Jessica Kiang

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IndieWire, Los Angeles Times, Rolling Stone, The New York Times, The Playlist, Variety
For 746 reviews, this critic has graded:
  • 56% higher than the average critic
  • 5% same as the average critic
  • 39% lower than the average critic
On average, this critic grades 5.6 points higher than other critics. (0-100 point scale)

Jessica Kiang's Scores

  • Movies
  • TV
Average review score: 71
Highest review score: 100 Birds of Passage
Lowest review score: 0 After We Collided
Score distribution:
  1. Positive: 526 out of 746
  2. Mixed: 181 out of 746
  3. Negative: 39 out of 746
746 movie reviews
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    • 82 Metascore
    • 100 Jessica Kiang
    The Best Is Yet to Come
    The Best Is Yet to Come is superbly well-made, making a compelling case for recognizing the humanity of others even in the midst of illness, even when ignorance and politicized paranoia threaten your compassion. It’s not hard to discern the relevance.
    • 74 Metascore
    • 83 Jessica Kiang
    Mandibles
    The really new news of Mandibles however, is, where in the past Dupieux’s surrealism always had a cynical, sinister, even murderous undercurrent, here, he lets himself be cheerful, as though infected by the sweet-natured bromance between his appealing, appalling idiot leads.
    • 71 Metascore
    • 75 Jessica Kiang
    Hopper/Welles
    We expect nothing less than conversational pyrotechnics from two such outsize personalities, and there are many confrontational moments. But what emerges more strongly is a sense of mutual admiration – sometimes even envy – and a fascinating snapshot of a period in time when movies could really matter, as experienced by two men whose movies were among those that mattered most.
    • 63 Metascore
    • 70 Jessica Kiang
    In Between Dying
    The existential road movie gets an offbeat, elliptical yet peculiarly compelling Transcaucasian makeover in director Hilal Baydarov’s second fiction feature, In Between Dying.
    • 74 Metascore
    • 83 Jessica Kiang
    The Duke
    You could dine on nothing but lard for twenty years and still not develop the hardness of heart necessary to avoid being won over by Roger Michell‘s The Duke, a ridiculously charming British comedy that dunks a gamely accented prestige cast into an appealingly milky true story like so many digestives into a warm, well-earned, early evening cuppa.
    • 73 Metascore
    • 83 Jessica Kiang
    The World to Come
    Although arranged around a fulfilling, life-changing connection The World to Come is a deeply lonesome lovesong.
    • 82 Metascore
    • 90 Jessica Kiang
    Dear Comrades!
    Meticulous and majestic, epic in scope and tattoo-needle intimate in effect, this scrupulous recreation of the lead-up to and aftermath of the Novocherkassk massacre six decades ago is excoriating proof that not all filmmakers are made sloppy or slipshod by anger. Some are made ever more righteously, icily precise.
    • 66 Metascore
    • 100 Jessica Kiang
    Pieces of a Woman
    Wéber’s writing and Kirby’s performance, working in concert with Mundruczó’s dazzling, multifaceted direction, Howard Shore‘s gorgeously mood-appropriate score and, again, Loeb’s drifting, searching, soulful camera together create, from so many disparate pieces, an entirely complete portrait, that even suggests further internal universes still to be explored, universes every one of us contains.
    • 83 Metascore
    • 67 Jessica Kiang
    One Night in Miami
    As a work of deep, committed research into real history, that provides a very handy four-way primer on the most famous Black men of their day and the conflicting approaches to Black resistence and liberation that each personified, One Night in Miami is an instructive and absorbing watch. But as a film with the potential to do more, push further and explore and maybe even in some ways explode those legacies in order to get at the men underneath them, it feels too timid, too talky, too conceptual in content for being so classical in form.
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