For 650 reviews, this critic has graded:
  • 38% higher than the average critic
  • 2% same as the average critic
  • 60% lower than the average critic
On average, this critic grades 3.6 points lower than other critics. (0-100 point scale)

Kimberley Jones' Scores

  • Movies
Average review score: 55
Highest review score: 100 Before Night Falls
Lowest review score: 0 Yu-Gi-Oh!: The Movie
Score distribution:
650 movie reviews
    • 68 Metascore
    • 78 Kimberley Jones
    Something that falls just shy of greatness.
    • 73 Metascore
    • 78 Kimberley Jones
    Leaves you scratching your head a bit, wondering what just happened, and worrying if maybe it could happen to you too.
    • 75 Metascore
    • 78 Kimberley Jones
    Appropriately belongs to Lopez. His mannequin glaze and never-wavering smile provide more creepy-crawlies than a thousand quivering violins or perfectly timed thunderclaps.
    • 56 Metascore
    • 78 Kimberley Jones
    Some of The Anniversary Party's titillation factor rests on the awareness that these are actors playing actors, in roles written specifically for them that at times appear awfully close to home.
    • 83 Metascore
    • 78 Kimberley Jones
    Sollett’s first feature is a small, but indelible picture, one that approaches the most universal of themes -– first love, confused hormones, parental clashes -– with originality.
    • 58 Metascore
    • 78 Kimberley Jones
    The terrific ensemble acting and Troche’s genuine, nonjudgmental interest in exploring the weird places wounded people go, both internally and externally, amount to an insulated but moving portrait of the real nuclear family.
    • 72 Metascore
    • 78 Kimberley Jones
    The magnificence of the film's pieces does not quite add up to a satisfying whole.
    • 61 Metascore
    • 78 Kimberley Jones
    You can easily lose five minutes making sense of it - and another 10 poking holes in it - but what of it? The preceding 100 minutes pass so pleasurably, the few false moves barely register - maybe the biggest con of all, but consider me happily snowed.
    • 75 Metascore
    • 78 Kimberley Jones
    Mamet does a shrewdly skillful job with these Tinseltown terrors.
    • 78 Metascore
    • 78 Kimberley Jones
    Ramsay is experimental, unconventional, and forever reaching at the gorgeousness in grief and despair. Her film moves slow as molasses, slow as paint drying -– and all the better to see the colors and the complexities.
    • 85 Metascore
    • 78 Kimberley Jones
    Writer/director Lonergan succeeds at capturing eloquently the disappointments of growing up and growing old. But he isn't always successful at reining in the schmaltz.
    • 63 Metascore
    • 78 Kimberley Jones
    Good, clean fun, with none of the icky aftertaste so common to “family friendly” ware, Drumline proves irresistible in more ways than one.
    • 74 Metascore
    • 78 Kimberley Jones
    Like a kindler, gentler "Bully," Mean Creek hinges on the bullied fighting back against the aggressor, but offers a more expansive examination of aggression and, even more significantly, passivity.
    • 78 Metascore
    • 78 Kimberley Jones
    Is nothing if not exquisitely detailed: It's like a blood orange that del Toro spends the film seductively unpeeling, revealing layer upon layer of meaning and pathos.
    • 90 Metascore
    • 78 Kimberley Jones
    It isn't about where you get, but how you get there -- and the getting there is a chewy delight.
    • 86 Metascore
    • 78 Kimberley Jones
    100 minutes spent watching children struggle and delight in learning is, at least in my book, 100 minutes happily spent.
    • 67 Metascore
    • 78 Kimberley Jones
    Isn't Lee's most personal piece, but it may very well be his most mature.
    • 42 Metascore
    • 78 Kimberley Jones
    In short, the actors deserve a big round of applause -– especially Affleck, for finally wiping the smug look off of his face (OK, 80% smug-free); Garner, for her dead sexy mix of attitude and adrenaline; and the grunting, googly-eyed Farrell, for … well, for being "fookin’" nuts, I guess.
    • 70 Metascore
    • 78 Kimberley Jones
    A devastating and weighty picture.
