Kimberley Jones
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For 672 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
  • TV
Average review score: 56
Highest review score: 100 Before Night Falls
Lowest review score: 0 Ultraviolet
Score distribution:
672 movie reviews
    • 54 Metascore
    • 50 Kimberley Jones
    Ambling, just-passable picture.
    • 54 Metascore
    • 50 Kimberley Jones
    The Secret Life of Walter Mitty is a very pretty production – pretty colors, pretty scenery, pretty bromides – and a busy one, too, which helps distract us from the sad fact that the movie is generous and humane but not all that interesting.
    • 54 Metascore
    • 40 Kimberley Jones
    Myla Goldberg's novel about spelling-bee fever, a family in chaos, and religious/mystic exploration arrives on the screen with all its faults intact, but few of its charms.
    • 54 Metascore
    • 67 Kimberley Jones
    After the recent rash of superhero end-spectacles as long-winded and self-serious as a term paper, the limited ambition of The Dark World’s climax is a relief. It scuttles all term paper aspirations and instead humbly lobs a thesis statement-slash-open invitation: Let’s have some fun, shall we? And so we did.
    • 54 Metascore
    • 40 Kimberley Jones
    It’s a bold and certainly credible move, but the execution is something of a belly flop. Thanks for Sharing isn’t really about a disease, only the cure, and that bias makes it a plausible picture of the Friend of Bill community-based recovery, but kind of a sham as a portrait of actual human beings.
    • 54 Metascore
    • 50 Kimberley Jones
    Well, we're not in "Chicago" anymore, or even its soundstage approximation, but that hasn't stopped Oscar-nominated director Rob Marshall from fashioning another epic spectacle out of two squabbling women in (a sort-of) show business.
    • 54 Metascore
    • 50 Kimberley Jones
    Sparks, an acting novice, falters when her character must muster gumption or sexual heat. She saves her best for last in a barnburner singing performance, but it's too little, too late – especially with the memory of Houston's one song – a heart-stopping gospel number – still ringing in the ears.
    • 54 Metascore
    • 20 Kimberley Jones
    These days, Allen's pictures are more like snuff films, in which the viewer must suffer both gifted actors committing screen hara-kiri and a once-brilliant filmmaker soldiering on with his long, bullheaded decline.
    • 54 Metascore
    • 50 Kimberley Jones
    If I may presume: Thatcher probably would have preferred more action, less talk.
    • 54 Metascore
    • 40 Kimberley Jones
    The promising-sounding football movie would turn out to be a movie about men talking on phones.
    • 54 Metascore
    • 67 Kimberley Jones
    It's a goofy, tongue-in-cheek, my-gawd-how-could-we-be-so-dumb shrine, but a shrine nonetheless.
    • 53 Metascore
    • 67 Kimberley Jones
    Jet Lag's romantic fluffery is somewhat beneath these old pros, but they make its meet-cute scenario work, mostly -– and most especially when crusty, grumpy, grizzled Jean Reno announces he's "totally in love."
    • 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.
    • 53 Metascore
    • 40 Kimberley Jones
    The first act is very nearly unbearable, leaden and doomy and generically plotted.
    • 53 Metascore
    • 40 Kimberley Jones
    The Big Year's biggest disappointment is its inadequacy in elucidating the passion of the birder. What ardency, and what an exceptional, impenetrable world they move in. I for one wanted a better look at it.
    • 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.
    • 53 Metascore
    • 67 Kimberley Jones
    Comedic actor François Damiens mines but never mocks Markus' awkwardness, thereby creating a winning portrait in decency. His tracing, with the ever-luminous Tautou, of the slow bloom of new love is a thing of understated beauty.
    • 53 Metascore
    • 89 Kimberley Jones
    In its cinematic incarnation, Sex and the City has lost none of its bawdiness yet gained a more profound sense of soberness. Parker, especially, who in the last season of the show bordered on insufferable in her affected squeaks and shrieks, is allowed to go to very dark places – to be, in fact, quite unfabulous.
    • 53 Metascore
    • 67 Kimberley Jones
    While Man on a Mission doesn't precisely neuter Garriott's weirder ways, it does push them aside for a more boilerplate message of the father/son bond.
