    • 77 Metascore
    • 60 J.R. Jones
    Whenever writer-director Oren Moverman moves past these scattered and admittedly voyeuristic moments into the lives of the two soldiers, the movie drifts into received wisdom and unconvincing romance.
    • 77 Metascore
    • 70 J.R. Jones
    Johnston's childish, repetitive tunes prove that he's no Brian Wilson (or even Roky Erickson), which makes you wonder whether Feuerzeig is examining the singer's exploitation or participating in it.
    • 77 Metascore
    • 70 J.R. Jones
    This handsome period drama is the sort of quiet, homespun story that Duvall, who served as executive producer, has always loved.
    • 77 Metascore
    • 80 J.R. Jones
    This documentary profile of poet and novelist Charles Bukowski exploits the writer's counterculture persona but also works to dispel it, revealing a gifted and extremely complicated man.
    • 77 Metascore
    • 60 J.R. Jones
    Director Bob Clark teamed with nostalgic humorist Jean Shepherd for this squeaky clean and often quite funny 1983 yuletide comedy, adapted from Shepherd's novel In God We Trust: All Others Pay Cash.
    • 76 Metascore
    • 80 J.R. Jones
    Near the end Press poses a couple of personal questions that pierce the old man's defenses in the most painful and revealing way, suggesting a much more complicated emotional wellspring for the work that consumes his life.
    • 76 Metascore
    • 80 J.R. Jones
    The video is narrated by Taylor, who magnanimously presents Newcombe as a Byronic hero, but ultimately proves that the pursuit of success and the pursuit of cool can be equally pointless.
    • 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.
    • 76 Metascore
    • 70 J.R. Jones
    Funny, smart, and complacent.
    • 76 Metascore
    • 70 J.R. Jones
    Modeling the movie after the show itself grows problematic near the end, when Stern and Del Deo, anticipating that climactic, gold-suited kick line, try to whip us into a frenzy on opening night.
    • 76 Metascore
    • 90 J.R. Jones
    A superior nail-biter.
    • 76 Metascore
    • 70 J.R. Jones
    The rudimentary 2-D animation doesn't allow for much character nuance, and the story isn't exactly fresh. But directors Fernando Trueba (Calle 54), Javier Mariscal, and Tono Errando conjure up some vibrant set pieces.
    • 76 Metascore
    • 70 J.R. Jones
    A respectable entry in the Bicycle Thief school of art-house cinema, which uses a child's coming of age to explore an era of political and social turmoil.
    • 76 Metascore
    • 80 J.R. Jones
    Period westerns are so unfashionable and costly that they usually require a top-drawer script to get off the ground -- and this one, adapted from an Elmore Leonard story and its 1957 movie version, travels with an arrow's clean arc.
    • 76 Metascore
    • 80 J.R. Jones
    The new version of Jane Eyre is far and away the best I've seen, thanks largely to the skilled young actress Mia Wasikowska.
    • 76 Metascore
    • 70 J.R. Jones
    Possibly the touchy-feeliest cowboy movie ever made.
    • 76 Metascore
    • 70 J.R. Jones
    This is intelligent, committed, and politically provocative, though its narrative puzzle box may prompt you to throw up your hands and let Exxon go on running the world.
    • 76 Metascore
    • 100 J.R. Jones
    An explosive but scrupulously journalistic drama about the radical group that terrorized Germany for nearly 30 years.
    • 76 Metascore
    • 70 J.R. Jones
    The scenes of family squalor are memorably persuasive, but any filmmaker ending her movie with the heroine throwing a crumpled poem into the ocean needs a few more writing courses.
    • 76 Metascore
    • 50 J.R. Jones
    Naturally, age and infirmity are a major subtext of Shine a Light (and, really, any movie featuring Keith Richards). No matter how cadaverous the Stones appear, they keep climbing onstage, and I’ll miss them when they’re finally gone.
    • 76 Metascore
    • 90 J.R. Jones
    Akin perfectly captures the antic pace, eccentric personalities, and fickle fortunes of the restaurant game, and his vision of the Soul Kitchen as an all-night bacchanal is irresistible.
    • 76 Metascore
    • 80 J.R. Jones
    Director Laura Dunn presents a surprisingly sympathetic portrait of Bradley, but her advocacy is clear enough in the primal images of natural beauty and her subjects' heartfelt statements of respect for the landscape.
    • 76 Metascore
    • 70 J.R. Jones
    Danish director Susanne Bier elicits wonderfully intimate performances from her actors, and this 2004 drama has so many genuine, low-key encounters it manages to overcome a contrived and familiar plot.
    • 76 Metascore
    • 90 J.R. Jones
    If you come to this expecting the philosophical depth and psychological detail of Tolstoy’s work you’re sure to be disappointed, but as an actors’ romp it’s delectable.
    • 76 Metascore
    • 70 J.R. Jones
    Chanodr has said that he wanted to portray the 2008 financial meltdown in all its complexity, assigning everyone a fair share of the blame. But the real strength of his debut feature is how persuasively it depicts the fishbowl world of high finance, whose executives seem incapable of seeing past their towering salaries and privileged lives.
    • 76 Metascore
    • 70 J.R. Jones
    The visual monotony of talking heads and stock footage is interrupted occasionally by the spectral charcoal drawings of veteran Si Lewen, though his art is used to full advantage only when he describes the liberation of Buchenwald.
    • 76 Metascore
    • 100 J.R. Jones
    Visually witty, flawlessly played romantic comedy.
    • 76 Metascore
    • 80 J.R. Jones
    Pegg and Wright are out of their depth in the second half, when they try to engage the more disturbing elements of Romero's movies, but their disaffected slacker take on the genre is a welcome alternative to the usual bloodbaths.
    • 76 Metascore
    • 50 J.R. Jones
    Never really delivers on that promise, mainly because its scenes of two brilliant men discussing the nature of the subconscious can't compare with Cronenberg's visual rendering of that subconscious in earlier movies.

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