For 649 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 3.7 points lower than other critics. (0-100 point scale)

Kimberley Jones' Scores

  • Movies
Average review score: 55
Highest review score: 100 All the Real Girls
Lowest review score: 0 Bride Wars
Score distribution:
649 movie reviews
    • 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.
    • 57 Metascore
    • 30 Kimberley Jones
    But most damningly, Shut Up Little Man! fails to convey what was so hypnotic about the original tapes, and Bate's decision to re-enact the transcripts with actors seems weirdly contrary to the spirit of the thing.
    • 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.
    • 18 Metascore
    • 30 Kimberley Jones
    In Movie 43's better-suited afterlife in the home-entertainment market, those sort of quandaries can be hashed out between bong rips and bags of Cheetos.
    • 34 Metascore
    • 30 Kimberley Jones
    The leads project a sunny patina of wholesomeness and share marvelous tans, but beyond that, it’s a shrugging love match.
    • 33 Metascore
    • 30 Kimberley Jones
    Back to that question of medium: Scrubbed of the few, ill-fitting four-letter words that earned it an R, Language of a Broken Heart might have made a passable Hallmark or Lifetime TV movie, cushioned by the TV-movie context. But as a theatrical prospect, it’s a fail.
    • 28 Metascore
    • 30 Kimberley Jones
    I’m not saying there isn’t comic gold to be mined in the topic of cunnilingus and the senior set, but The Big Wedding couldn’t hit pay dirt even if it face-palmed the film first.
    • 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.
    • 41 Metascore
    • 30 Kimberley Jones
    The film finds some momentum once the bodies start dropping – but maybe that was only the sweet relief in knowing the end was nigh.
    • 36 Metascore
    • 30 Kimberley Jones
    There’s probably a movie out there that can call a happy, anatomical truce between Viagra-hopped, horizontal-dick jokes and heart-on-the-sleeve love stuff, but this ain’t that.
    • 17 Metascore
    • 20 Kimberley Jones
    Everybody figured producer Joel Silver and Willis couldn't lose and guess what? They all rolled craps.
    • 33 Metascore
    • 20 Kimberley Jones
    The blandness of The Wedding Planner burlap-sacks their appeal in an altogether dowdy outing for two stars who deserve much snazzier threads.
    • 48 Metascore
    • 20 Kimberley Jones
    A succession of shrill overacting jobs.
    • 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.
    • 32 Metascore
    • 20 Kimberley Jones
    The collective charisma of Robert De Niro, Eddie Murphy, and Rene Russo is the only reason to slap down eight bucks for this limp action/comedy, but then, it's difficult not to want to avert your eyes out of embarrassment for the trio.
    • 29 Metascore
    • 20 Kimberley Jones
    A paint-by-numbers romantic comedy, but without the heart or laughs to make it work.
    • 45 Metascore
    • 20 Kimberley Jones
    Irritating throughout, Love Me if You Dare turns positively appalling in its last half hour, with the inevitable final showdown producing an image that continues to curdle my stomach days later.
    • 25 Metascore
    • 20 Kimberley Jones
    It isn't all the actors' faults, of course. You can't, ahem, turn straw into gold, and straw – dull, brittle, lousy to taste – is entirely what director Mark Rosman and first-time screenwriter Leigh Dunlap deliver.
    • 46 Metascore
    • 20 Kimberley Jones
    And then there's the overacting. And then there's the hamminess of the script. And then there's
    • 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.
    • 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.
    • 23 Metascore
    • 20 Kimberley Jones
    The Celestine Prophecy's biggest stumbling block (and there are many to choose from) is that the film's dramatic arc hinges on John's awakening to the prophecy. But spiritual epiphany is tough to convey onscreen.
    • 36 Metascore
    • 20 Kimberley Jones
    If you're gonna hire one of the funniest American comedians working today – Zach Galifianakis – and shove him to the side of the frame, then frankly, you can take what happens in Vegas, keep it in Vegas, and keep the rest of the us out of it.
    • 40 Metascore
    • 20 Kimberley Jones
    Overlong, overplotted, and pocked with improbabilities.
    • 29 Metascore
    • 20 Kimberley Jones
    New in Town might have better played on the less demanding stage of, say, a Lifetime made-for-TV movie.
    • 33 Metascore
    • 20 Kimberley Jones
    Love Happens? It depends on your definition of “love.” And “happens.” There isn’t much of either in this predictable, putzy drama.
    • 17 Metascore
    • 20 Kimberley Jones
    Indisputably awful comedy.
    • 34 Metascore
    • 20 Kimberley Jones
    Aggressively unfunny and unromantic, Valentine’s Day’s chief concern appears to have been the corralling of its cast of a thousand stars; it seems far less attention was paid to what to do with that cast once assembled.
    • 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.
    • 36 Metascore
    • 20 Kimberley Jones
    Check the credits: That move is ripped straight from producer Michael Bay's playbook.