    • 71 Metascore
    • 78 Kimberley Jones
    Frankly, I'm shocked that Disney, frequent purveyor of sleeping beauties and singing animated animals, is the studio behind this wonderfully black comedy/morality tale for children, but maybe Disney, too, saw past the material's deliciously macabre bent to find also a thrilling little essay on friendship, fate, and the restorative powers of onions.
    • 63 Metascore
    • 78 Kimberley Jones
    Bruckheimer -– always eager to egg on the public’s thirst for bigger, louder, stupider –- has done a scandalous amount of damage to contemporary cinema, but for once, his dubious talent for big-buck bombast is exploited for good rather than evil.
    • 73 Metascore
    • 78 Kimberley Jones
    Although Super Size Me benefits from a number of interviews with nutritionists, lobbyists, lawyers, and the like, the film inevitably (but not unenjoyably) is dominated by Spurlock, who offers his sober-minded statistics and cheeky asides without ever devolving into an off-putting Michael Moore-like moralizing.
    • 82 Metascore
    • 78 Kimberley Jones
    The pictures are gorgeous, and the words, well, if you listen hard enough, the words say exactly what one needs to hear: that is, to wake up and live.
    • 73 Metascore
    • 78 Kimberley Jones
    There’s gore, all right, although the real terror lies in the tease, and the often dark, herky-jerky DV format ratchets up the tension to an almost unbearable degree.
    • 70 Metascore
    • 78 Kimberley Jones
    No doubt about it: Bad Santa is blasphemous. But, to borrow a phrase from another famous hedonist, Homer Simpson, it’s also sacrilicious.
    • 69 Metascore
    • 78 Kimberley Jones
    The film moves so subtly, in fact, and so seamlessly between wry humor and the emotional wreckage of life-or-death, that it was with some shock that I found myself weeping halfway through the film.
    • 59 Metascore
    • 78 Kimberley Jones
    Terribly tender, good-hearted picture.
    • 64 Metascore
    • 78 Kimberley Jones
    You don't just root for Harold and Kumar to get the girl, get the weed, and, above all, get the burger – you want to hang out with them while they' doing it, and see if they'e free next Friday night, too.
    • 41 Metascore
    • 78 Kimberley Jones
    It's a shame if the controversy surrounding Bubble Boy distracts people from what a smart, subversive, and genuinely good-hearted film it is.
    • 76 Metascore
    • 78 Kimberley Jones
    An inner-city tragedy that plays its story simply, sorrowfully, and beautifully.
    • 62 Metascore
    • 78 Kimberley Jones
    Carrey is a bit of a conundrum: He's the best and worst thing about Lemony Snicket.
    • 62 Metascore
    • 78 Kimberley Jones
    Funny, bewildering, giddy spectacle.
    • 74 Metascore
    • 78 Kimberley Jones
    Nolan’s end-act pacing has always felt ponderous – but it’s not enough to ruin what is surely the most intellectually and viscerally engaging action film in years. The soul doesn’t stir, no, but everything else is wildly somersaulting.
    • 79 Metascore
    • 78 Kimberley Jones
    An entirely sympathetic portrait of the artist at an advancing age. That's right, artist – and to a generation that knows Rivers only as a screeching red-carpet provocateur or as an overknifed monstrosity, that revelation alone is worth the cost of admission.
    • 64 Metascore
    • 78 Kimberley Jones
    For a film about looking for a sign, looking for solace, Room quite brazenly offers neither. It isn't an easy film, but the world's already got plenty of easy and easily digestible films.
    • 68 Metascore
    • 78 Kimberley Jones
    Funny and fierce and deeply moving.
    • 75 Metascore
    • 78 Kimberley Jones
    While The Art of the Steal makes a very convincing – even bone-chilling – argument that the people and foundations that essentially hijacked the Barnes Foundation are primarily concerned with tourist dollars and not the preservation of Barnes' legacy, the film fails to even ponder why easier access to some of the world's greatest art treasures might not be an entirely bad thing.
    • 76 Metascore
    • 78 Kimberley Jones
    Living in Emergency, then, is like a hard slap to the face: There is nothing remotely romantic about this grim depiction of two missions in Liberia and Congo in the mid-2000s.
    • 59 Metascore
    • 78 Kimberley Jones
    LaBeouf plays Jacob as no naif – he can be as slippery and savage as the next suit – but there's also real tenderness in his scenes with Mulligan and Langella (in a small but significant role as Jacob's mentor).