    • 53 Metascore
    • 20 Kimberley Jones
    Isn't much more than a self-indulgent picture about the feeble delirium of a lovesick girl -- lightweight stuff that labors to seem terribly important.
    • 53 Metascore
    • 67 Kimberley Jones
    Affectionate but uninsightful biopic.
    • 53 Metascore
    • 50 Kimberley Jones
    Rather born to wear a frock coat, Dancy shares the stammer-blush, winning-grin methodology of countryman Hugh Grant, only with more probity and better posture.
    • 53 Metascore
    • 11 Kimberley Jones
    Novelty alone does not a good idea make, and in the case of Gnomeo and Juliet, it's rather a disturbing, even fetishy one.
    • 53 Metascore
    • 50 Kimberley Jones
    Wanderlust is flawed, too, but for its exploration of financial ruin and alternative lifestyles, it shows once again that Aniston, at the very least, knows which way the wind is blowing.
    • 53 Metascore
    • 50 Kimberley Jones
    Luhrmann wants it all – comedy and tragedy, bombast and wet-eyed sentimentality. When it works, his kid-in-a-candy-store giddiness is infectious. When it doesn't – when he goes from silly to turgid in 60 seconds flat – he punctures Australia's proportions down from epic to simply overwrought.
    • 53 Metascore
    • 40 Kimberley Jones
    Doesn't do much to further distinguish Lehmann's career. As for those of us waiting for the year's first worthwhile date movie, the wait continues.
    • 53 Metascore
    • 30 Kimberley Jones
    All together, it is a wearying display of defensiveness from a man who – by any barometer, not just his own – is wildly successful.
    • 53 Metascore
    • 20 Kimberley Jones
    They have some fun playacting at class warriors on the lam – and Seyfriend, it must be said, rocks a killer bob – but it's all just big-budget dress-up in a futurescape that reeks of phoniness.
    • 52 Metascore
    • 67 Kimberley Jones
    Makes for a playfully enthralling hour and a half.
    • 52 Metascore
    • 30 Kimberley Jones
    The actors do a fine, if unsoulful, job, but the real problem with A Love Divided is its unwillingness to unromanticize its heroes.
    • 52 Metascore
    • 89 Kimberley Jones
    Sexy, sophisticated comedy that only occasionally falls short of its admirable ambition: that is, to be a fun, fizzy, razzle-dazzle thing. Straight to the moon, indeed.
    • 52 Metascore
    • 67 Kimberley Jones
    Ao relentlessly, gleefully dumb -- without being the slightest bit sardonic -- that you just can't help but guffaw … or groan … but probably both.
    • 52 Metascore
    • 50 Kimberley Jones
    The film is by no means a disaster. Possession is prettily performed, prettily put-together. Yet, for a story set so firmly in the center of a fire, LaBute and his players have suited themselves in some mighty flame-retardant threads.
    • 52 Metascore
    • 50 Kimberley Jones
    It's kinda funny and pretty cute. Sometimes that's all it takes.
    • 52 Metascore
    • 30 Kimberley Jones
    Maybe taking a cue from his namesake dish, that much-maligned Scottish pudding concoction made with sheep innards and root vegetables, Haggis presents a mishmash of genres in this redo of Fred Cavayé's 2008 French film "Pour Elle."
    • 52 Metascore
    • 40 Kimberley Jones
    Kiddos: I'm sighing, too, but only from relief it's all behind us now.
    • 52 Metascore
    • 50 Kimberley Jones
    Gondry’s well-meaning but too soft, too structure-less picture.
    • 52 Metascore
    • 40 Kimberley Jones
    Either you like your movies to be, well, movie-like: imitations of life, with musical accompaniment and artificial lighting and tracking shots and looped dialogue; or you like them to be re-creations of life, sans the artifice. The King Is Alive clearly falls into the latter camp.
    • 52 Metascore
    • 30 Kimberley Jones
    No one would mistake the Benzini Bros. Circus for the greatest show on earth – the Depression-era traveling troupe is a junker compared to the gold-standard Ringling Bros. – but still, a film has to try pretty hard to render lions and tigers and trapeze artists so uniformly underwhelming.
