Kimberley Jones
Select another critic »
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 The Past
Lowest review score: 0 Paul Blart: Mall Cop 2
Score distribution:
718 movie reviews
    • 72 Metascore
    • 50 Kimberley Jones
    A certain inevitability hangs over The Mother – as if any of this could end well – but if Kureishi's framework is perhaps predictable, his knotty, complex characters are not.
    • 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."
    • 47 Metascore
    • 50 Kimberley Jones
    The jokes hit about half the time – the best bits have an off-the-cuff feel – and it’s pocked with the kind of rom-com clichés that are practically written in stone (screenwriter Aline Brosh McKenna's script for "The Devil Wears Prada" was far sharper).
    • 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.
    • 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.
    • 54 Metascore
    • 50 Kimberley Jones
    Ambling, just-passable picture.
    • 59 Metascore
    • 50 Kimberley Jones
    Occasional animated inserts inspired by Chantry’s work as an illustrator, while accomplished, inject an off-note of whimsy that doesn’t quite square with the script’s stabs at edgier humor.
    • 56 Metascore
    • 50 Kimberley Jones
    This con artist caper from the writer/director duo behind "Bad Santa" and "I Love You Philip Morris" bears some superficial resemblance to the 2005 romantic comedy "Hitch."
    • 52 Metascore
    • 50 Kimberley Jones
    Gondry’s well-meaning but too soft, too structure-less picture.
    • 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.
    • 63 Metascore
    • 50 Kimberley Jones
    Wright is terrific – sensitive and alert – in the live-action opening. But that opening runs more than 45 minutes long, a way too heavy-handed preamble to the crazed animation to come, and the actress’ vocal delivery – soft-spoken, gently bewildered – is too soporific to pull off lines like, “Look at me, I’m your prophet of doom.”
    • 66 Metascore
    • 50 Kimberley Jones
    It has a basic goodness of heart that counteracts, if not entirely cancels out, the film's broadness and busyness.
    • 48 Metascore
    • 50 Kimberley Jones
    The exceedingly silly Super Troopers is an earnest, mostly funny spoof.
    • 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.
    • 51 Metascore
    • 50 Kimberley Jones
    The film never recovers its initial fizzy-pop charms, owing largely to pacing that turns positively molasses-slow in the second act.
    • 43 Metascore
    • 50 Kimberley Jones
    Two hours pass painlessly enough, thanks to the affability of its trio of leads, Hathaway, Andrews, and Elizondo.
    • 48 Metascore
    • 50 Kimberley Jones
    For every zinger, there are two flat jokes around the corner.
    • 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.
    • 51 Metascore
    • 50 Kimberley Jones
    Despite his character's fondness for mugging and mouthing like Michael Corleone, Spacey (and by extension, his director and writer Norman Snider) can't quite catch the operatic wallop of Corleone's arc, possibly because the film is played top-to-bottom like a caprice.
    • 59 Metascore
    • 50 Kimberley Jones
    Terrio's technically proficient film is mature, modern, and minus the all-important passion and risk.
    • 61 Metascore
    • 50 Kimberley Jones
    I suspect a second viewing would uncover more information embedded in the mise-en-scène; had Trance – tonally a jumble and disorienting to the point of distraction – rewarded the audience with the pure perfection of a Keyser Söze-like reveal, I’d be more inclined to make the return trip.
    • 47 Metascore
    • 50 Kimberley Jones
    The cast seems to have been assembled primarily for its blinking resemblance to the stars of the original Eighties TV series about a renegade group of former Army Rangers now for hire.
    • 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.
    • 80 Metascore
    • 50 Kimberley Jones
    There are no hard answers in Room 237, a feature-length, sporadically engaging exploration of the latter (The Shining).
    • 65 Metascore
    • 50 Kimberley Jones
    Feels like a Fincher film: It possesses the same smarts, the same visual panache, the same violence. But not the same heart.
    • 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.
    • 72 Metascore
    • 50 Kimberley Jones
    It's impossible to shake the feeling that these are merely actors -- albeit good ones.
    • 36 Metascore
    • 50 Kimberley Jones
    Fairly uninspiring, but it still manages to ingratiate itself, largely through the efforts of Krasinski in a secondary part.
    • 66 Metascore
    • 50 Kimberley Jones
    It's unclear where the buck stops in terms of creative authority – at one point, Clayman complains that "the only thing I feel in control of is the money" – which renders OC87 at once a remarkable achievement, and a fatally compromised film.
    • 55 Metascore
    • 50 Kimberley Jones
    Frustrations abound with this limited film, but Wild Horse, Wild Ride does one thing exceptionally well, and that is convey the emotional bond between trainer and horse.

Top Trailers