Kimberley Jones
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For 718 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 3.7 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 Alex & Emma
Score distribution:
718 movie reviews
    • 78 Metascore
    • 78 Kimberley Jones
    But for all the film's griminess and doom, bad behavior and bad luck, it's hope that engines Head-On.
    • 78 Metascore
    • 78 Kimberley Jones
    Swinton is heartbreaking. She's not just craft; she's high art.
    • 78 Metascore
    • 78 Kimberley Jones
    Is nothing if not exquisitely detailed: It's like a blood orange that del Toro spends the film seductively unpeeling, revealing layer upon layer of meaning and pathos.
    • 78 Metascore
    • 78 Kimberley Jones
    A rattling and ruminative piece of speculative fiction, Ex Machina is good enough to wish it were even better.
    • 78 Metascore
    • 67 Kimberley Jones
    It’s always a pleasure to be in the company of Potter, and when looking back at the just-competent first outings – well, baby, you’ve come a long way – but still: Where’s the magic, huh?
    • 78 Metascore
    • 78 Kimberley Jones
    Ramsay is experimental, unconventional, and forever reaching at the gorgeousness in grief and despair. Her film moves slow as molasses, slow as paint drying -– and all the better to see the colors and the complexities.
    • 78 Metascore
    • 100 Kimberley Jones
    A riot of sight and sound that, however baffling, has an irresistible, elemental pull.
    • 77 Metascore
    • 89 Kimberley Jones
    The Dogme pedigree rarely distracts; there is too much emotional investment to care much about dogmatic fidelity.
    • 77 Metascore
    • 89 Kimberley Jones
    Cue the footage of Cockettes in spangles and glitter, high-kicking and belting out show tunes at the top of their lungs. Damn, it looks grand.
    • 77 Metascore
    • 89 Kimberley Jones
    The Immigrant is two hours long, but I stayed even longer in my seat, through the credits, still in thrall to it all. The title is singular, but the scope is not so easily quantifiable.
    • 77 Metascore
    • 67 Kimberley Jones
    It’s muddy, bloody, and studded with amputated limbs, yet still rather generic-feeling; it lacks the visceral impact of Joe Wright’s version of Western Front atrocities in "Atonement."
    • 76 Metascore
    • 67 Kimberley Jones
    Provides no revelations and left this viewer, at least, puzzling over whether the picture Cunningham has allowed to develop of him is completely transparent or utterly impenetrable.
    • 76 Metascore
    • 67 Kimberley Jones
    Filmmakers nicely mix the historical and the tributary, honoring both Bennett's cultural landmark and the dancers who dream of joining its ranks.
    • 76 Metascore
    • 67 Kimberley Jones
    White couldn't stay away, and neither can the band's legions of fans, who bop up and down in sold-out arenas at the reunion tour that provides the film's hopeful coda.
    • 76 Metascore
    • 50 Kimberley Jones
    The very best animation can excite the senses and inflame the imagination. But Chico & Rito's charmless line drawings just made me wish the film was live-action instead.
    • 76 Metascore
    • 50 Kimberley Jones
    The elements are all here for something spectacular – and in brilliant bursts, Jeunet really gets it – but in the end, all that potential is sunk by a terminally confused tone and milquetoast pairing of lovers. Pity that.
    • 76 Metascore
    • 78 Kimberley Jones
    An inner-city tragedy that plays its story simply, sorrowfully, and beautifully.
    • 76 Metascore
    • 78 Kimberley Jones
    Living in Emergency, then, is like a hard slap to the face: There is nothing remotely romantic about this grim depiction of two missions in Liberia and Congo in the mid-2000s.
    • 76 Metascore
    • 89 Kimberley Jones
    The Last Station would have satisfied alone as a witty, manic lark, but as it moves toward the titular railway station, the film unfurls into so much more – a work of compassion, modulated mournfulness, and unchecked joy.
    • 76 Metascore
    • 78 Kimberley Jones
    A funny, seductive, and surprisingly honest dramatization of the ways we snooker ourselves into incompatible love.
    • 76 Metascore
    • 67 Kimberley Jones
    July sees the world in a most unexpected way, and it's a shame that Me and You's preciousness sometimes overwhelms that uniqueness of vision.
    • 76 Metascore
    • 67 Kimberley Jones
    It all adds up to a portrait in decency, which isn’t nearly as sexy as the title would suggest.
    • 76 Metascore
    • 78 Kimberley Jones
    Wild lands some hard punches, but it can’t sustain the impact. Some of that lies in its inherited arc: Strayed found some peace – the whole point of the trek – but arriving-at-peace is less provocative than the struggle, at least in a movie.
    • 76 Metascore
    • 89 Kimberley Jones
    It’s an indie film about abortion that comes snuggled in the broad strokes of a quirky relationship comedy. A grump might wonder when indie films got so soft, but I’m more intrigued by the inverse: Why aren’t more studio films this clever and winning and conversant in the same language as their audience?
    • 76 Metascore
    • 78 Kimberley Jones
    I laughed, I cried, I longed for a pet dragon to call my own.
    • 76 Metascore
    • 78 Kimberley Jones
    Guardians of the Galaxy is an outlier: a space opera in a largely earthbound movie cycle (excepting the occasional red-eye to another dimension in the Thor pictures), candy-colored and bopping where the other Marvel movies are muted and imposing, and the funniest one to date, without a doubt.
    • 76 Metascore
    • 78 Kimberley Jones
    It's a period piece about the origins of psychoanalysis and the sexual confusions of its progenitors that is eloquent and handsomely made, if never quite revelatory.
    • 76 Metascore
    • 89 Kimberley Jones
    Mud
    With American independent film teeming with so many shaky-cam snarksters, what an electric riposte to the status quo is Nichols, whose films are classically constructed and deadly serious. In his short but potent career, he’s mastered a wide-vistaed eye for the epic and the elemental.
    • 76 Metascore
    • 78 Kimberley Jones
    Going dramatic, Stiller commits to the role completely; there's something rather admirable in his refusal to pander or soft-pedal the self-serious, frankly unlikable Greenberg.
    • 75 Metascore
    • 78 Kimberley Jones
    Mamet does a shrewdly skillful job with these Tinseltown terrors.

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