Kimberley Jones
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For 702 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 All the Real Girls
Lowest review score: 0 Someone Like You...
Score distribution:
702 movie reviews
    • 68 Metascore
    • 67 Kimberley Jones
    (It should also be noted that Page One wears its pro-Times bias on its sleeve, right up to the rankling but now-common inclusion of a "get involved" Web address at film's end.)
    • 25 Metascore
    • 67 Kimberley Jones
    The senseless violence of a Jean-Claude Van Dammer, no point to that, but this, this has purpose. This is an ass-kicking a girl can get into. So why do I feel like crying mea culpa?
    • 64 Metascore
    • 67 Kimberley Jones
    It neither embarrasses the original, nor is superior to it in any way.
    • 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.
    • 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.
    • 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.
    • 63 Metascore
    • 67 Kimberley Jones
    Has very little soul to speak of, but it's got swagger to burn.
    • 59 Metascore
    • 67 Kimberley Jones
    Somewhere in that chirpy half-pint frame dwell some meaty comic chops. Goldie Hawn may have found her successor.
    • 63 Metascore
    • 67 Kimberley Jones
    What we get is more of the same from Ferrell – funny faces, goofy accents, pratfalls aplenty – and that ain't bad. It just could have been a lot better.
    • 63 Metascore
    • 67 Kimberley Jones
    The middle of a movie is often where filmmakers lose their way, but Friends With Benefits nails this stretch, in which nothing very remarkable happens as two people talk, in bed and out of bed. There's a fine line between fun-dirty and ick-dirty – sometimes you can't identify the line until it's been crossed – and this film keeps its toes on the right side of raunch.
    • 72 Metascore
    • 67 Kimberley Jones
    It's a dirty, ugly, joyless world these fathers and sons live in, and for all the passion involved, of retribution and a father's fierce love, Perdition is as emotionally distant as Sullivan. The feelings are all there, just submerged.
    • 73 Metascore
    • 67 Kimberley Jones
    Isn't quite a home run: The visually flat film leans on a pop culture crutch that probably won't age very well, and the finale – while terrifically funny – feels piped in from another, far sillier movie.
    • 66 Metascore
    • 67 Kimberley Jones
    Square peg, round hole. That's what the twentysomethings who drift through Margarita Happy Hour are like.
    • 69 Metascore
    • 67 Kimberley Jones
    Giamatti is masterful.
    • 55 Metascore
    • 67 Kimberley Jones
    As an experiment in mood, as a love song to Paris and to the French New Wave, as a fun, flirty little number, Charlie provides a giddy satisfaction.
    • Austin Chronicle
    • 84 Metascore
    • 67 Kimberley Jones
    When the Three Gorges Dam on the Yangtze River began construction in the early Nineties, an estimated 2 million people's lives were impacted. That's a staggering number to contemplate, but Up the Yangtze effectively personalizes that near-meaningless number by putting a face on at least a few of those 2 million.
    • 62 Metascore
    • 67 Kimberley Jones
    A nice-looking, nice-feeling exercise in conventionalism that sure could use a couple of transvestites and maybe a house falling from the sky.
    • 52 Metascore
    • 67 Kimberley Jones
    The all-around excellent cast swings with aplomb from silly to sweet.
    • 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
    Affectionate but uninsightful biopic.
    • 55 Metascore
    • 67 Kimberley Jones
    Mercifully, the frosted icing-icky title bears little relation to the film's actual content.
    • 55 Metascore
    • 67 Kimberley Jones
    The Hundred-Foot Journey is elevated comfort food. The flavors aren’t complex, but it’s nourishing nonetheless.
    • 42 Metascore
    • 67 Kimberley Jones
    The twentysomething talents behind Mystery Team are still in the comedy minors, but this nerdy, nutty, perfectly pitched first swing suggests there are major things to come.
    • 81 Metascore
    • 67 Kimberley Jones
    Those moments, as affecting as they are, can't surmount the overworkshopped feel of the whole film.
    • 86 Metascore
    • 67 Kimberley Jones
    His (Spielberg) is an old-fashioned style of moviemaking that can produce soaring entertainment or, alternately, a fussed-over theatricality. Minute to minute, Lincoln moves between these extremes.
    • 66 Metascore
    • 67 Kimberley Jones
    The easy, fast-talking rapport between the four young women is The Sisterhood’s biggest selling point. Too bad, then, that the premise demands they spend most of the film away from each other.
    • 63 Metascore
    • 67 Kimberley Jones
    Echotone is scattered, for sure (the sound ordinance battle is poorly handled), but as an anecdotal account of Austin in the first decade of a new century, it's rarely anything less than compelling.
    • 61 Metascore
    • 67 Kimberley Jones
    Authenticity is strangely lacking in Laurel Canyon, although Cholodenko’s exquisite eye for framing remains uncorrupted. Laurel Canyon is often visually captivating.
    • 63 Metascore
    • 67 Kimberley Jones
    This kind of a dance film lives and dies by the routines, and this one wins: Mixing elements of gymnastics, karate, and break with the almighty step – an exceedingly polite term for what is really an awesome stomp.
    • 74 Metascore
    • 67 Kimberley Jones
    Throughout, the documentary is fun and engaging, even whimsical when using (to good effect) illustrations and Gilliam’s own storyboards.

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