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 Alex & Emma
Score distribution:
677 movie reviews
    • 36 Metascore
    • 50 Kimberley Jones
    Fairly uninspiring, but it still manages to ingratiate itself, largely through the efforts of Krasinski in a secondary part.
    • 50 Metascore
    • 50 Kimberley Jones
    For better or worse (and I'd argue the latter), the aliens are as monolithically evil, unformed, and un-individuated as characters as Native Americans once were in the earliest of Westerns.
    • 66 Metascore
    • 50 Kimberley Jones
    The final conflict is so protracted as to comfortably accommodate a bathroom break. Don't worry. You won't miss anything you haven't seen before.
    • 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.
    • 47 Metascore
    • 50 Kimberley Jones
    It IS consistently funny. Its trash-can humor is tasteless, no doubt, but hey, that doesn't make it unpalatable.
    • 43 Metascore
    • 50 Kimberley Jones
    The film's best stretch, wherein each American gal is romanced by an international lover, faintly recalling the Fifties' sudser "Three Coins in the Fountain."
    • 39 Metascore
    • 50 Kimberley Jones
    Instantly forgettable but intermittently funny movie.
    • 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.
    • 75 Metascore
    • 50 Kimberley Jones
    In his short career (The Station Agent, The Visitor), McCarthy has established himself as a craftsman of conventionally quirky pictures that are ENTIRELY about ingratiating themselves with the audience.
    • 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.
    • 53 Metascore
    • 50 Kimberley Jones
    Wanderlust is flawed, too, but for its exploration of financial ruin and alternative lifestyles, it shows once again that Aniston, at the very least, knows which way the wind is blowing.
    • 65 Metascore
    • 50 Kimberley Jones
    It’s not like Monsters University is a bad movie. It’s just not a terribly interesting one.
    • 38 Metascore
    • 50 Kimberley Jones
    For the first 30 minutes I couldn't shake the feeling that I was watching a really promising pilot for network TV.
    • 56 Metascore
    • 50 Kimberley Jones
    We have pretty much all the information we need within the first half-hour, which undercuts the supposedly climactic reveal of the contents of Maruge's letter and renders the torturous flashbacks unnecessary for narrative purposes. And not a little bit sadomasochistic, too – an ill fit for a PG-13 family film.
    • 74 Metascore
    • 50 Kimberley Jones
    Morris has found a real character in McKinney, but to what end, I couldn't say.
    • 41 Metascore
    • 50 Kimberley Jones
    Hopelessly old-fashioned then, but not the aggressively bad picture you might have anticipated.
    • 54 Metascore
    • 50 Kimberley Jones
    If I may presume: Thatcher probably would have preferred more action, less talk.
    • 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?
    • 53 Metascore
    • 50 Kimberley Jones
    Rather born to wear a frock coat, Dancy shares the stammer-blush, winning-grin methodology of countryman Hugh Grant, only with more probity and better posture.
    • 63 Metascore
    • 50 Kimberley Jones
    There's no denying the dazzling effect, but a fireworks sequence midfilm only underscores the sad fact that there's no lasting illumination here, only the fast-burn spitzing of bang snaps.
    • 54 Metascore
    • 50 Kimberley Jones
    Ambling, just-passable picture.
    • 47 Metascore
    • 50 Kimberley Jones
    It’s all supremely silly stuff, and amusingly so, as long as you don’t stop to think about all those blameless officers and agents cut down in the line of mindless entertainment.
    • 54 Metascore
    • 50 Kimberley Jones
    Sparks, an acting novice, falters when her character must muster gumption or sexual heat. She saves her best for last in a barnburner singing performance, but it's too little, too late – especially with the memory of Houston's one song – a heart-stopping gospel number – still ringing in the ears.
    • 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.
    • 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.
    • 37 Metascore
    • 50 Kimberley Jones
    Imagine "Little Miss Sunshine's" dark materials (and superior craftsmanship) diluted with a Hannah Montana-like sunny silliness – which is to say: sometimes funny, often broad-stroked, ever sweet, and landing shy of its potential.
    • 72 Metascore
    • 50 Kimberley Jones
    The film holds its twists too close to the chest, and there's little to chew on till the ambitiousness of its plotting is revealed late in the film.
    • 49 Metascore
    • 50 Kimberley Jones
    What's translated to film feels like a rough draft, with bullet points at beginning and end, demarcating Lola lost, Lola found. And in the middle? A vast, vague maw.
    • 30 Metascore
    • 50 Kimberley Jones
    This is in fact the end – it is what is. We’ve had some good laughs. Let’s part amicably.
    • 74 Metascore
    • 50 Kimberley Jones
    Frozen can count in its favor visual grandeur, two energetic young women as co-leads, and a couple of plot twists that place the film a cut above your average princess fare.