    • 52 Metascore
    • 40 Kimberley Jones
    The bland script and direction are spruced up by a likable cast.
    • 52 Metascore
    • 67 Kimberley Jones
    The all-around excellent cast swings with aplomb from silly to sweet.
    • 52 Metascore
    • 50 Kimberley Jones
    There are momentary pleasures, to be sure – a corker of a kiss here, an Otis Redding-backed barroom slink there – but frankly, I'm a little weary of Wong wearing "that same old shaggy dress."
    • 51 Metascore
    • 67 Kimberley Jones
    There are significant stretches of talky tedium, more than a few “huh” moments for neophytes – especially whenever anyone starts nattering on about Dust with a capital D – and the ending plays abruptly, but there’s plenty here to hang a franchise on.
    • 51 Metascore
    • 40 Kimberley Jones
    The soundtrack is a boisterous blast from the past, and there's a quiet pleasure to watching Zoe and Daly let their composure loose like scrambled eggs, but there's little else to hold dear here.
    • 51 Metascore
    • 20 Kimberley Jones
    In practice, and played as farce, the characters are one-dimensional cutouts kept at a dogged remove. Their miseries are a bore – maybe to Allen, too, who abruptly ends the film, after so much inaction, when it finally catches some dramatic traction.
    • 51 Metascore
    • 50 Kimberley Jones
    The film never recovers its initial fizzy-pop charms, owing largely to pacing that turns positively molasses-slow in the second act.
    • 51 Metascore
    • 67 Kimberley Jones
    Slight but agreeable picture.
    • 51 Metascore
    • 40 Kimberley Jones
    There are flashes of wit and flair here, including two stylish sequences detailing the French obsession with food and scarves, but they are but brief respites from the film’s near-pathological drear.
    • 51 Metascore
    • 50 Kimberley Jones
    I COULD do without "Dancing Queen" stuck in my head, but that will unstick soon enough, and with any luck so too will the memory of Streep noodling on an air guitar.
    • 51 Metascore
    • 50 Kimberley Jones
    Despite his character's fondness for mugging and mouthing like Michael Corleone, Spacey (and by extension, his director and writer Norman Snider) can't quite catch the operatic wallop of Corleone's arc, possibly because the film is played top-to-bottom like a caprice.
    • 51 Metascore
    • 67 Kimberley Jones
    Funny and friendly and all-inclusive and unremarkable.
    • 51 Metascore
    • 50 Kimberley Jones
    It goes down easy, with likable performances and a laudable emphasis on love and compassion.
    • 51 Metascore
    • 40 Kimberley Jones
    Fine to look at, but good luck feeling anything.
    • 51 Metascore
    • 40 Kimberley Jones
    Wimpy Kid's filmmakers have gone off-book, so to speak, to inflect Greg with a surprising cruel streak.
    • 51 Metascore
    • 50 Kimberley Jones
    Anyone who watched (and probably wept his or her way through) the swoony 2004 melodrama "The Notebook" knows Cassavetes is not a man to leave a spot of sap untapped, and in My Sister's Keeper, he pulls out a very big drill indeed.
    • 50 Metascore
    • 40 Kimberley Jones
    Bell steals every scene she's in, and her abrupt dismissal feels all the crueler for so much charisma wasted: She shoulda been a contender.
    • 50 Metascore
    • 50 Kimberley Jones
    Roberts, wearing that beatific half-smile of hers that suggests inner peace and wisdom before she's even begun her journey, is too open-faced with her emotions to signal the complexities of Gilbert's distress – over her divorce, her control issues, her rootlessness, and inability to live in the moment.
    • 50 Metascore
    • 20 Kimberley Jones
    These are boys and girls on their very best behavior, which doesn't sound like any prom you or I remember.
    • 50 Metascore
    • 67 Kimberley Jones
    Is Gary Winick atoning for his sins? If “Bride Wars” was an acid spill -- and that’s putting it generously -- then Letters to Juliet is like the safety shower in your high school chemistry class, delivering an unsubtle blast of sanitized sentimentality.
    • 50 Metascore
    • 20 Kimberley Jones
    There are kernels here of a thoughtful and provocative picture, but they never pop – or POP!, for that matter.
