Kimberley Jones

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For 770 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: 56
Highest review score: 100 Before Night Falls
Lowest review score: 0 A Haunted House
Score distribution:
770 movie reviews
    • 62 Metascore
    • 78 Kimberley Jones
    It’s the funniest, friskiest date movie in a good long while.
    • 62 Metascore
    • 50 Kimberley Jones
    The Help may be more interested in the moral at the end of the story than the story itself, but what saves the film from its meticulous one-dimensionality is that nuanced, deeply moving cast.
    • 62 Metascore
    • 50 Kimberley Jones
    Counselors and campers' moms tend to tear up when they talk about the lessons these girls are learning, lessons that go way beyond how to tune a bass, but this isn't exactly a "rah-rah" film.
    • 62 Metascore
    • 78 Kimberley Jones
    What is so surprising – even exhilarating – about The Names of Love is that it shucks off the desultory roadblocks that engine the modern romantic comedy – all that razzmatazz of missed connections and dunderheaded misunderstandings.
    • 62 Metascore
    • 78 Kimberley Jones
    Funny, bewildering, giddy spectacle.
    • 61 Metascore
    • 89 Kimberley Jones
    A manic, lithesome thing, 2 Days in New York flexes between broad comedy and a beautifully observed portrait of family life – especially life after death.
    • 61 Metascore
    • 78 Kimberley Jones
    As much a portrait of a community as of its brilliant, de facto mayor, Harmontown is a stirring tribute to the restorative power of finding your people.
    • 61 Metascore
    • 67 Kimberley Jones
    Movingly captures the terrors and delights of being lovesick at 17. Would that it hadn't felt constrained to target only the 17-year-olds.
    • 61 Metascore
    • 67 Kimberley Jones
    Big Miracle is all formula, but with just enough savvy to temper the gentle-spiritedness and qualify it as that rare family film with an emotional manipulativeness that doesn't leave a sick slick in the mouth.
    • 61 Metascore
    • 67 Kimberley Jones
    Crafted by much of the same creative team behind the "Despicable Me" franchise, The Secret Life has wit, for sure, but it could use more balls.
    • 61 Metascore
    • 78 Kimberley Jones
    You can easily lose five minutes making sense of it - and another 10 poking holes in it - but what of it? The preceding 100 minutes pass so pleasurably, the few false moves barely register - maybe the biggest con of all, but consider me happily snowed.
    • 61 Metascore
    • 78 Kimberley Jones
    Maybe someday there will be a better commercial comedy about a girl taking charge of her sexual education, but for now, this is the only one we’ve got, and it’s a filthy-fun charmer.
    • 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
    • 67 Kimberley Jones
    Magic Mike XXL isn’t really a movie. It’s a bachelorette party, or a book club, or any other safe space where women gather for some of that “you go, girl” good feeling. It’s an amusement-park ride. Fasten the safety belt, secure your purses, and get ready to scream.
    • 60 Metascore
    • 67 Kimberley Jones
    The actresses are so quick and so supple, the force of their individual personalities and their irresistible camaraderie hoik the film up from its middling story and scripted jokes. I would have happily stayed in my seat another two hours to continue keeping their company. Just in a better movie.
    • 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
    Trumbo certainly has pep. Theodore Shapiro’s jazzy score doesn’t just boast a tom-tom – you could choreograph it with pom-poms. Maybe Roach worried that general audiences wouldn’t cotton to a yellowing story about the Red Menace, so he ginned it up with a jazz-hands idea of midcentury Hollywood, with everyone mugging like it’s a lobby-card photo shoot
    • 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.

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