    • 56 Metascore
    • 78 Kimberley Jones
    Refreshingly anti-princess and sweet without degrading into sugary, Ramona and Beezus animates Ramona's frequent flights of fancy with DIY-like sequences that literalize, quite charmingly, how a kid colors the world.
    • 85 Metascore
    • 78 Kimberley Jones
    The scoped camerawork is a shrewd tactic; only occasionally does its flat, proscenium effect make the action feel overly staged.
    • 72 Metascore
    • 78 Kimberley Jones
    A surprisingly warmhearted examination of hypocrisy and social insecurity, unlikely camaraderie and stutter-stepped formation of adult identity.
    • 74 Metascore
    • 78 Kimberley Jones
    There are good guys we don't care much about and bad guys that we do and even badder guys we're supposed to hate. But on the sliding scale of culpability, everybody's just a few clicks away from the next guy.
    • 63 Metascore
    • 78 Kimberley Jones
    Boden and Fleck's unabashedly warmhearted film is a sensitively wrought but also very funny portrait of the way we respond to pressure.
    • 58 Metascore
    • 78 Kimberley Jones
    Mostly this is a tense, portentous, and provocative piece.
    • 68 Metascore
    • 78 Kimberley Jones
    This is provocative stuff, to be sure, in which the stakes are so high that a pratfall concludes with exploding limbs and the anguished effect of its final minutes is a quiet shock to the system. A comedy of errors and terrors? Who woulda thunk it?
    • 87 Metascore
    • 78 Kimberley Jones
    Part 2 is something else altogether. Such digital effects as the marauding giants that squash baby wizards like bugs or the inky terror that is the Death Eaters – acolytes to the mad, bad wizard Voldemort (Fiennes) – are magnificent and experienced in one long, clutched breath. But what's missing is what has been the chief pleasure of the series: the chemistry between its young leads.
    • 74 Metascore
    • 78 Kimberley Jones
    Winnie the Pooh doesn't reinvent the wheel, just gives it an affectionate spin, and that is no more and no less than what one would hope from a family reunion.
    • 69 Metascore
    • 78 Kimberley Jones
    So potent it nearly succeeds even as a vacuum sits squarely at its center.
    • 76 Metascore
    • 78 Kimberley Jones
    It's a period piece about the origins of psychoanalysis and the sexual confusions of its progenitors that is eloquent and handsomely made, if never quite revelatory.
    • 81 Metascore
    • 78 Kimberley Jones
    Quite simply, Midnight in Paris is charming – très charmant, to ape the argot of the locals. I say that somewhat tongue-in-cheek, as this is very much an outsider's valentine to the City of Lights.
    • 59 Metascore
    • 78 Kimberley Jones
    To a one, they nail the humor, all right, but they also, quite crucially, humanize the high concept.
    • 85 Metascore
    • 78 Kimberley Jones
    This revisionist Western – intellectually, aesthetically, and narratively absorbing – rattles to the bone, but never quite rends the heart.
    • 57 Metascore
    • 78 Kimberley Jones
    Ambitious, brutish, ruthlessly unromantic – has the right idea casting its heroine as a Joan of Arc-type crusader and its evil queen a dissertation (albeit first draft) on beauty as the most direct path to power for the disenfranchised female.
    • 61 Metascore
    • 78 Kimberley Jones
    And yet, it works, so much so that after two and a quarter hours, I was startled – and not a little disappointed – when the closing credits kicked in.
    • 55 Metascore
    • 78 Kimberley Jones
    A spirited and eye-popping stealth charmer.
    • 65 Metascore
    • 78 Kimberley Jones
    In its third act, Life, Above All takes a bit of a dip into la-la land, in terms of believability – how precisely is an impoverished family supposed to have afforded an ambulance and hospice care? – but that doesn't diminish the emotional impact of Manyaka's performance and the idea that courage can be infectious, too.
    • 62 Metascore
    • 78 Kimberley Jones
    Stoller and Segel don't shy away from rational, relatable adults, which may be an unsexy selling point for a romantic comedy, but that attention to authenticity elevates the likable, low-stakes The Five-Year Engagement.
