For 491 reviews, this critic has graded:
  • 47% higher than the average critic
  • 21% same as the average critic
  • 32% lower than the average critic
On average, this critic grades 8.7 points lower than other critics. (0-100 point scale)

Kimber Myers' Scores

  • Movies
  • TV
Average review score: 55
Highest review score: 100 Apollo 11
Lowest review score: 0 Blumhouse's Fantasy Island
Score distribution:
  1. Negative: 97 out of 491
491 movie reviews
    • 46 Metascore
    • 58 Kimber Myers
    Moretz is great here, able to rise above the voiceover and dialogue she’s given. And thank goodness, because she's in almost every frame.
    • 71 Metascore
    • 75 Kimber Myers
    It’s a crowd pleaser of a film, whose powerful musical moments can overshadow any smaller issues within the film.
    • 65 Metascore
    • 75 Kimber Myers
    Ivory Tower is compelling viewing, particularly if you feel close to the crisis.
    • 69 Metascore
    • 83 Kimber Myers
    The Fault in Our Stars wins points for being more complex and stylish than most similar films feel they need to be. Most movies with this target audience are maudlin and manipulative, but Boone's film never feels like it's trying too hard to win our tears—or our laughter.
    • 64 Metascore
    • 83 Kimber Myers
    Amma Asante’s Belle has every element that costume drama fans love, but it elevates a standard love story by adding larger historical implications and giving us a new perspective on the era.
    • 64 Metascore
    • 83 Kimber Myers
    What’s impressive is that despite the sometimes heavy subject matter—divorce, creative crisis and trying to find an affordable 2BR in New York City—Klapisch’s film is light and fizzy, set to a soundtrack of funk and salsa.
    • 30 Metascore
    • 50 Kimber Myers
    It’s a movie-length cliché about the type of love that explains why drugstores are stocked with cheap, forgettable Valentine’s Day gifts bought by teenagers and the immature at heart.
    • 68 Metascore
    • 75 Kimber Myers
    12 O’Clock Boys is an exciting, beautifully shot look at a subculture through the eyes of one of its most devoted admirers.
    • 35 Metascore
    • 50 Kimber Myers
    While it’s an occasionally funny film with good performances from its stars, it’s poorly and cheaply made.
    • 79 Metascore
    • 91 Kimber Myers
    The Crash Reel can never be accused of being dry or boring, but Walker brings an energetic style that also complements its subject.
    • 27 Metascore
    • 25 Kimber Myers
    All around, the performances are fine, but they can’t move past the script from first-time director Jessie McCormack. She’s created a group of people that you’d avoid at a party, and being stuck with them for an hour and a half makes you feel like you’re being punished for doing something really awful.
    • 50 Metascore
    • 75 Kimber Myers
    Comedy can succeed based on either its relatability or sheer absurdity, and A.C.O.D. favors the former approach, while not entirely forgoing the latter.
    • 61 Metascore
    • 67 Kimber Myers
    Unfortunately, the film itself is so determinedly middle-brow with little to dislike other than how eager it is to please and how wary it is of offending. Unlike Hortense’s flavorful cooking, Haute Cuisine is aggressively bland.
    • 32 Metascore
    • 42 Kimber Myers
    The bland, boring Paranoia does little to distinguish itself and isn’t good (or even enjoyably bad enough) to be passable even as Saturday afternoon cable fodder.
    • 65 Metascore
    • 58 Kimber Myers
    Lee Daniels’ The Butler could be an important film that comes at a time where race is still a challenging topic for America, but it succeeds less as a film than as a history lesson.
    • 65 Metascore
    • 75 Kimber Myers
    Venus and Serena wins points for sharing an intimate, not-always-flattering view of the sisters that isn’t PR-friendly.
    • 66 Metascore
    • 83 Kimber Myers
    The script finishes up exactly where you think it will, but along the way, there are enough surprises and perfectly delivered lines to make it a blast.
    • 55 Metascore
    • 58 Kimber Myers
    By sex line standards, For a Good Time, Call... clearly succeeds –- it starts off slow, includes plenty of dirty talk, then gives us the happy ending we came for –- but our needs are a little bit greater when it comes to good films.
    • tbd Metascore
    • 30 Kimber Myers
    There’s no shortage of areas to explore in philosophy, science and religion, but The Man From Earth: Holocene would rather spend its time with unlikable characters than deal with complex concepts.
    • tbd Metascore
    • 70 Kimber Myers
    “To a More Perfect Union” could be more focused, particularly given its brief running time. However, the larger history behind the gay rights movement may be a helpful primer for those unfamiliar with it. But this doesn’t cloud the documentary’s emotional impact and effectiveness.
    • 78 Metascore
    • 80 Kimber Myers
    Eklöf doesn’t seem to care if you like her film or her characters — including the protagonist — and it’s this boldness that keeps you watching.
    • 72 Metascore
    • 83 Kimber Myers
    As in “The Wolfpack,” Moselle doesn’t just capture the rebellions of her characters, she expresses their triumphs and joys with intimacy and detail.
    • 83 Metascore
    • 75 Kimber Myers
    Möller keeps a sense of immediacy and tension throughout, despite never actually showing the cause of Asger’s worry and dread – and our own.
    • 49 Metascore
    • 50 Kimber Myers
    There’s little that’s memorable here and less to latch onto, beyond the foregrounding of an Asian woman in American history and Chau’s performance.

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