    • 50 Metascore
    • 50 Kimberley Jones
    For better or worse (and I'd argue the latter), the aliens are as monolithically evil, unformed, and un-individuated as characters as Native Americans once were in the earliest of Westerns.
    • 49 Metascore
    • 40 Kimberley Jones
    Perhaps the more appropriate question to put to this remake would be "What the hell’s the point?"
    • 49 Metascore
    • 40 Kimberley Jones
    Short to short, it’s a Russian roulette.
    • 49 Metascore
    • 40 Kimberley Jones
    Amusing but never rousing, this fourth installment in the Ice Age cartoon franchise comes fretted with freezer burn.
    • 49 Metascore
    • 20 Kimberley Jones
    Screenwriter Dean Georgaris gets a hell of a pass here – the story is canon, and, in terms of emotional wallop, does all the heavy lifting for him – but he still manages to gunk up the works with dialogue that is dull-witted at best and outright howling at its worst.
    • 49 Metascore
    • 50 Kimberley Jones
    What's translated to film feels like a rough draft, with bullet points at beginning and end, demarcating Lola lost, Lola found. And in the middle? A vast, vague maw.
    • 48 Metascore
    • 40 Kimberley Jones
    This British rom-com is all soft and plodgy, a by-the-numbers redemption tale that careens uncomfortably from sentimentality to stomach-turning sight gags.
    • 48 Metascore
    • 40 Kimberley Jones
    The resultant film is all surface and plush, with nary a hard edge or demanding note. Despite the movie's well-intentioned heart, its head is out to lunch, neglecting its responsibility to provide these powerhouse actresses with a script half as smart or compelling as they.
    • 48 Metascore
    • 40 Kimberley Jones
    Undone by Blanchett's dull, wooden delivery. She's the pap that kills the pulp the rest of the film is bellowing out to be.
    • 48 Metascore
    • 20 Kimberley Jones
    A succession of shrill overacting jobs.
    • 48 Metascore
    • 30 Kimberley Jones
    Clearly the film is archly trying to connect the dots between Rove and the supreme mishandling of Iraq – and a compelling case might be made – but it isn't made here.
    • 48 Metascore
    • 30 Kimberley Jones
    The film restages the greatest hits of the show's many musical numbers, to greatly diminished effect, with lackluster choreography and all the narrative appeal stripped away.
    • 48 Metascore
    • 50 Kimberley Jones
    The bestselling first book in yet another dystopic Young Adult series, Veronica Roth’s Divergent is engrossing enough to devour overnight, and flimsy enough to forget by morning light. Neil Burger’s film adaptation faithfully reproduces the same effect.
    • 48 Metascore
    • 50 Kimberley Jones
    For every zinger, there are two flat jokes around the corner.
    • 48 Metascore
    • 50 Kimberley Jones
    The exceedingly silly Super Troopers is an earnest, mostly funny spoof.
    • 48 Metascore
    • 30 Kimberley Jones
    The fictionalization of their journey is simply not that engrossing, nor are their alter egos, with their tightly scripted character arcs.
    • 48 Metascore
    • 67 Kimberley Jones
    The space prison set-pieces get the job done; only in the film's terrestrial bookends does this nuts-and-bolts action film show its rust.
    • 48 Metascore
    • 67 Kimberley Jones
    Franklin injects life into a flat format and has in the process done something nearly unheard of in Hollywood as of late: He's brought class back to the genre film.
    • 48 Metascore
    • 40 Kimberley Jones
    The only thrill here comes from the adrenaline kick of the chase. Alas, it's an empty, Pavlovian kick at best.
    • 48 Metascore
    • 67 Kimberley Jones
    Sturgess, saddled with a caddish character, is less compelling, but he does provide the film's only spot of unloosed, raw emotion. Everything else feels too precisely and too compactly assembled for much impact.
    • 48 Metascore
    • 50 Kimberley Jones
    Fletcher demonstrates, as with her second film, "27 Dresses," that she can put together a funny, able romantic comedy that is a cut above, but no more. Still, those leads are awfully likable, the Massachusetts-for-Alaska landscape rather picturesque, and if The Proposal doesn't reinvent the wheel, merrily we roll along nonetheless.
