Kimberley Jones

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For 769 reviews, this critic has graded:
  • 39% higher than the average critic
  • 2% same as the average critic
  • 59% lower than the average critic
On average, this critic grades 4 points lower than other critics. (0-100 point scale)

Kimberley Jones' Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 100 Before Night Falls
Lowest review score: 0 Bucky Larson: Born to Be a Star
Score distribution:
769 movie reviews
    • 82 Metascore
    • 78 Kimberley Jones
    Blancanieves never lags, per se, it’s just awfully in love with itself: with its gorgeous black and white chiaroscuros and whirling-dervish first-person camera perspectives, the Spanish-guitar-scored dance sequences (that include the undeniable dance of the matador in action), and battering winds of emotional extremes. By the end of this sumptuous and sincerely felt melodrama, I was rather in love with it, too.
    • 82 Metascore
    • 89 Kimberley Jones
    Delicious.
    • 81 Metascore
    • 78 Kimberley Jones
    As with "Sunshine," I'd call Juno a family film if only it didn't make teen pregnancy look so sporting. Instead, we'll settle for that rare bird, an indie comedy that uplifts – funny and smart, totally trying to be cool and succeeding, and heartfelt to boot.
    • 81 Metascore
    • 67 Kimberley Jones
    Those moments, as affecting as they are, can't surmount the overworkshopped feel of the whole film.
    • 81 Metascore
    • 89 Kimberley Jones
    A restless, nervy actor, Hardy seems to get a kick out of tying one hand behind his back. He dominated "The Dark Knight Rises" even with a modified ball gag obscuring most of his face. Here, locked behind a steeling wheel and a conceptual gimmick, he only has the upper half of his body to work with. No surprise to anybody who’s been paying attention: Half a Hardy adds up to a hell of a lot.
    • 81 Metascore
    • 89 Kimberley Jones
    Grief doesn't exactly sound like a promising starting point for a love story, but, really, what a bounty Mills presents to us of beauty and buoyancy and possibility.
    • 81 Metascore
    • 89 Kimberley Jones
    Even more extraordinary than the concept or its conceptualization is how intensely moving an experience it all amounts to.
    • 81 Metascore
    • 89 Kimberley Jones
    Fish Tank isn't an easy watch – it's like two hours of ache – but there are rich rewards to be had in the many ways Arnold and her terrific team rend us to and fro.
    • 81 Metascore
    • 89 Kimberley Jones
    McKay makes moral outrage wickedly entertaining.
    • 81 Metascore
    • 67 Kimberley Jones
    It closes the film in what I suspect was intended as something of a happy ending, but it’s unnecessary: Thirty happy years should be happy ending enough.
    • 81 Metascore
    • 67 Kimberley Jones
    What's in a name? Lately, less and less. With Daniel Craig's third go at 007, I'm not sure there's much left that distinguishes Bond from Bourne from Batman. They're all slurping from the same soup – think: death-haunted, self-righteous, tight-lipped and -quipped, parkour enthusiast.
    • 81 Metascore
    • 89 Kimberley Jones
    Nothing short of majestic.
    • 81 Metascore
    • 78 Kimberley Jones
    Quite simply, Midnight in Paris is charming – très charmant, to ape the argot of the locals. I say that somewhat tongue-in-cheek, as this is very much an outsider's valentine to the City of Lights.
    • 81 Metascore
    • 78 Kimberley Jones
    The World’s End affectionately takes a page from our Fifties sci-fi films.
    • 81 Metascore
    • 78 Kimberley Jones
    Cooper mostly tamps down that Sexiest Man Alive demeanor that follows him from film to film, and Lawrence – a continually startling young talent – counterpoises her Bardot beauty with a blistering snarl. They both play hurt people clawing their way toward wellness, but it's Lawrence who makes you feel the hurt in your heart – and the hope that it'll get better soon.
    • 80 Metascore
    • 78 Kimberley Jones
    Because Wendy and Lucy is so lean on plot and dialogue, there are long spaces to contemplate Wendy and her situation, and the logistics are mind-boggling.
    • 80 Metascore
    • 89 Kimberley Jones
    The sum is something deeply profound: about awkwardness, culture clash, failed connections, and – ultimately – the strength that comes from surviving a trial by fire.
    • 80 Metascore
    • 78 Kimberley Jones
    Why wait for 2012? If you're hankering for a taste of the apocalypse, the opening sequence of this eye-opening, stomach-queasing doc has plenty to go on – witness menacing superimpositions on a bleak, blighted landscape – and the hits just keep on coming.
    • 80 Metascore
    • 67 Kimberley Jones
    The Queen of Versailles encourages the very worst tendencies in the audience: to sneer at the Siegels, to marvel at their tackiness, to root for their fall from grace.
    • 80 Metascore
    • 78 Kimberley Jones
    One wishes perhaps for a more thumping conclusion, but what we have instead is something perfectly in the spirit of the piece, reaffirming that life, big and little, happens in 10 minutes chunks.
    • 80 Metascore
    • 67 Kimberley Jones
    The cult of Iris caught like grassfire, and the film catches this nonagenarian nonpareil, ever in her defining owl glasses and heavy jewelry, at peak heat.
    • 80 Metascore
    • 78 Kimberley Jones
    Quite astonishingly, amidst all the chaos – and there's no better word for Tristram Shandy's inspired, breakneck madness – what emerges is a featherlight, moving meditation on new fatherhood.
    • 80 Metascore
    • 78 Kimberley Jones
    Sweetgrass’ unbroken shots of often-repetitive activity have a beguiling quality to them, their very monotony encouraging a deeper absorption and reflection, but hard facts aren’t easy to come by.
    • 79 Metascore
    • 78 Kimberley Jones
    Undeniably gripping stuff.
    • 79 Metascore
    • 89 Kimberley Jones
    It's all about the little things, and the way in which the little things can steal into your heart in big ways.
    • 79 Metascore
    • 78 Kimberley Jones
    An entirely sympathetic portrait of the artist at an advancing age. That's right, artist – and to a generation that knows Rivers only as a screeching red-carpet provocateur or as an overknifed monstrosity, that revelation alone is worth the cost of admission.
    • 79 Metascore
    • 89 Kimberley Jones
    A Most Violent Year is its own thing, hypnotic and exacting and as subtly savage as mellow-voiced Marvin Gaye’s “Inner City Blues (Makes Me Wanna Holler),” which opens the film and sets the tone. I was fully in thrall to it all.
    • 79 Metascore
    • 67 Kimberley Jones
    Kinsey is too tasteful by half, and while it may have its gentle charms, it never thrills.
    • 79 Metascore
    • 78 Kimberley Jones
    The material begs for a much longer consideration than the film’s trim 79 minutes, but it’s still a must-watch for serious film fans.
    • 79 Metascore
    • 78 Kimberley Jones
    Post-viewing, I was still coasting on the giddy high of kinetic cinema, only to have the astonishing callousness of its conclusion slowly settle in. It's a better film for it – one only wishes that Reprise on a whole had been of the same mind: a little less cool, a little more cruel. That's where the really good stuff is.

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