    • 62 Metascore
    • 78 Kimberley Jones
    What is so surprising – even exhilarating – about The Names of Love is that it shucks off the desultory roadblocks that engine the modern romantic comedy – all that razzmatazz of missed connections and dunderheaded misunderstandings.
    • 71 Metascore
    • 78 Kimberley Jones
    So much here is equally befuddling and beguiling; I caught myself leaning in toward the screen repeatedly, trying to somehow get closer to the gorgeous impenetrability of the story, of the boy.
    • 79 Metascore
    • 78 Kimberley Jones
    Undeniably gripping stuff.
    • 72 Metascore
    • 78 Kimberley Jones
    Screenwriters Roberto Orci, Alex Kurtzman, and fanboys’ favorite whipping boy, Damon Lindelof, keep the film moving at a quippy clip; there’s really no fat here until the film feints a climax only to lurch the coaster-car back up the hill again.
    • 59 Metascore
    • 78 Kimberley Jones
    The spirit of the thing – the way it champions intellectual curiosity and critical thinking – warmed this nerd’s heart tremendously.
    • 63 Metascore
    • 78 Kimberley Jones
    When Les Misérables is good, it is very, very good, and when it is bad, it's usually because Russell Crowe has opened his mouth.
    • 59 Metascore
    • 78 Kimberley Jones
    With "50/50," his last stint in the director's chair, Levine upended convention to make a feel-good cancer movie. He's still defying expectations: In animating the inner workings of the undead, he's made a movie that is both clever and heartfelt.
    • 81 Metascore
    • 78 Kimberley Jones
    Cooper mostly tamps down that Sexiest Man Alive demeanor that follows him from film to film, and Lawrence – a continually startling young talent – counterpoises her Bardot beauty with a blistering snarl. They both play hurt people clawing their way toward wellness, but it's Lawrence who makes you feel the hurt in your heart – and the hope that it'll get better soon.
    • 67 Metascore
    • 78 Kimberley Jones
    What a weird, winning little movie is Robot & Frank, which explores what happens to the essential self as the memory goes. Oh, and it's a heist picture. With robot butlers. I'm not sure I've ever seen anything quite like it.
    • 75 Metascore
    • 78 Kimberley Jones
    Sisley is a former stand-up comic, although you'd never guess it here: Finding himself in the eye of a colossal shit storm of his own making, his Vincent is brusque and action oriented, his face, a picture of ulceration in progress.
    • 70 Metascore
    • 78 Kimberley Jones
    With a saga this sprawling and byzantine, it makes sense that the emphasis is not on Schiele, but rather on what the sorely wronged Bondi never stopped calling "my Schiele."
    • 57 Metascore
    • 78 Kimberley Jones
    Berger’s low-key, likable ensemble film flares with brilliance in its framing concept.
    • 79 Metascore
    • 78 Kimberley Jones
    This documentary does boast some bowl-you-over reveals best experienced blind.
    • 81 Metascore
    • 78 Kimberley Jones
    The World’s End affectionately takes a page from our Fifties sci-fi films.
    • 73 Metascore
    • 78 Kimberley Jones
    First, to dispel the two talking points attending The Impossible, Juan Antonio Bayona's dramatization of the 2004 Indian Ocean tsunami: No, it's not racist, and no, you don't have to be a parent to feel the film in your bones.
    • 61 Metascore
    • 78 Kimberley Jones
    Maybe someday there will be a better commercial comedy about a girl taking charge of her sexual education, but for now, this is the only one we’ve got, and it’s a filthy-fun charmer.
    • 79 Metascore
    • 78 Kimberley Jones
    Keep the Lights On feels like a first-rate, late-Seventies experimental student film, or early Scorsese. But then the cycle of addiction takes over the film, and the plot about stagnancy ends up stagnating the film itself.
    • 71 Metascore
    • 78 Kimberley Jones
    The film is studded with stirring moments of surprise.
    • 80 Metascore
    • 78 Kimberley Jones
    Sweetgrass’ unbroken shots of often-repetitive activity have a beguiling quality to them, their very monotony encouraging a deeper absorption and reflection, but hard facts aren’t easy to come by.
    • 62 Metascore
    • 78 Kimberley Jones
    It’s the funniest, friskiest date movie in a good long while.
