Kimberley Jones
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For 679 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 3.5 points lower than other critics. (0-100 point scale)

Kimberley Jones' Scores

  • Movies
  • TV
Average review score: 56
Highest review score: 100 The Grand Budapest Hotel
Lowest review score: 0 View from the Top
Score distribution:
679 movie reviews
    • 46 Metascore
    • 40 Kimberley Jones
    Their travelogue-ready romance is utterly doofy but not disagreeable, and this sort of wish-fulfillment fantasy will strike the right chord with Moore’s fan base of preteen girls.
    • 65 Metascore
    • 40 Kimberley Jones
    The film's "never grow up" refrain plays like a broken record, until, in an abrupt (but not unexpected) turnaround at film's end, it fixes itself.
    • 57 Metascore
    • 40 Kimberley Jones
    The climax, like the film itself, is big, loud, and looks cool enough, which is what we’ve come to expect from summer movies … but not from Robert Rodriguez.
    • 47 Metascore
    • 40 Kimberley Jones
    Little more than a constant and occasionally pretty imaginative sex show.
    • 40 Metascore
    • 40 Kimberley Jones
    Not a man, but the romanticizing of him. A lot of jive-shit.
    • 52 Metascore
    • 40 Kimberley Jones
    The bland script and direction are spruced up by a likable cast.
    • 44 Metascore
    • 40 Kimberley Jones
    The script negates anything heartfelt with its flippant, almost vulgar tone.
    • 45 Metascore
    • 40 Kimberley Jones
    There's just no reconciling the film's ambivalent message. Newell hangs a modern sensibility on a supposed period piece, and hangs his film in the process.
    • 33 Metascore
    • 40 Kimberley Jones
    In terms of a pre-teen instructional, Sleepover offers throughout a laudable emphasis on the importance of friendship, but parents may rightfully flinch at a protagonist who is ultimately rewarded for breaking all the rules.
    • 45 Metascore
    • 40 Kimberley Jones
    A lightweight, intermittently engaging comedy.
    • 38 Metascore
    • 40 Kimberley Jones
    A film that is long on atmosphere, but short on smarts: Plot points are easily unraveled 20 minutes in advance (no fun sleuthing for the audience here), the ending is an unsatisfying pastiche off too many horror tropes, and it would take a week to plug all of Gothika’s gaps in logic.
    • 64 Metascore
    • 40 Kimberley Jones
    In manipulating its many disparate characters to bump into each other and set plot lines in motion, Intermission walks a fine line between clever and contrived, with the scale tipping more often toward contrived.
    • 47 Metascore
    • 40 Kimberley Jones
    The trouble with retooling fairy tales to jibe with our more enlightened times is that too often the fun gets stripped along with the offensive parts.
    • 46 Metascore
    • 40 Kimberley Jones
    Bruce Almighty attempts to blend both sides of the actor – comedic and dramatic – and while Carrey achieved that balance quite wonderfully in "The Truman Show," Bruce Almighty doesn't so much straddle the fence as impale itself on it.
    • 44 Metascore
    • 40 Kimberley Jones
    Although the transvestites’ plight – mishandled, misunderstood, and/or misappropriated – is meant to supply Connie and Carla's emotional core, one never gets the feeling of anything stronger than an at-shoulder-length's sympathy from this film.
    • 49 Metascore
    • 40 Kimberley Jones
    Perhaps the more appropriate question to put to this remake would be "What the hell’s the point?"
    • 53 Metascore
    • 40 Kimberley Jones
    Doesn't do much to further distinguish Lehmann's career. As for those of us waiting for the year's first worthwhile date movie, the wait continues.
    • 46 Metascore
    • 40 Kimberley Jones
    Knoxville, in his first dramatic role, does what he can with script and direction that aggressively eschew any insight into Kaufman's grief.
    • 66 Metascore
    • 40 Kimberley Jones
    Grace and Johannson's courtship has all the heat of a wet wipe and, worse yet, leaves Quaid offscreen for long stretches.
    • 57 Metascore
    • 40 Kimberley Jones
    The ideas are there, hints of genius, but no one ignites them. Add Osmosis Jones to that list of universal enigmas, and, more specifically, how the Farrelly Brothers could have done so little with so much.
    • 45 Metascore
    • 40 Kimberley Jones
    Sure, it's nifty enough to see dust particles swirling or hands swooshing at you, but mostly the 3-D muddles the invention and exquisiteness of the film's raison d'être: the dancing.
    • 46 Metascore
    • 40 Kimberley Jones
    Frankly, I don't like to be bullied, and bullying is exactly what Knight and Day – overly cute and overconvinced of its own cool – does best.
    • 32 Metascore
    • 40 Kimberley Jones
    Alexander's script considers context anathema, leaving us to wonder, among other puzzlers, why these two jerks are friends to begin with – and, perhaps, on what bad breakup or neglected childhood one may blame the film's dispiriting misanthropy.
    • 44 Metascore
    • 40 Kimberley Jones
    They’re not all hideous, the men who sit for interviews with a graduate student (Nicholson) and unload their dirty laundry. Sometimes they’re just feckless, or crass; some are even pitiable.
    • 75 Metascore
    • 40 Kimberley Jones
    The camera may dive deep, but the content skims mere surface.
    • 28 Metascore
    • 40 Kimberley Jones
    A lot of gunk: dance-offs, sing-alongs, awkward exes, and a dirty-talking White blasting through, I'm afraid, the last bits of her novelty. That again?
    • 69 Metascore
    • 40 Kimberley Jones
    There's nothing that feels like real rage, nothing that even remotely approximates the spiritual decimation of a termination.
    • 46 Metascore
    • 40 Kimberley Jones
    It's hard, as a viewer, not to shudder in tandem with Lisa – this isn't a love match, it's two would-be motivational coaches swapping slogans.
    • 56 Metascore
    • 40 Kimberley Jones
    This is no more (but no less?) than what we have rather oddly come to expect from Neeson in his late period (Taken, The A-Team).
    • 50 Metascore
    • 40 Kimberley Jones
    Bell steals every scene she's in, and her abrupt dismissal feels all the crueler for so much charisma wasted: She shoulda been a contender.