Kimberley Jones
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For 693 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 3.3 points lower than other critics. (0-100 point scale)

Kimberley Jones' Scores

  • Movies
  • TV
Average review score: 56
Highest review score: 100 Birdman or (The Unexpected Virtue of Ignorance)
Lowest review score: 0 Zookeeper
Score distribution:
693 movie reviews
    • 61 Metascore
    • 50 Kimberley Jones
    A grinning but toothless comedy, this Christmas-themed outing pales in inventiveness compared to the original, which brought sweet, silly anarchy to its one-thing-leads-to-another plotting.
    • 61 Metascore
    • 67 Kimberley Jones
    The script also takes the occasional dip into hokeyness, but even that is buoyed by its ballsy leading ladies.
    • 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.
    • 61 Metascore
    • 50 Kimberley Jones
    There is a plot – a pretty clunky one, jerry-rigged with character motivations that amount to one long “huh?” and dialogue that might as well have been chunked out of a cliche generator – but who needs plot when we can have mayhem?
    • 61 Metascore
    • 67 Kimberley Jones
    The script is chockablock with al dente amusements – obvious targets still make for wickedly funny one-liners – and the German actor Waltz (Inglourious Basterds) is terrific as the only parent unburdened by decorum.
    • 61 Metascore
    • 50 Kimberley Jones
    I suspect a second viewing would uncover more information embedded in the mise-en-scène; had Trance – tonally a jumble and disorienting to the point of distraction – rewarded the audience with the pure perfection of a Keyser Söze-like reveal, I’d be more inclined to make the return trip.
    • 61 Metascore
    • 78 Kimberley Jones
    And yet, it works, so much so that after two and a quarter hours, I was startled – and not a little disappointed – when the closing credits kicked in.
    • 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.
    • 60 Metascore
    • 50 Kimberley Jones
    This is Jackman’s show entirely, and he’s as forceful and charismatic as ever as the walking, talking hurt that is Wolverine. If only he had something more interesting to do here.
    • 60 Metascore
    • 50 Kimberley Jones
    The Duplass brothers have an exceptional eye for microexpressions (yes, they're still zoom-happy), and there's something to be admired in this new interest in a macro lens on the universe's workings. If only it didn't take wading through so much drear to get to that divine.
    • 60 Metascore
    • 40 Kimberley Jones
    In all his misguided enthusiasm, Parker has mustered enough bluster to fill up a zeppelin, blowing harder and harder, for something more and more fanciful. But with so much hot air, the bubble is bound to burst, and so it does in Parker's blundering adaptation.
    • 60 Metascore
    • 67 Kimberley Jones
    More often than not The Heat is just stupid-funny, which circles us back to McCarthy, motor-mouthing four-letter fury like an operatic aria. She sells Mullins as delightfully unhinged and fairly radiating with rage, and it’s irresistible.
    • 60 Metascore
    • 50 Kimberley Jones
    Has a heart bursting with good intentions, something that goes a long way in dimming from memory its inherent routineness.
    • 59 Metascore
    • 67 Kimberley Jones
    Three actors play Bobby at different ages, and none of them quite jibe with the other – 16-year-old Bobby seems far savvier than the twenty-something version (who is played by a defanged Colin Farrell).
    • 59 Metascore
    • 78 Kimberley Jones
    High spirits mark the first half of the film; quite simply, these guys are just fun to be around – most especially Howard, all half-lidded, cat-who-got-the-cream coolness.
    • 59 Metascore
    • 78 Kimberley Jones
    To a one, they nail the humor, all right, but they also, quite crucially, humanize the high concept.
    • 59 Metascore
    • 40 Kimberley Jones
    A clever idea that never stretches beyond just that -- a caterpillar that never blooms into a butterfly.
    • 59 Metascore
    • 78 Kimberley Jones
    The spirit of the thing – the way it champions intellectual curiosity and critical thinking – warmed this nerd’s heart tremendously.
    • 59 Metascore
    • 67 Kimberley Jones
    Screenwriters Andy Paterson and Frank Cottrell Boyce (who wrote many of Michael Winterbottom’s early films) adeptly shift the action back and forth between these two timelines, and the drama – exterior and interior – is engrossing in both tracks.
    • 59 Metascore
    • 78 Kimberley Jones
    With "50/50," his last stint in the director's chair, Levine upended convention to make a feel-good cancer movie. He's still defying expectations: In animating the inner workings of the undead, he's made a movie that is both clever and heartfelt.
    • 59 Metascore
    • 67 Kimberley Jones
    An admirable effort, but too many words, words, and more words, and not enough of the ache of that half-smile.
    • 59 Metascore
    • 67 Kimberley Jones
    It all boils down to trying too hard, when everybody knows a good grift is one that appears effortless.
    • 59 Metascore
    • 67 Kimberley Jones
    Somewhere in that chirpy half-pint frame dwell some meaty comic chops. Goldie Hawn may have found her successor.
    • 59 Metascore
    • 30 Kimberley Jones
    If LaBute wants to plumb the depths of human unkindness, have at it -– only dig deeper next time.
    • 59 Metascore
    • 78 Kimberley Jones
    LaBeouf plays Jacob as no naif – he can be as slippery and savage as the next suit – but there's also real tenderness in his scenes with Mulligan and Langella (in a small but significant role as Jacob's mentor).
    • 59 Metascore
    • 50 Kimberley Jones
    Terrio's technically proficient film is mature, modern, and minus the all-important passion and risk.
    • 59 Metascore
    • 50 Kimberley Jones
    There’s a surprising – and truthful – melancholic undercurrent to Definitely, Maybe – the one commonality between the three women is the heartbreak they induce – but Brooks undermines that truthfulness with a dogmatic insistence upon romantic mythologizing. No maybes about it: The reality is far darker, and more interesting.
    • 59 Metascore
    • 50 Kimberley Jones
    Occasional animated inserts inspired by Chantry’s work as an illustrator, while accomplished, inject an off-note of whimsy that doesn’t quite square with the script’s stabs at edgier humor.
    • 59 Metascore
    • 67 Kimberley Jones
    Does Apatow understand his heroes are assholes?
    • 59 Metascore
    • 78 Kimberley Jones
    Terribly tender, good-hearted picture.

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