Kimberley Jones

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Austin Chronicle
For 1,017 reviews, this critic has graded:
  • 40% higher than the average critic
  • 2% same as the average critic
  • 58% lower than the average critic
On average, this critic grades 6.3 points lower than other critics. (0-100 point scale)

Kimberley Jones' Scores

  • Movies
  • TV
Average review score: 59
Highest review score: 100 All the Real Girls
Lowest review score: 0 My Boss's Daughter
Score distribution:
  1. Positive: 569 out of 1017
  2. Mixed: 311 out of 1017
  3. Negative: 137 out of 1017
1017 movie reviews
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    • 60 Metascore
    • 40 Kimberley Jones
    Trumbo
    Trumbo certainly has pep. Theodore Shapiro’s jazzy score doesn’t just boast a tom-tom – you could choreograph it with pom-poms. Maybe Roach worried that general audiences wouldn’t cotton to a yellowing story about the Red Menace, so he ginned it up with a jazz-hands idea of midcentury Hollywood, with everyone mugging like it’s a lobby-card photo shoot
    • 58 Metascore
    • 50 Kimberley Jones
    The Night Before
    This “one crazy night” taps out at lightly kooky; there’s nothing here that gets within striking distance of the sheer weirdness of "Harold & Kumar Go to White Castle" or the darkness of "After Hours", to name two genre stablemates.
    • 59 Metascore
    • 67 Kimberley Jones
    Miss You Already
    Director Catherine Hardwicke doesn’t need that easily-cut path through long grass; she already has a willing cast and story to get to the guts-splaying.
    • tbd Metascore
    • 67 Kimberley Jones
    Barista
    With this kind of competition doc, a filmmaker has to be incredibly savvy and soothsaying in selecting his subjects early on: They have to be both charismatic enough to hold the camera’s gaze and competitive enough to advance to the final rounds. In both respects, Baijnauth struck gold with his five baristas.
    • 42 Metascore
    • 50 Kimberley Jones
    Burnt
    There’s never any doubt that redemption is the end-game for Jones, but the claim for his saving is weak sauce; the case against him has been too emphatically, if unintentionally, argued.
    • 82 Metascore
    • 89 Kimberley Jones
    Steve Jobs
    Sorkin smashes the cradle-to-grave biopic mold with Steve Jobs. R.I.P., I guess. It’s called a mold for a reason.
    • 39 Metascore
    • 40 Kimberley Jones
    Big Stone Gap
    The film is as thin as a picture postcard.
    • 36 Metascore
    • 30 Kimberley Jones
    Pan
    Ill-conceived from any number of angles, this Peter Pan origin story, scripted by Jason Fuchs (Ice Age: Continental Drift), plays topsy-turvy with J.M. Barrie’s beloved characters.
    • 75 Metascore
    • 78 Kimberley Jones
    Peace Officer
    That Peace Officer cannot provide a complete picture of the myriad of problems that come with the increased militarization of police isn’t an indictment of the film. This trouble is too big for one film to contain.
    • 64 Metascore
    • 78 Kimberley Jones
    Sleeping with Other People
    It’s a shrewd last move in a movie that’s uncommonly smart about when to buck convention and when to conform to the warm feels we all want.
    • 65 Metascore
    • 40 Kimberley Jones
    Pawn Sacrifice
    Best yet is Liev Schreiber playing Spassky, big as a Russian bear and as ice-cool as the country’s signature 80-proof spirit. Is it unpatriotic to wish this was his movie, not the twitchy American guy’s?
    • 51 Metascore
    • 67 Kimberley Jones
    The Intern
    Playing a 70-year-old seeking renewed purpose as an intern at an Internet start-up, Robert De Niro is gentle as a kitten. Is it disrespectful to want to greet this icon of American cinema with a snuggle and a tumbler of warm milk?
    • 43 Metascore
    • 30 Kimberley Jones
    Maze Runner: The Scorch Trials
    The trouble comes when somebody opens their mouth and you’re reminded this is supremely silly stuff, and overall a much lesser version of teens versus the titans of post-apocalypse industry – a copy of a copy of a copy.
