Kimberley Jones
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For 677 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 3.6 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 Bride Wars
Score distribution:
677 movie reviews
    • 46 Metascore
    • 50 Kimberley Jones
    That's the ultimate cheat in this pleasant, but trifling affair: Allen has cheated himself out of an actress (Leoni) that could have been Diane Keaton's heir.
    • 46 Metascore
    • 40 Kimberley Jones
    Frankly, I don't like to be bullied, and bullying is exactly what Knight and Day – overly cute and overconvinced of its own cool – does best.
    • 46 Metascore
    • 11 Kimberley Jones
    No film that requires a woman to jump in water and dogpaddle toward a man has the "sisterhood's" best interests at heart.
    • 46 Metascore
    • 40 Kimberley Jones
    Knoxville, in his first dramatic role, does what he can with script and direction that aggressively eschew any insight into Kaufman's grief.
    • 46 Metascore
    • 40 Kimberley Jones
    Their travelogue-ready romance is utterly doofy but not disagreeable, and this sort of wish-fulfillment fantasy will strike the right chord with Moore’s fan base of preteen girls.
    • 46 Metascore
    • 20 Kimberley Jones
    And then there's the overacting. And then there's the hamminess of the script. And then there's
    • 45 Metascore
    • 50 Kimberley Jones
    Far more interesting than Juli and Bryce's banal budding love is Reiner and co-scripter Andrew Scheinman's sensitive exploration of how parents shape their children.
    • 45 Metascore
    • 40 Kimberley Jones
    There's just no reconciling the film's ambivalent message. Newell hangs a modern sensibility on a supposed period piece, and hangs his film in the process.
    • 45 Metascore
    • 50 Kimberley Jones
    It runs the stopwatch on a chase sequence to a comical extreme and takes way, way too long to take its final bow, in the process burning off any residual goodwill.
    • 45 Metascore
    • 50 Kimberley Jones
    It’s just too much drama for one modest film to service adequately. In an effort to cram it all in, scenes abruptly jump from one to the next with nary a smooth transition in sight, relationships evolve far too quickly, and certain subplots drop out of the mix only to resurface, jarringly, much later.
    • 45 Metascore
    • 20 Kimberley Jones
    Bill Condon (Dreamgirls, Chicago, Gods and Monsters) takes over the directing reins for these final two parts; his most noteworthy contribution to the series so far is a terrifyingly staged birth scene that should turn the teen fan base off of sex altogether … which is precisely what this whole dumb, punishing series has been gunning for from the start.
    • 45 Metascore
    • 20 Kimberley Jones
    Irritating throughout, Love Me if You Dare turns positively appalling in its last half hour, with the inevitable final showdown producing an image that continues to curdle my stomach days later.
    • 45 Metascore
    • 78 Kimberley Jones
    It's a rattling, heartrending performance (Moore) in, yes, a long, hard slough of a film – one that is well worth the journey, if not a repeat trip.
    • 45 Metascore
    • 50 Kimberley Jones
    What it needs is a little more dirtying down. What it needs, in short, is less New York, and more Alabama.
    • 45 Metascore
    • 40 Kimberley Jones
    Sure, it's nifty enough to see dust particles swirling or hands swooshing at you, but mostly the 3-D muddles the invention and exquisiteness of the film's raison d'être: the dancing.
    • 45 Metascore
    • 0 Kimberley Jones
    Hall Pass has half the right idea: Scratch out "Hall," and just … pass.
    • 45 Metascore
    • 50 Kimberley Jones
    The stripped-down title gets at what we're really here for: the cars. Are they fast? Check. Are they furious? Yep.
    • 45 Metascore
    • 30 Kimberley Jones
    Because “all in” – to me, at least – suggests a certain standard of enthusiasm, of emphaticness, and what this latest Step Up movie indifferently chunks out falls far short of that standard.
    • 45 Metascore
    • 50 Kimberley Jones
    It comes as no surprise that the film is less about fandom as it is about the community fans create with one another – who else to turn to when the object of your affection, your enduring obsession, blows big chunks? – and Fanboys, a likable, shaggy picture, pays nice tribute to that community.
    • 45 Metascore
    • 30 Kimberley Jones
    Fails because it takes itself so seriously, and because it is itself so seriously dull. Soderbergh's straining to give us a wink -- come on, guys, this is fun -- but really it just feels like some awful eye twitch -- a spasm of yawning self-indulgence in a mostly captivating career.
    • 45 Metascore
    • 67 Kimberley Jones
    Hedlund's got a hell of a voice, rotgut-ragged, and whether he's crooning or wooing, whatever he's selling, and no matter how cornpone, I'm buying.
    • 45 Metascore
    • 40 Kimberley Jones
    A lightweight, intermittently engaging comedy.
    • 45 Metascore
    • 40 Kimberley Jones
    In the end, we know Andie and Ben will kiss and make up -– how could too alliteratively aligned pretty people not? -– but first we must wade through the protracted and wholly unwarranted period in which both huffs about the other’s deceptions.
    • 44 Metascore
    • 40 Kimberley Jones
    They’re not all hideous, the men who sit for interviews with a graduate student (Nicholson) and unload their dirty laundry. Sometimes they’re just feckless, or crass; some are even pitiable.
    • 44 Metascore
    • 40 Kimberley Jones
    The script negates anything heartfelt with its flippant, almost vulgar tone.
    • 44 Metascore
    • 30 Kimberley Jones
    I’m told Bella’s helplessness is true to the spirit of the novels, but so what? It’s almost 2010 – let’s get hip, people.
    • 44 Metascore
    • 67 Kimberley Jones
    Subtle it ain’t, but there’s an undercurrent of palpable rage that pokes through the (very funny) banter-banter gloss of the thing, and the actors rip into it with relish.
    • 44 Metascore
    • 40 Kimberley Jones
    Although the transvestites’ plight – mishandled, misunderstood, and/or misappropriated – is meant to supply Connie and Carla's emotional core, one never gets the feeling of anything stronger than an at-shoulder-length's sympathy from this film.
    • 44 Metascore
    • 50 Kimberley Jones
    Two Eighties genre staples – Disease-of-the-Week and Poppin' the Cherry – meet, shake hands, and mostly play nice in this sweet, if overly earnest feature.
    • 44 Metascore
    • 40 Kimberley Jones
    The whole thing still reeks of voyeurism -- and not the fly-on-the-wall voyeurism of a vérité doc, but rather the dirty-old-man-in-the-peep-show-booth kind. Might as well just wait for it to hit late-night cable.