    • 48 Metascore
    • 40 Kimberley Jones
    Book of Secrets isn’t so much a romp as a long trudge through American history factoids and conspiracy-theory gobbledygook. Cool car chase, though.
    • 48 Metascore
    • 40 Kimberley Jones
    When the boys are tossing balls around and bopping in time to Notorious B.I.G., they -- and the film -- are right-on.
    • 47 Metascore
    • 50 Kimberley Jones
    Cornpone caricatures abound (witness "Hoedown Throwdown," in which Miley sunnily urges us to "pop it, lock it, polka dot it"), but so do worthy messages about responsibility – to family, community, even Mother Earth.
    • 47 Metascore
    • 50 Kimberley Jones
    Isaac and Olsen are both mesmerizing actors, and Lange and Felton also do very good work in supporting roles, but their collective gameness – all that acting their pants off (sometimes literally) – is underserved by the film’s script and direction.
    • 47 Metascore
    • 50 Kimberley Jones
    It's like 90 minutes of teasing foreplay, and then, just when it's about to get really good, your partner rolls over and goes to sleep.
    • 47 Metascore
    • 40 Kimberley Jones
    Little more than a constant and occasionally pretty imaginative sex show.
    • 47 Metascore
    • 50 Kimberley Jones
    It’s all supremely silly stuff, and amusingly so, as long as you don’t stop to think about all those blameless officers and agents cut down in the line of mindless entertainment.
    • 47 Metascore
    • 50 Kimberley Jones
    Until Hollywood stops being a boys club, and America graduates beyond short pants and its embarrassingly pubescent attitudes toward sex, I suppose one can only hope that all male adolescent fantasies will play as goofily sweet as this one.
    • 47 Metascore
    • 40 Kimberley Jones
    There's some funny stuff here that doesn't involve degrading its female protagonists, and the cast, by and large, is appealing.
    • 47 Metascore
    • 50 Kimberley Jones
    It IS consistently funny. Its trash-can humor is tasteless, no doubt, but hey, that doesn't make it unpalatable.
    • 47 Metascore
    • 40 Kimberley Jones
    Midway through, there’s a truly riotous set-piece involving Bruiser’s gay love affair with a Great Dane, but not even a Chihuahua in leather bondage gear can zest up a franchise that has degraded from sleeper to snoozer.
    • 47 Metascore
    • 40 Kimberley Jones
    Mancini's character boils down to a lot of self-loathing and unresolved mommy issues – which is as tedious as it sounds.
    • 47 Metascore
    • 50 Kimberley Jones
    The jokes hit about half the time – the best bits have an off-the-cuff feel – and it’s pocked with the kind of rom-com clichés that are practically written in stone (screenwriter Aline Brosh McKenna's script for "The Devil Wears Prada" was far sharper).
    • 47 Metascore
    • 50 Kimberley Jones
    “Caution: Contents may induce brain bleed.” That is, if you think too hard on the logic and mechanics of its time-travel conceit.
    • 47 Metascore
    • 40 Kimberley Jones
    The trouble with retooling fairy tales to jibe with our more enlightened times is that too often the fun gets stripped along with the offensive parts.
    • 47 Metascore
    • 50 Kimberley Jones
    Fact is, good looks will go a long way in masking mediocrity, and Hollywood Homicide capitalizes on that fact doubly so: Co-writer/director Ron Shelton’s latest boasts two pretty faces, and all across the country, mothers and daughters sigh alike.
    • 47 Metascore
    • 50 Kimberley Jones
    The cast seems to have been assembled primarily for its blinking resemblance to the stars of the original Eighties TV series about a renegade group of former Army Rangers now for hire.
    • 46 Metascore
    • 67 Kimberley Jones
    As a portrait of what happens to a family when its glue disappears, Extremely Loud and Incredibly Close wrung a bucket of tears out of me.
    • 46 Metascore
    • 30 Kimberley Jones
    The Greek myths, of course, will endure. The same cannot be said for Singh's silly, self-serious, instantly forgettable, and inaptly named Immortals.