Kimberley Jones

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For 723 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 3.8 points lower than other critics. (0-100 point scale)

Kimberley Jones' Scores

  • Movies
  • TV
Average review score: 56
Highest review score: 100 Birdman or (The Unexpected Virtue of Ignorance)
Lowest review score: 0 When in Rome
Score distribution:
723 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.
    • 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.
    • 54 Metascore
    • 50 Kimberley Jones
    If I may presume: Thatcher probably would have preferred more action, less talk.
    • 64 Metascore
    • 50 Kimberley Jones
    The movie lumbers on some more, reiterating the obvious and relying on overfamiliar imagery. Audiences have a long year to wait for Part 2. Would it not have been better to leave them breathless than heaving a sigh?
    • 27 Metascore
    • 50 Kimberley Jones
    Failed feminist statement or not, Coyote Ugly is a likable, if confused film.
    • 42 Metascore
    • 50 Kimberley Jones
    Big, dumb, and fun.
    • 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.
    • 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.
    • 62 Metascore
    • 50 Kimberley Jones
    Perfectly passable film.
    • 60 Metascore
    • 50 Kimberley Jones
    Has a heart bursting with good intentions, something that goes a long way in dimming from memory its inherent routineness.
    • 58 Metascore
    • 50 Kimberley Jones
    Once the film gets cooking, the questions never stop. For instance: When you find the dead body of someone you love, isn’t your first call to the cops?
    • 24 Metascore
    • 50 Kimberley Jones
    The real tension of the piece lies in the sound design, with its layering of heavy breaths, inexplicably compromised frequencies, and invasive thwackings of no known origin to the ship hull.
    • 41 Metascore
    • 50 Kimberley Jones
    Hopelessly old-fashioned then, but not the aggressively bad picture you might have anticipated.
    • 69 Metascore
    • 50 Kimberley Jones
    Gilroy zings the film with tantalizing bits of absurdity (one wonders, wistfully, what the Coen brothers would have done with this material), but too often he returns to his darker, more ponderous instincts.
    • 47 Metascore
    • 50 Kimberley Jones
    Until Hollywood stops being a boys club, and America graduates beyond short pants and its embarrassingly pubescent attitudes toward sex, I suppose one can only hope that all male adolescent fantasies will play as goofily sweet as this one.
    • 55 Metascore
    • 50 Kimberley Jones
    I suppose when you make a movie, however tangentially, about Viagra, you're required to insert at least one scene of its side effects, but the broadness with which Zwick plays it out is like a stake to the heart of the film's hard-earned but fast-lost authenticity.
    • 48 Metascore
    • 50 Kimberley Jones
    Fletcher demonstrates, as with her second film, "27 Dresses," that she can put together a funny, able romantic comedy that is a cut above, but no more. Still, those leads are awfully likable, the Massachusetts-for-Alaska landscape rather picturesque, and if The Proposal doesn't reinvent the wheel, merrily we roll along nonetheless.
    • 56 Metascore
    • 50 Kimberley Jones
    This Native American romantic comedy, which won the Audience Award at the 2001 Austin Film Festival, arrives in theatres four years late but seasonally right on time.
    • 51 Metascore
    • 50 Kimberley Jones
    Size matters, too, in Live From New York!, a portrait of SNL at 40, but in inverse: 82 minutes isn’t nearly long enough to consider every angle – or even many angles – of a cultural institution.
    • 59 Metascore
    • 50 Kimberley Jones
    There’s a surprising – and truthful – melancholic undercurrent to Definitely, Maybe – the one commonality between the three women is the heartbreak they induce – but Brooks undermines that truthfulness with a dogmatic insistence upon romantic mythologizing. No maybes about it: The reality is far darker, and more interesting.
    • 50 Metascore
    • 50 Kimberley Jones
    Roberts, wearing that beatific half-smile of hers that suggests inner peace and wisdom before she's even begun her journey, is too open-faced with her emotions to signal the complexities of Gilbert's distress – over her divorce, her control issues, her rootlessness, and inability to live in the moment.
    • 70 Metascore
    • 50 Kimberley Jones
    Ultimately Hedges’ film, like the turkey, comes out underdone.
    • 58 Metascore
    • 50 Kimberley Jones
    Brothers is too depthless to dredge up any tears.
    • 66 Metascore
    • 50 Kimberley Jones
    A romantic comedy, too, but this time the romance is between two women, and one of them, truth be told, is a dud.
    • 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.
    • 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?
    • 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.
    • 32 Metascore
    • 50 Kimberley Jones
    The action is constant, often pointless, definitely gratuitous, and breathlessly fun.
    • 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.

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