Kimberley Jones

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For 764 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 4.1 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:
764 movie reviews
    • 80 Metascore
    • 78 Kimberley Jones
    One wishes perhaps for a more thumping conclusion, but what we have instead is something perfectly in the spirit of the piece, reaffirming that life, big and little, happens in 10 minutes chunks.
    • 80 Metascore
    • 78 Kimberley Jones
    Quite astonishingly, amidst all the chaos – and there's no better word for Tristram Shandy's inspired, breakneck madness – what emerges is a featherlight, moving meditation on new fatherhood.
    • 68 Metascore
    • 78 Kimberley Jones
    The only weak link here is Aniston's character – her Olivia, stuck in a holding pattern, feels like a holdover from Holofcener's previous, single-girl pictures, and Aniston underplays the role to the point of expressionlessness.
    • 64 Metascore
    • 78 Kimberley Jones
    For a film about looking for a sign, looking for solace, Room quite brazenly offers neither. It isn't an easy film, but the world's already got plenty of easy and easily digestible films.
    • 73 Metascore
    • 78 Kimberley Jones
    There’s an undeniable thrill to watching something so experimental and yet totally accessible to those of us who speak only layman’s Dylanese, and it’s Haynes’ warmest film yet.
    • 81 Metascore
    • 78 Kimberley Jones
    As with "Sunshine," I'd call Juno a family film if only it didn't make teen pregnancy look so sporting. Instead, we'll settle for that rare bird, an indie comedy that uplifts – funny and smart, totally trying to be cool and succeeding, and heartfelt to boot.
    • 72 Metascore
    • 78 Kimberley Jones
    Pray maintains a steadfastly objective viewpoint, and it's a testament to his film's success that it can accommodate the audience's inevitably shifting allegiances from one family member to the next.
    • 79 Metascore
    • 78 Kimberley Jones
    Post-viewing, I was still coasting on the giddy high of kinetic cinema, only to have the astonishing callousness of its conclusion slowly settle in. It's a better film for it – one only wishes that Reprise on a whole had been of the same mind: a little less cool, a little more cruel. That's where the really good stuff is.
    • 64 Metascore
    • 78 Kimberley Jones
    A film that is at once elegant and sublimely silly.
    • 64 Metascore
    • 78 Kimberley Jones
    The film, a distinctly secular take on Waugh's religiosity, is far more interested in the battle of blind faith vs. rigid unbelief and its devastating effects. Herein, everyone is complicated – by their station, their philosophy, their God – and everyone is complicit.
    • 45 Metascore
    • 78 Kimberley Jones
    It's a rattling, heartrending performance (Moore) in, yes, a long, hard slough of a film – one that is well worth the journey, if not a repeat trip.
    • 82 Metascore
    • 78 Kimberley Jones
    The upshot to a ticking bomb is that it only explodes the once, but Rachel's sister, Kym (Hathaway), goes off again and again.
    • 84 Metascore
    • 78 Kimberley Jones
    The deeply heartfelt Milk is more of a surface skim: a fairly standard biopic – if a very fine one, indeed – but never the transcendent work one would have hoped from the filmmaker or his subject.
    • 68 Metascore
    • 78 Kimberley Jones
    Funny and fierce and deeply moving.
    • 80 Metascore
    • 78 Kimberley Jones
    Because Wendy and Lucy is so lean on plot and dialogue, there are long spaces to contemplate Wendy and her situation, and the logistics are mind-boggling.
    • 73 Metascore
    • 78 Kimberley Jones
    The Hangover instantly has the feel of one for the ages.
    • 76 Metascore
    • 78 Kimberley Jones
    A funny, seductive, and surprisingly honest dramatization of the ways we snooker ourselves into incompatible love.
    • 66 Metascore
    • 78 Kimberley Jones
    The sights are ingenious, impressively rendered in 3-D, and the sounds – including cheeky voice work by Mr. T, Neil Patrick Harris, and Benjamin Bratt – are a blast.
    • 70 Metascore
    • 78 Kimberley Jones
    Cotillard doesn't look part Native American or sound like a Thirties Chicago moll, but damned if she isn't a sight and sound to behold. Whatever her technical limitations, she rises above them to breathe a flesh, blood, and battered verisimilitude into the part. You can't tear your eyes off her, any more than you can Mann's flawed but still engrossing picture.
    • 80 Metascore
    • 78 Kimberley Jones
    Why wait for 2012? If you're hankering for a taste of the apocalypse, the opening sequence of this eye-opening, stomach-queasing doc has plenty to go on – witness menacing superimpositions on a bleak, blighted landscape – and the hits just keep on coming.
    • 63 Metascore
    • 78 Kimberley Jones
    They don't make women, sexy but regal, like Pfeiffer much anymore, and Cheri is quite a monument to her.
    • 83 Metascore
    • 78 Kimberley Jones
    The middle is terrific, especially in a lengthy, unassuming scene in which the three leads sit, sip drinks, and have a good chat: It marks one of the great celluloid pleasures of the year, so virtuosically written, performed, and filmed is it.
    • 64 Metascore
    • 78 Kimberley Jones
    A staggering document of the lengths parents will go to for the sake of their child.
    • 71 Metascore
    • 78 Kimberley Jones
    Refn’s artful and energetic film never goes further than face value.
    • 72 Metascore
    • 78 Kimberley Jones
    Hair is personal. It's also political.
    • 73 Metascore
    • 78 Kimberley Jones
    Linklater has crafted an always genial and at times even joyful period charmer about that moment on the cusp: before a boy becomes a man and another man becomes a mythological figure.
    • 64 Metascore
    • 78 Kimberley Jones
    All told, The Young Victoria is a very well-made if not especially memorable picture, moving with all the grace and steadfastness of a waltz Victoria and Albert share, but absent any urgency or anything particularly exclamatory.
    • 75 Metascore
    • 78 Kimberley Jones
    While The Art of the Steal makes a very convincing – even bone-chilling – argument that the people and foundations that essentially hijacked the Barnes Foundation are primarily concerned with tourist dollars and not the preservation of Barnes' legacy, the film fails to even ponder why easier access to some of the world's greatest art treasures might not be an entirely bad thing.
    • 40 Metascore
    • 78 Kimberley Jones
    There is, quite simply, a rather refreshing ordinariness to Remember Me in the unflashy, knuckle-down attention it gives to character development and the building of plausible and involving family and friend dynamics.
    • 76 Metascore
    • 78 Kimberley Jones
    Going dramatic, Stiller commits to the role completely; there's something rather admirable in his refusal to pander or soft-pedal the self-serious, frankly unlikable Greenberg.

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