For 49 reviews, this critic has graded:
  • 42% higher than the average critic
  • 0% same as the average critic
  • 58% lower than the average critic
On average, this critic grades 2.8 points lower than other critics. (0-100 point scale)

Oliver Jones' Scores

  • Movies
  • TV
Average review score: 61
Highest review score: 100 Won't You Be My Neighbor?
Lowest review score: 25 The LEGO Movie 2: The Second Part
Score distribution:
  1. Positive: 26 out of 49
  2. Negative: 14 out of 49
49 movie reviews
    • 81 Metascore
    • 75 Oliver Jones
    Produced by Cameron Crowe, who interviewed Crosby as a young journalist for Rolling Stone in 1974, the film spins a powerful and enlightening fable about the ultimate cost of survival. It’s about what happens when the most reckless and bridge-burning among us ends up being rock’s Harry Potter — i.e. the boy who lives — and must sift through the guilt and wreckage of all the relationships left in his wake.
    • 55 Metascore
    • 38 Oliver Jones
    The best of what The Lion King offers is a somewhat technically up-to-date and generally well-voiced reworking of the familiar, but nothing surprising or vital. There is certainly nothing in the least bit urgent about director Jon Favreau’s new telling.
    • 90 Metascore
    • 75 Oliver Jones
    Awkwafina’s true skill as a remarkably sensitive collaborator has only recently been revealed—last year doing broad comedy in "Crazy Rich Asians" and now here, where every scene requires a deft shading of sadness and guilt.
    • 69 Metascore
    • 50 Oliver Jones
    If Spider-Man Far from Home is a triumph, as many will argue and its box office will undoubtedly confirm, it is a triumph of capitalism, not art. It is the film’s fervent hope that we, as consumers, are starting to lose our ability to tell the difference.
    • 53 Metascore
    • 63 Oliver Jones
    While Dauberman is still figuring out how to effectively build suspense (Daniela’s various forays into the Artifact Room seem to take as long as visits to the DMV), he does a good job of varying the types of scares he uses to shock his audience. He also leavens the tension with just the right amount of humor and does well with his recreation of the ’70s.
    • 81 Metascore
    • 88 Oliver Jones
    Like the metropolis that sprawls out far below the rooms she cleans, the film quietly pulses with life. And like Eve, we are left hoping she has a larger part to play in that world beyond smoothing blankets and folding toilet paper ends into perfect little triangles.
    • 84 Metascore
    • 100 Oliver Jones
    What is the meaning of life? When that question is posited in a deeply moving post-credits scene, the answer is like the film you just watched: incredibly funny and devastatingly true.
    • 38 Metascore
    • 38 Oliver Jones
    The main issue is the script. The tale it tells is shopworn.
    • 43 Metascore
    • 50 Oliver Jones
    Which points us to the real issue with this film and so many like it. These super heroic and super histrionic spectacles are multiplying so rapidly that they are recycling their own tropes at such a rate that it is almost impossible to be surprised anymore.
    • 48 Metascore
    • 50 Oliver Jones
    Godzilla: King of Monsters is a film that seems to paint with sound — sometimes Pop Art, but more often large canvas Jackson Pollock splatter.
    • 44 Metascore
    • 25 Oliver Jones
    The movie has nary a thought in its red-hooded head, only a lot of blood.
    • 53 Metascore
    • 50 Oliver Jones
    The new film never lags and some of the sturdiest elements from the original — namely the catchy and descriptive tunes by Alan Menken, Howard Ashman and Tim Rice — remain every bit as strong as they were in 1992.
    • 92 Metascore
    • 100 Oliver Jones
    As a result, The Souvenir, Hogg’s fourth film, is an extraordinary rumination on memory and privilege while also being one of the most incisive movies ever to directly address — in moral, philosophical and personal terms — what it means to be a filmmaker.
    • 52 Metascore
    • 38 Oliver Jones
    This is a movie that talks endlessly about emotion but displays none of it — and the same can be said for all that destiny chatter.
    • 56 Metascore