    • 82 Metascore
    • 78 Kimberley Jones
    Blancanieves never lags, per se, it’s just awfully in love with itself: with its gorgeous black and white chiaroscuros and whirling-dervish first-person camera perspectives, the Spanish-guitar-scored dance sequences (that include the undeniable dance of the matador in action), and battering winds of emotional extremes. By the end of this sumptuous and sincerely felt melodrama, I was rather in love with it, too.
    • 82 Metascore
    • 78 Kimberley Jones
    An outstanding cast have crafted a delicate, eloquent picture of believable humans in so many gradations of hurt, but it stops just shy of catharsis.
    • 74 Metascore
    • 78 Kimberley Jones
    It gives the illusion of a conclusion and cuts to black before it has to answer for how many more questions have been raised.
    • 71 Metascore
    • 78 Kimberley Jones
    Much has been made of the fact that Swanberg has cast for the first time bona fide movie stars and not just his mumblecore pals: In fact, it's the making of the movie. If you're going to build an entire film on microexpressions, then a certain innate magnetism is required. Swanberg gets it in spades from his top-shelf cast.
    • 79 Metascore
    • 78 Kimberley Jones
    An ambitious comedy with not-negligible dramatic depth, but Bell, a first-time feature writer and director, is frankly too generous with her large cast.
    • 59 Metascore
    • 78 Kimberley Jones
    High spirits mark the first half of the film; quite simply, these guys are just fun to be around – most especially Howard, all half-lidded, cat-who-got-the-cream coolness.
    • 57 Metascore
    • 67 Kimberley Jones
    It’s a little bit silly – as is Dafoe’s Kentucky-fried cowboy mechanic named Elvis – but silly is fun. In fact, one wishes it were sillier still.
    • 63 Metascore
    • 67 Kimberley Jones
    It’s an enjoyable enough exercise in teen angst triumphing.
    • 53 Metascore
    • 67 Kimberley Jones
    It’s not an altogether convincing portrait, but it is an entertaining, even moving one, and the forcefulness of Bullock's presence goes a long way in pulling the film back from the brink of cuddliness.
    • 54 Metascore
    • 67 Kimberley Jones
    There is Clooney’s deceptively layered performance, some startling bits of laugh-out-loud absurdity, and the not-at-all-negligible pleasure to be had in a cockeyed point of view.
    • 58 Metascore
    • 67 Kimberley Jones
    If anything, The Invention of Lying is too soft for the satirical promise of its premise.
    • 60 Metascore
    • 67 Kimberley Jones
    Funny People – sensitive, shaggy, a little bit draggy – is as much about the maturation of Ira as a performer and George as a man as it is about Apatow’s maturation as an artist.
    • 69 Metascore
    • 67 Kimberley Jones
    Giamatti is masterful.
    • 53 Metascore
    • 67 Kimberley Jones
    What a glorious weepie The Notebook might have been if they’d just found a way to get rid of the damned notebook.
    • 55 Metascore
    • 67 Kimberley Jones
    Never achieves the satisfaction of a real crackerjack con movie.
    • 69 Metascore
    • 67 Kimberley Jones
    Shannon is monstrously good – unpredictable where the other actors are clipped and careful – and he steals the whole picture in two short, shattering scenes. When Shannon exits the film, the air gets sucked out again, and you realize the pretty artifice extends to more than just the Wheelers.
    • 78 Metascore
    • 67 Kimberley Jones
    It’s always a pleasure to be in the company of Potter, and when looking back at the just-competent first outings – well, baby, you’ve come a long way – but still: Where’s the magic, huh?
    • 64 Metascore
    • 67 Kimberley Jones
    It neither embarrasses the original, nor is superior to it in any way.
    • 74 Metascore
    • 67 Kimberley Jones
    As for that central question: Yep, it’s art, all right. One only wishes they’d gotten down to the business of it sooner.
    • 51 Metascore
    • 67 Kimberley Jones
    Slight but agreeable picture.
    • 70 Metascore
    • 67 Kimberley Jones
    With so many soldiers interviewed, some only fleetingly, it's impossible to keep track of them all.
    • 55 Metascore
    • 67 Kimberley Jones
    Mercifully, the frosted icing-icky title bears little relation to the film's actual content.