For 127 reviews, this critic has graded:
  • 45% higher than the average critic
  • 1% same as the average critic
  • 54% lower than the average critic
On average, this critic grades 3.7 points lower than other critics. (0-100 point scale)

Oliver Jones' Scores

  • Movies
  • TV
Average review score: 61
Highest review score: 100 Blaze
Lowest review score: 0 Transformers: The Last Knight
Score distribution:
  1. Positive: 72 out of 127
  2. Negative: 32 out of 127
127 movie reviews
    • 45 Metascore
    • 25 Oliver Jones
    It is true that with Ghostbusters: Afterlife, Jason has entered the unofficial family business of trying and failing to recreate the inexplicable magic that made the original Ghostbusters such a frothy delight.
    • 52 Metascore
    • 88 Oliver Jones
    Zhao keeps these far-reaching propositions grounded through the laser-like focus of her vision and the precision of the images dreamed up by her and veteran MCU lensman Ben Davis. For once in a movie like this, ocean waves and cloudscapes carry as much weight as the ultra-choreographed battles between intergalactic interlopers.
    • 42 Metascore
    • 12 Oliver Jones
    Rarely will you see a more soul-numbingly empty product of this tragic operation than Halloween Kills, a film that so completely sucks the vitality out of John Carpenter’s and Debra Hill’s original vision that one would be tempted to call it a desecration if that didn’t make it sound like more fun than it actually is.
    • 58 Metascore
    • 50 Oliver Jones
    So much of Eastwood’s career over the last two decades has proven that his age and experience has incredible cinematic value when he holds himself to the high standards he set for himself years ago. When he doesn’t, which is sadly the case with Cry Macho, the uninspired results leave you with wistful memories of what once was.
    • 77 Metascore
    • 88 Oliver Jones
    It’s not for everybody, and it’s far from perfect, but you’ll be hard-pressed to find a more thrillingly necessary use of the filmmaking form this year.
    • 71 Metascore
    • 63 Oliver Jones
    Marvel's latest movie feels just as sanitized and safe as its other products, even with its killer cast and talented director Destin Daniel Cretton.
    • 46 Metascore
    • 63 Oliver Jones
    The film itself plays like an extended riff on the famous scene where the Frankenstein monster befriends a little girl.
    • 58 Metascore
    • 75 Oliver Jones
    Even the film’s copious weaknesses are a reason to smile, taking us back to both the series’ B-movie roots and to less fraught periods in our lives.
    • 80 Metascore
    • 75 Oliver Jones
    By the time Wright’s somewhat exhaustive film concluded, every moment of it propelled by a high-octane geeky affection that felt like a newly discovered alternative fuel, I was in the strange duo’s thrall.
    • 82 Metascore
    • 88 Oliver Jones
    By shining the light on Stone, Agrelo’s movie rightfully makes a national hero out of a historical footnote.
    • 79 Metascore
    • 100 Oliver Jones
    For a movie that pulses with joyful expressiveness and brims with possibility, there is a tragic undertone to Ailey.
    • 41 Metascore
    • 38 Oliver Jones
    There’s little weight, not much style and even less sense to the psychological terror The Woman in the Window attempts to inflict.
    • 41 Metascore
    • 50 Oliver Jones
    Without the grounding of richly drawn characters and burdened by ideas that reflect Pentagon policy papers of the late 1980s rather than our current world, Without Remorse has the feeling of product rather than cinema — just another polished, consumer-facing, slightly stale gizmo scooting down the virtual Amazon assembly line.
    • 44 Metascore
    • 38 Oliver Jones
    It will more than likely meet fans’ expectations for what they want in a Mortal Kombat movie but will fall short of exceeding them.
    • 64 Metascore
    • 38 Oliver Jones
    The filmmakers’ attempts to play around with the concept of the unlikely action hero are only moderately successful.
    • 38 Metascore
    • 63 Oliver Jones
    Yes, it’s a bit helter-skelter, but it is also an adequately enjoyable and untaxing way to kill off a couple of hours.
    • 52 Metascore
    • 63 Oliver Jones
    You feel the late genius through the way Day carries her body, so lissome yet creaking with the weight of both her talent and addiction. The Rise Up singer not only matches our imagination’s version of Holiday, but somehow beats it: she seems so present yet ethereally sozzled in a manner that suggests she may be operating on another plane.
    • 85 Metascore
    • 100 Oliver Jones
    The strength of Judas and the Black Messiah is that it moves well beyond rhetoric, or even historic reconstruction for that matter. Letting his talented cast lead the way, King has made a film centered on roiled emotions and relationships that are at once fractured and loving.
    • 58 Metascore
    • 63 Oliver Jones
    Too queer for some, not nearly queer enough for others, Uncle Frank is fated to become the green bean casserole of this holiday’s film streaming options: designed to appeal to everyone, but destined to remain uneaten.
    • 87 Metascore
    • 75 Oliver Jones
    Even when the larger world that surrounds them is fuzzily rendered, when Wilson, Wolfe, Davis, Boseman and all those fabulous actors past and present are serving as our guides, gaining entrance into such uneasy places feels like a true gift.
    • 79 Metascore
    • 88 Oliver Jones
    Every thing about Fincher’s film—from his resurrection of his late father Jack’s script to his exacting recreation of a Hollywood in the midst of a creative explosion that it wouldn’t experience again for another 30 years or so—is a call to arms.
    • 83 Metascore
    • 88 Oliver Jones
    While the film proudly remains a chamber piece very much in keeping with its roots in the theater, King opens it up in ways that show an innate knack for visual storytelling.
    • 76 Metascore
    • 50 Oliver Jones
    Instead, by reshaping this charged moment culled from somewhat recent American history in his own image, Sorkin has made The Trial of the Chicago 7 about something else entirely: himself.
    • 80 Metascore
    • 50 Oliver Jones
    The real issue undermining Durkin’s sophomore effort is central to the weaving of the film’s conceit. It looks like a horror movie, swims like a horror movie, and quacks like a horror movie, but it isn’t a horror movie. So then what the hell is it? Good question. After a long, slow build-up, The Nest winds up being as vacant as the Surrey country house of the title, and leaves the viewers feeling every bit as empty.
    • 66 Metascore
    • 50 Oliver Jones
    It is a visually enthralling, high-gloss commercial for state power and repressive constructs. This is a product precisely tooled to be what the global marketplace demands of entertainment that is this expensive to make—a win for capitalism that will leave many filmgoers who found a powerful reflection of themselves in the original film feeling like they’ve lost something important and essential.
    • 65 Metascore
    • 63 Oliver Jones
    They came in fleeting glances, befuddled smiles and odd-timed pauses that the iconic pair share with each other before the movie shuffles them from one frenzied and inconsequential story beat to the next. In such stolen moments, you sense the depth of a friendship so profoundly felt and so deeply comforting that you think to yourself, I would follow these guys anywhere.
    • 58 Metascore
    • 50 Oliver Jones
    It’s also the kind of storyline that gives quite a bit of cover to the film’s lesser attributes—namely its general small-mindedness and squishy moral logic.
    • 62 Metascore
    • 50 Oliver Jones
    A film that is part infidelity drama and part slasher film while never fully committing to either idea.
    • 72 Metascore
    • 75 Oliver Jones
    All of this unvarnished evil is depicted with haunting beauty and uncompromising artistry. Shot in 35mm black-and-white by master Czech cinematographer Vladimír Smutný, every shot is breathtaking to behold.
    • 83 Metascore
    • 88 Oliver Jones
    They have made a film absent of time that could not possibly be more of the moment.

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