For 651 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 2046
Lowest review score: 0 The Virginity Hit
Score distribution:
651 movie reviews
    • 70 Metascore
    • 50 Kimberley Jones
    Something is terribly amiss when the American actors sound like English is their second language.
    • 70 Metascore
    • 78 Kimberley Jones
    Cotillard doesn't look part Native American or sound like a Thirties Chicago moll, but damned if she isn't a sight and sound to behold. Whatever her technical limitations, she rises above them to breathe a flesh, blood, and battered verisimilitude into the part. You can't tear your eyes off her, any more than you can Mann's flawed but still engrossing picture.
    • 70 Metascore
    • 40 Kimberley Jones
    Everything that was sharp in the original text has been rounded and buffed.
    • 70 Metascore
    • 67 Kimberley Jones
    With so many soldiers interviewed, some only fleetingly, it's impossible to keep track of them all.
    • 70 Metascore
    • 78 Kimberley Jones
    A devastating and weighty picture.
    • 70 Metascore
    • 50 Kimberley Jones
    Ultimately Hedges’ film, like the turkey, comes out underdone.
    • 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
    It's the kind of movie that lives and dies by a viewer's own idiosyncrasies.
    • 69 Metascore
    • 67 Kimberley Jones
    The subdued characters I can abide, intellectually speaking, but subdued filmmaking with material this fundamentally gut-punching is a lot less easy to swallow.
    • 69 Metascore
    • 89 Kimberley Jones
    A film that wants you to get happy.
    • 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.
    • 69 Metascore
    • 50 Kimberley Jones
    Gilroy zings the film with tantalizing bits of absurdity (one wonders, wistfully, what the Coen brothers would have done with this material), but too often he returns to his darker, more ponderous instincts.
    • 69 Metascore
    • 67 Kimberley Jones
    Giamatti is masterful.
    • 69 Metascore
    • 67 Kimberley Jones
    She knew what "it" was going to be before anyone else. Or maybe she invented "it," and the magazine-buying public simply did as they were told.
    • 69 Metascore
    • 40 Kimberley Jones
    Perhaps there was some confusion – should we play this as a lark or a lesson in geopolitical unrest? – or maybe there was some studio involvement to defang the politics; whatever the case, the noncommittal Charlie Wilson's War treads a good-natured but yawning in-between.
    • 69 Metascore
    • 78 Kimberley Jones
    So potent it nearly succeeds even as a vacuum sits squarely at its center.
    • 69 Metascore
    • 40 Kimberley Jones
    There's nothing that feels like real rage, nothing that even remotely approximates the spiritual decimation of a termination.
    • 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.
    • 69 Metascore
    • 89 Kimberley Jones
    Wright takes the tools of a bloodless medium, the video game, and crafts an action-comedy with a true-blue beating heart.
    • 69 Metascore
    • 89 Kimberley Jones
    Kazan appears in every scene of The Exploding Girl’s perfectly paced 80 minutes, and you’d miss her if she ducked out for even a moment.
    • 68 Metascore
    • 67 Kimberley Jones
    Tonally, it all makes sense, but there’s such a thing as overmuchness. Gibney laudably launches a withering attack here on the pay-to-play relationship between lobbyists and lawmakers. But this viewer felt withered, too, by the end of his battering ram of a movie.
    • 68 Metascore
    • 78 Kimberley Jones
    Something that falls just shy of greatness.
    • 68 Metascore
    • 89 Kimberley Jones
    The film can feel a touch overscripted, but Polley and her actors effect true-to-life rhythms of speech.
    • 68 Metascore
    • 78 Kimberley Jones
    Funny and fierce and deeply moving.
    • 68 Metascore
    • 78 Kimberley Jones
    The only weak link here is Aniston's character – her Olivia, stuck in a holding pattern, feels like a holdover from Holofcener's previous, single-girl pictures, and Aniston underplays the role to the point of expressionlessness.
    • 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.)
    • 68 Metascore
    • 67 Kimberley Jones
    To a one, they're terrific. But in this overpacked ensemble cast, it's Binoche you want to see more of.
    • 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?
    • 67 Metascore
    • 89 Kimberley Jones
    Moon doesn't belabor anything, really, so confidently measured and philosophically nuanced it all plays out (aided by a striking, under-the-skin original score by Clint Mansell).
    • 67 Metascore
    • 67 Kimberley Jones
    It’s best to situate yourself in the middle of the row; a seat at the end will most likely leave you feeling cross-eyed for an hour.