For 667 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 3.3 points lower than other critics. (0-100 point scale)

Kimberley Jones' Scores

  • Movies
Average review score: 56
Highest review score: 100 All the Real Girls
Lowest review score: 0 Ultraviolet
Score distribution:
667 movie reviews
    • 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
    • 40 Kimberley Jones
    Amusing enough, but weirdly joyless.
    • 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.
    • 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.
    • 67 Metascore
    • 67 Kimberley Jones
    To do no disservice to the impressive work of Bridges' co-stars, anytime his ragged writer, in flowing caftans and floppy hats, is on screen, it's impossible to take in anything else, so commanding is his presence.
    • 67 Metascore
    • 40 Kimberley Jones
    As is, it's simply too much information crammed too haphazardly into a running time that at times borders on interminable.
    • 67 Metascore
    • 30 Kimberley Jones
    "By practicing his art, he revealed himself to us." Fellini: I’m a Born Liar provides proof positive: The art indeed reveals far more than this pedestrian documentary ever does.
    • 67 Metascore
    • 78 Kimberley Jones
    Isn't Lee's most personal piece, but it may very well be his most mature.
    • 67 Metascore
    • 50 Kimberley Jones
    It's unclear if Van Sant intends to inspire guilt; here, as elsewhere, he is exasperatingly abstruse. And in this striving to not say too much, he ends up not saying much of anything at all.
    • 67 Metascore
    • 50 Kimberley Jones
    Chbosky surrounds his hurting characters with the cinematic equivalent of a hug circle – which is sweet, but rather antithetical to tension-building.
    • 67 Metascore
    • 40 Kimberley Jones
    As an unsparing portrait of disaffection among the small-paycheck, faux-creative class, The Future is rather astute … which isn't to say it isn't also bang-your-head-on-the-wall annoying.
    • 66 Metascore
    • 50 Kimberley Jones
    The Girl Who Played With Fire's chief frustration is in how removed Salander and Blomkvist are from each other.
    • 66 Metascore
    • 89 Kimberley Jones
    Funny and sweet and guaranteed to flood you with good feeling.
    • 66 Metascore
    • 40 Kimberley Jones
    Grace and Johannson's courtship has all the heat of a wet wipe and, worse yet, leaves Quaid offscreen for long stretches.
    • 66 Metascore
    • 50 Kimberley Jones
    A romantic comedy, too, but this time the romance is between two women, and one of them, truth be told, is a dud.
    • 66 Metascore
    • 50 Kimberley Jones
    It has a basic goodness of heart that counteracts, if not entirely cancels out, the film's broadness and busyness.
    • 66 Metascore
    • 67 Kimberley Jones
    [Keaton's] lost none of the spunk, sass, and ditzbomb charm of her "Annie Hall" days. She, quite simply, is marvelous. Too bad her similarly iconic co-star is such a toad. Jack never stops being Jack, to great distraction.
    • 66 Metascore
    • 78 Kimberley Jones
    It's easy enough to forget there are special effects involved, so convincing is Stu's rippling fur and big beamy eyes filling up with tears.
    • 66 Metascore
    • 50 Kimberley Jones
    It's unclear where the buck stops in terms of creative authority – at one point, Clayman complains that "the only thing I feel in control of is the money" – which renders OC87 at once a remarkable achievement, and a fatally compromised film.
    • 66 Metascore
    • 78 Kimberley Jones
    The sights are ingenious, impressively rendered in 3-D, and the sounds – including cheeky voice work by Mr. T, Neil Patrick Harris, and Benjamin Bratt – are a blast.
    • 66 Metascore
    • 78 Kimberley Jones
    Much to cheer here, from its treasure trove of early and alternate versions of songs to the triumphant finale.