Kimberley Jones

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For 800 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 4.7 points lower than other critics. (0-100 point scale)

Kimberley Jones' Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 100 2046
Lowest review score: 0 Paul Blart: Mall Cop 2
Score distribution:
800 movie reviews
    • 73 Metascore
    • 78 Kimberley Jones
    The Hangover instantly has the feel of one for the ages.
    • 73 Metascore
    • 67 Kimberley Jones
    A Girl Cut in Two is Hitchcock sans the whodunit, essentially a long preamble of seduction and spiritual ruin, capped by a crime everyone saw coming (and an eye-dazzling coda that twists the title from metaphor to … something else).
    • 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.
    • 73 Metascore
    • 67 Kimberley Jones
    It is certainly competent, lovely to look at, but leaves little lasting impression.
    • 73 Metascore
    • 89 Kimberley Jones
    It's all so goddamn realistic and reminiscent of real-life love (and how often does that happen onscreen?) that The Puffy Chair would be hell to watch if it weren't so funny.
    • 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.
    • 72 Metascore
    • 67 Kimberley Jones
    I suspect it's that spirit as much as the injustice of her incarceration that drew so many people to her cause and inspired this labor-of-love documentary about her journey to hell and back.
    • 72 Metascore
    • 89 Kimberley Jones
    In the House, from the eclectic French filmmaker François Ozon (Under the Sand, 8 Women), is an almost perverse delight, an egghead thriller that slyly shell-games its truer purpose as an inquiry into the construction – and deconstruction – of fiction. Scratch deconstruction: Make that tear-the-house-down demolition.
    • 72 Metascore
    • 78 Kimberley Jones
    It’s a fun watch, and familiarity with Los Angeles isn’t required to get a kick out of these toe-dips into Koreatown and Tehrangeles and all the other micro-communities that make the city a macro-paradise for eaters.
    • 72 Metascore
    • 67 Kimberley Jones
    Taking a cue from the horse in question, Ross’ film takes its time getting into the race, but once it gets going, the going gets good.
    • 72 Metascore
    • 67 Kimberley Jones
    This first release from Disney’s self-explanatory new arm, Disneynature, is at the very least peripherally concerned with the planet and its dwindling prospects, but the real renewable resource here is the groundbreaking "Planet Earth" miniseries.
    • 72 Metascore
    • 78 Kimberley Jones
    Hair is personal. It's also political.
    • 72 Metascore
    • 89 Kimberley Jones
    Smart, uncanny, resistant to the short cuts of pop psychology, and shocking in the best since of the word, Steers' debut is a stunner.
    • 72 Metascore
    • 78 Kimberley Jones
    Screenwriters Roberto Orci, Alex Kurtzman, and fanboys’ favorite whipping boy, Damon Lindelof, keep the film moving at a quippy clip; there’s really no fat here until the film feints a climax only to lurch the coaster-car back up the hill again.
    • 72 Metascore
    • 89 Kimberley Jones
    Mostly it's just terribly funny and sad and beautifully acted and terrifically feel-good for being, you know, a cancer comedy.
    • 72 Metascore
    • 78 Kimberley Jones
    A surprisingly warmhearted examination of hypocrisy and social insecurity, unlikely camaraderie and stutter-stepped formation of adult identity.
    • 72 Metascore
    • 78 Kimberley Jones
    The film is studded with stirring moments of surprise.
    • 72 Metascore
    • 67 Kimberley Jones
    It's a wealth of material at odds with a scant running time and shallow focus.
    • 72 Metascore
    • 78 Kimberley Jones
    The magnificence of the film's pieces does not quite add up to a satisfying whole.
    • 72 Metascore
    • 89 Kimberley Jones
    Equally harrowing and heartrending, Shame is a film that feels akin to going into battle, and I for one didn't emerge unscathed.
    • 72 Metascore
    • 67 Kimberley Jones
    But by the time this imperfect little film wends its way to one of the most winning exit lines I've heard in a long time, it's turned into something, well, perfectly lovely.
    • 72 Metascore
    • 78 Kimberley Jones
    Pray maintains a steadfastly objective viewpoint, and it's a testament to his film's success that it can accommodate the audience's inevitably shifting allegiances from one family member to the next.
    • 71 Metascore
    • 100 Kimberley Jones
    It’s a movie made of moments, the antithesis of "plot-driven," but the sum of these moments is magnificent, the culmination of so many elements: acting, scripting, score (by locals Michael Linnen and David Wingo), and cinematography.
    • 71 Metascore
    • 89 Kimberley Jones
    This modest French-language film follows the time-honored cinematic tradition of plot as spearheaded by a simple twist of fate.
    • 71 Metascore
    • 67 Kimberley Jones
    The former mayor is an alert onscreen presence, but the film surrounding him is not always so lively.
    • 71 Metascore
    • 89 Kimberley Jones
    And yet that is what is so very remarkable about the film: In a slim 72 minutes, it heart-tethers us to these teenagers, paying tribute to their unique and private selves while allowing the audience to see its own reflection in them.
    • 71 Metascore
    • 78 Kimberley Jones
    Refn’s artful and energetic film never goes further than face value.
    • 71 Metascore
    • 78 Kimberley Jones
    The trouble comes, and not just for Fassbender, when it’s time to tackle the actual text. The toil of it is exhaustingly felt. The lines are spoken, but their weight sometimes is as vaporous as that Scottish fog.
    • 71 Metascore
    • 78 Kimberley Jones
    She’s (Mulligan) got the best lopsided smile in the business, and she uses it well to size up her three bachelors. They’re just no match for her.
    • 71 Metascore
    • 67 Kimberley Jones
    Sleepwalk With Me is never anything less than awfully likable. But I so wanted it to be more.

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