    • 68 Metascore
    • 67 Kimberley Jones
    Black Mass
    By necessity, Black Mass begins in a hole it can never dig out of. It’s the portrait of a monster told in a flat line.
    • 59 Metascore
    • 67 Kimberley Jones
    Learning to Drive
    By the end, I was moved. Not floored, but moved.
    • 69 Metascore
    • 50 Kimberley Jones
    Digging for Fire
    Digging for Fire fails its title’s own promise: It has the capacity for startling insight and artistry, but mostly it’s just a toe listlessly pushing dirt around.
    • 75 Metascore
    • 78 Kimberley Jones
    Mistress America
    Mistress America is maybe Baumbach’s most probing consideration of the writer’s process and development, a continuing point of interest in his filmography, from "Kicking and Screaming" to "The Squid and the Whale" and "Margot at the Wedding."
    • 26 Metascore
    • 30 Kimberley Jones
    War Room
    I lodge no complaint against the film’s emphasis on prayer, even if, dramatically, it’s not scintillating stuff to watch.
    • 68 Metascore
    • 67 Kimberley Jones
    People Places Things
    Gently funny and admirably, even unfashionably humane, People Places Things is at its best beat-to-beat.
    • 54 Metascore
    • 40 Kimberley Jones
    Ricki and the Flash
    The music so wholly engulfs the second half of the film, there’s no room left to expand on characters that feel less than lived-in or on the film’s more ambitious ideas.
    • 81 Metascore
    • 89 Kimberley Jones
    Twinsters
    Even more extraordinary than the concept or its conceptualization is how intensely moving an experience it all amounts to.
    • 63 Metascore
    • 67 Kimberley Jones
    Jimmy's Hall
    If you ever thought "Footloose" might’ve been improved with an Irish brogue and a short pour of agitprop, then by all means look to this latest from Ken Loach, Britain’s elder statesman of cinema and its evergreen champion of the working class.
    • 58 Metascore
    • 40 Kimberley Jones
    Gemma Bovery
    Oh, how I rued my failed foreign-language skills in the opening moments of Gemma Bovery. Who wants to read subtitles when a French baker is rolling out such pliant, such pokeable, such heavenly looking dough?
    • 75 Metascore
    • 67 Kimberley Jones
    Trainwreck
    Trainwreck can be furiously funny. It just goes down too easy. It’s scared of its own sharp edges. The sly raging against the machine of Inside Amy Schumer has gone missing. Here, the rage, curiously, is turned inward.
    • 56 Metascore
    • 67 Kimberley Jones
    Minions
    Best yet, there’s a mid-film bedtime story, made to look like stop-motion, that’ll take your breath away.
    • 76 Metascore
    • 67 Kimberley Jones
    Testament of Youth
    It’s muddy, bloody, and studded with amputated limbs, yet still rather generic-feeling; it lacks the visceral impact of Joe Wright’s version of Western Front atrocities in "Atonement."
    • 61 Metascore
    • 67 Kimberley Jones
    Magic Mike XXL
    Magic Mike XXL isn’t really a movie. It’s a bachelorette party, or a book club, or any other safe space where women gather for some of that “you go, girl” good feeling. It’s an amusement-park ride. Fasten the safety belt, secure your purses, and get ready to scream.
    • 74 Metascore
    • 78 Kimberley Jones
    Me and Earl and the Dying Girl
    This film is sweet and frequently very funny. It isn’t perfect. Some of those imperfections – or, more to the point, irritants, such as the twee chapter headings and college-essay framing device – are carryovers from the YA novel, written by Jesse Andrews, who also adapted the novel to screen.
    • 94 Metascore
    • 89 Kimberley Jones
    Inside Out
    Its audacity is entirely matched by its artistry.
    • 51 Metascore
    • 50 Kimberley Jones
    Live From New York!
    Size matters, too, in Live From New York!, a portrait of SNL at 40, but in inverse: 82 minutes isn’t nearly long enough to consider every angle – or even many angles – of a cultural institution.
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