Kimberley Jones
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For 713 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 The Past
Lowest review score: 0 The Women
Score distribution:
713 movie reviews
    • 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.
    • 67 Metascore
    • 67 Kimberley Jones
    To do no disservice to the impressive work of Bridges' co-stars, anytime his ragged writer, in flowing caftans and floppy hats, is on screen, it's impossible to take in anything else, so commanding is his presence.
    • 75 Metascore
    • 67 Kimberley Jones
    Director Lenny Abrahamson establishes a twee tone early that renders tinny the transition into melancholy, and it’s a shame the film so clings to Jon’s perspective. The takeaway is as flat as Frank’s mask. Bemused smile, followed by deflated feeling.
    • 88 Metascore
    • 67 Kimberley Jones
    The leads’ prolonged, puffed-feathers sparring is entertaining while it lasts, but the sensation of something sizable is only fleeting.
    • 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.
    • 64 Metascore
    • 67 Kimberley Jones
    The film stumbles a bit in its third act, when war kills the good times for good.
    • 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.
    • 81 Metascore
    • 67 Kimberley Jones
    It closes the film in what I suspect was intended as something of a happy ending, but it’s unnecessary: Thirty happy years should be happy ending enough.
    • 46 Metascore
    • 67 Kimberley Jones
    As a portrait of what happens to a family when its glue disappears, Extremely Loud and Incredibly Close wrung a bucket of tears out of me.
    • 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.
    • 55 Metascore
    • 67 Kimberley Jones
    Never achieves the satisfaction of a real crackerjack con movie.
    • 64 Metascore
    • 67 Kimberley Jones
    The Way never arrives anywhere you couldn't see coming a mile away, but it does so with such empathy that its conclusions feel comforting rather than overly predictable.
    • 69 Metascore
    • 67 Kimberley Jones
    Shannon is monstrously good – unpredictable where the other actors are clipped and careful – and he steals the whole picture in two short, shattering scenes. When Shannon exits the film, the air gets sucked out again, and you realize the pretty artifice extends to more than just the Wheelers.
    • 58 Metascore
    • 67 Kimberley Jones
    Somm doesn’t try to write the book on wine connoisseurship, but it does give good CliffsNotes.
    • 58 Metascore
    • 67 Kimberley Jones
    If anything, The Invention of Lying is too soft for the satirical promise of its premise.
    • 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.
    • 51 Metascore
    • 67 Kimberley Jones
    Slight but agreeable picture.
    • 75 Metascore
    • 67 Kimberley Jones
    Just as marriage does not banish aloneness, proximity to the characters onscreen doesn't unlock any special connection to them.
    • 64 Metascore
    • 67 Kimberley Jones
    Teenage is an art film – an engrossing one at that – so it isn’t required to respect Queensberry rules vis-à-vis documentaries.
    • 74 Metascore
    • 67 Kimberley Jones
    Understandably, a filmmaker tackling the retelling of a national hero must do so with great delicacy, but The Sea Inside presents not so much a hero as a saint in Sampredo.
    • 72 Metascore
    • 67 Kimberley Jones
    But by the time this imperfect little film wends its way to one of the most winning exit lines I've heard in a long time, it's turned into something, well, perfectly lovely.
    • 38 Metascore
    • 67 Kimberley Jones
    Murphy's screentime takes a back seat to Douglas', of course, but from that back seat she makes a very big noise.
    • 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.
    • 79 Metascore
    • 67 Kimberley Jones
    Kinsey is too tasteful by half, and while it may have its gentle charms, it never thrills.
    • 55 Metascore
    • 67 Kimberley Jones
    While its heart is always in the right place, the humor – especially in the sludgy first act – is hit or miss.
    • 66 Metascore
    • 67 Kimberley Jones
    You didn't actually think Stephin Merritt was going to cozy up to the camera and reveal his deepest-darkest, did you?
    • 53 Metascore
    • 67 Kimberley Jones
    Jet Lag's romantic fluffery is somewhat beneath these old pros, but they make its meet-cute scenario work, mostly -– and most especially when crusty, grumpy, grizzled Jean Reno announces he's "totally in love."
    • 66 Metascore
    • 67 Kimberley Jones
    Bandslam belongs to Connell. He has the unruly 'fro and endearing shamblingness of a young Daniel Stern, and he ably brings to life that rarest of cinematic qualities: decency.
    • 72 Metascore
    • 67 Kimberley Jones
    It's a wealth of material at odds with a scant running time and shallow focus.
    • 53 Metascore
    • 67 Kimberley Jones
    While Man on a Mission doesn't precisely neuter Garriott's weirder ways, it does push them aside for a more boilerplate message of the father/son bond.

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