    • 75 Oliver Jones
    Buried beneath its furious, catch-as-catch-can approach to humor (Wine Country never met a joke it didn’t like), the film is a moving and nuanced portrayal of how difficult it is to be open and vulnerable even to those who love us utterly and without apology.
    • 80 Metascore
    • 75 Oliver Jones
    While it was a little disappointing to see the film relegate the other candidates to backup singers to Representative Ocasio-Cortez’s leading lady, that doesn’t make their contributions to the movement that elected her any less significant. Nor does it dull the emotional impact of her remarkable achievement.
    • 50 Metascore
    • 38 Oliver Jones
    Most filmgoers will come away only mildly convinced of Bolden’s place as jazz’s inventor and even less sure that the movie they just saw spun a coherent or compelling narrative.
    • 52 Metascore
    • 25 Oliver Jones
    Add to the long-winded title of this film, “…and completely unnecessary.”
    • 78 Metascore
    • 88 Oliver Jones
    It is so uncannily adroit at balancing humor and pathos that the two complement rather than detract from each other.
    • 74 Metascore
    • 88 Oliver Jones
    This is not simply one of the finest films to explore the unique challenges that beset women in rural parts of the country where men outnumber them two-to-one. It is also one of the only to illustrate the devastating social impact of the war against women and their reproductive rights that has been waged by statehouses across the nation.
    • 66 Metascore
    • 50 Oliver Jones
    This is a movie that’s back-loaded to the extreme: all of its action takes place in the last 20 minutes. Not that Leigh would ever be confused with Tarantino, but it would have been considerably more engaging to have started with the main event and moved backwards to how we got there.
    • 51 Metascore
    • 63 Oliver Jones
    Burton’s riff on the elephant that could fly and the circus freaks who love him is about as subversive as a Pottery Barn Kids fall catalog. Which is not to say it isn’t beautiful, and sometimes mesmerizingly so.
    • 83 Metascore
    • 75 Oliver Jones
    While it is good that a director as versed on the subject of consent as Schwartzman is bringing her unwavering eye to the problem, it makes it all the more painful that we seem even further away from solving the issue then we were on that fateful August night in Ohio seven years ago.
    • 70 Metascore
    • 25 Oliver Jones
    By the end, Shazam! feels like a corporate product that’s so thirsty for approval from all quadrants that it never ends up figuring out what it is.
    • 58 Metascore
    • 38 Oliver Jones
    While The Hummingbird Project may not be reap the benefits of a 13-episode season, at times, watching this dramatically flaccid tale of late-cycle capitalism run amok feels that long to get through.
    • 53 Metascore
    • 63 Oliver Jones
    The honesty of the actors and their commitment to each other bails the movie out. They manage to find truth in a highly manipulative situation, and that’s something even the least stardust-sprinkled among us can appreciate.
    • 64 Metascore
    • 75 Oliver Jones
    The truth is, this flawed but still entertaining film’s chief asset is its representation of a young woman who has spent her life following orders but is now finally crafting an identity of her own in a shifting moral landscape.
    • 60 Metascore
    • 50 Oliver Jones
    Rarely if ever has a film ostensibly about and informed by cinema been so thoroughly un-cinematic...And un-emotional: that spark of love is also missing in action. Perhaps this is why the film chose to drop the question mark from its title. If it had been posed as a query, the answer would have been, no, not nearly enough.
    • 65 Metascore
    • 25 Oliver Jones
    It’s not just emotion and creative innovation that feels MIA in this installment. The film acts as though it’s edgy, but lacks real bite.
    • 71 Metascore
    • 88 Oliver Jones
    The manner in which Mikkelsen, the former Danish gymnast and dancer we chiefly know for his suave villains in 2006’s "Casino Royale" and the NBC series "Hannibal," plays off his largely mute charge is simply extraordinary.

Top Trailers