For 649 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 3.7 points lower than other critics. (0-100 point scale)

Kimberley Jones' Scores

  • Movies
Average review score: 55
Highest review score: 100 All the Real Girls
Lowest review score: 0 Bride Wars
Score distribution:
649 movie reviews
    • 63 Metascore
    • 67 Kimberley Jones
    What we get is more of the same from Ferrell – funny faces, goofy accents, pratfalls aplenty – and that ain't bad. It just could have been a lot better.
    • 63 Metascore
    • 78 Kimberley Jones
    Bruckheimer -– always eager to egg on the public’s thirst for bigger, louder, stupider –- has done a scandalous amount of damage to contemporary cinema, but for once, his dubious talent for big-buck bombast is exploited for good rather than evil.
    • 63 Metascore
    • 67 Kimberley Jones
    Penn's Bicke is often so pitiable it's hard not to want to look away – but what else to expect from perhaps our most compulsively watchable contemporary actor?
    • 63 Metascore
    • 67 Kimberley Jones
    Columbus never quite captures the depth, the rich complexities of Rowling's novels. She's written four Harry Potter books for kids that adults swoon for, too. Columbus has made two Harry Potter movies for kids … and we'll leave it at that. That isn't bad. But I suspect there's something better just around the bend.
    • 63 Metascore
    • 67 Kimberley Jones
    Did I fall in love with Undertow? Not in the least. But I liked it alright, and amidst the mediocrity, even rot, that constitutes 98% of contemporary American movies, that'll do fine.
    • 63 Metascore
    • 50 Kimberley Jones
    Yes, this is the stuff of fiction, where individuals can drift in and out of another's life and make extraordinary, unbelievable things happen.
    • 63 Metascore
    • 67 Kimberley Jones
    Falling in love with the wrong person makes for a far more toothsome melodrama, a fact this small, satisfying picture rightly recognizes.
    • 63 Metascore
    • 67 Kimberley Jones
    Echotone is scattered, for sure (the sound ordinance battle is poorly handled), but as an anecdotal account of Austin in the first decade of a new century, it's rarely anything less than compelling.
    • 63 Metascore
    • 40 Kimberley Jones
    Kit Kittredge is a dutiful bore. Still, I couldn't help but wonder if, in the face of all-out market collapse, it might serve a dual purpose as primer for kiddies on economic depression – because food stamps always taste better with a side order of spunk. Or is it pluck?
    • 63 Metascore
    • 67 Kimberley Jones
    Megamind gets existential, but only in blips, and while it is never anything less than vibrant and exceedingly clever, it is also a rather slight thing for such mega-sized proportions.
    • 63 Metascore
    • 67 Kimberley Jones
    It’s an enjoyable enough exercise in teen angst triumphing.
    • 62 Metascore
    • 67 Kimberley Jones
    Everybody likes to watch the messy guts-stuff of other peoples' lives, if only because we know then we're not alone in our weird ways.
    • 62 Metascore
    • 40 Kimberley Jones
    It’s a curiously inert, workmanlike production: a whole lot of pomp and incircumstance.
    • 62 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.
    • 62 Metascore
    • 67 Kimberley Jones
    The latest installment in the Austin Powers series has stopped making much sense at all, but it sure gets its giggle on, and good.
    • 62 Metascore
    • 50 Kimberley Jones
    Still, when The Yellow Handkerchief finally hooks into the meat of Hamill’s source story, the narrative tension puts enough wind in the film’s sails to arrive at its corny but sentimentally satisfying conclusion.
    • 62 Metascore
    • 50 Kimberley Jones
    Perfectly passable film.
    • 62 Metascore
    • 89 Kimberley Jones
    The characters in The Claim suffer under the weight of very big things -- betrayal, abandonment, disease, death -- but they do so quietly, stoically, until, by God, they just can't take it anymore.
    • 62 Metascore
    • 67 Kimberley Jones
    A nice-looking, nice-feeling exercise in conventionalism that sure could use a couple of transvestites and maybe a house falling from the sky.
    • 62 Metascore
    • 78 Kimberley Jones
    Carrey is a bit of a conundrum: He's the best and worst thing about Lemony Snicket.
    • 62 Metascore
    • 67 Kimberley Jones
    The Dreamers is infused with the same kind of wistful melancholy that made the French New Wave films so winning, and it’s all gorgeous to look at.
    • 62 Metascore
    • 67 Kimberley Jones
    While Saved! initially gets in some good gags at the expense of religious hypocrisy, it eases off, opting not to skewer religion but rather to poke it gently with a stick to see what happens.
    • 62 Metascore
    • 78 Kimberley Jones
    Stoller and Segel don't shy away from rational, relatable adults, which may be an unsexy selling point for a romantic comedy, but that attention to authenticity elevates the likable, low-stakes The Five-Year Engagement.
    • 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
    • 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.