Kimberley Jones

Select another critic »
For 792 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 4.6 points lower than other critics. (0-100 point scale)

Kimberley Jones' Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 100 Birdman or (The Unexpected Virtue of Ignorance)
Lowest review score: 0 Bride Wars
Score distribution:
792 movie reviews
    • 57 Metascore
    • 78 Kimberley Jones
    Happy Endings is unabashedly sentimental (cheekily couched in a black-comic guise), with Roos acting as a sort of benevolent god over his characters.
    • 69 Metascore
    • 78 Kimberley Jones
    It's the kind of movie that lives and dies by a viewer's own idiosyncrasies.
    • 74 Metascore
    • 78 Kimberley Jones
    Serenity evinces the kind of swashbuckling bonhomie that made so many of us fall in love with the original "Star Wars" films, a love that was mightily tested by George Lucas' humorless prequels.
    • 88 Metascore
    • 78 Kimberley Jones
    The fault does not lie with Hoffman (who doesn't so much act out Capote's distinctive mannerisms and high-pitched lisp as channel them); his performance is undeniably great. Everything else – solid, satisfying though it may be – falls short of that greatness.
    • 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.

Top Trailers