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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    • 75 Metascore
    • 78 Kimberley Jones
    I'll See You in My Dreams
    Danner’s even better on her own, as she honestly, even angrily, wrangles with not a paradox, per se, just the raw rub of life: that it sucks to be alone, and it’s scary to try not being alone. She’s exquisite.
    • 73 Metascore
    • 78 Kimberley Jones
    Results
    Surely the most unconventional romantic comedy of the summer, Results isn't anti-plot; it just moves in weird ways.
    • 52 Metascore
    • 40 Kimberley Jones
    Saint Laurent
    Saint Laurent gets across how isolating celebrity can be, how exhausting it is to keep a toehold on top of a mountain that keeps shifting underfoot. But the film is allergic to insight: It’s as numbed-out as its hero addict.
    • tbd Metascore
    • 67 Kimberley Jones
    Arlo & Julie
    All told, it’s a likably misfit little movie, even if you can imagine it better suited as a lengthy short film or as a superior installment on one of those midcentury television playhouse series.
    • 80 Metascore
    • 67 Kimberley Jones
    Iris
    The cult of Iris caught like grassfire, and the film catches this nonagenarian nonpareil, ever in her defining owl glasses and heavy jewelry, at peak heat.
    • 71 Metascore
    • 78 Kimberley Jones
    Far from the Madding Crowd
    She’s (Mulligan) got the best lopsided smile in the business, and she uses it well to size up her three bachelors. They’re just no match for her.
    • 70 Metascore
    • 78 Kimberley Jones
    Dior and I
    The language barrier borders the Babel-esque; it’s a surprise fount of humor, too, as when a translator is terrified to pass along an Italian tailor’s request to the French-speaking chief seamstress, knowing she’ll be furious at the added work.
    • 13 Metascore
    • 0 Kimberley Jones
    Paul Blart: Mall Cop 2
    What’s most dispiriting about this garbage burger is its nonsensical characterization of Blart himself.
    • 78 Metascore
    • 78 Kimberley Jones
    Ex Machina
    A rattling and ruminative piece of speculative fiction, Ex Machina is good enough to wish it were even better.
    • 33 Metascore
    • 30 Kimberley Jones
    The Longest Ride
    There’s little here to convince the audience of boy and girl’s special chemistry, and nothing to attach the audience to them, either.
    • 68 Metascore
    • 50 Kimberley Jones
    Queen and Country
    When the action shifts to Bill’s childhood home – an islet along the Thames, downriver from the legendary Shepperton Studios – some of the magic of that place rubs off on Boorman’s picture: It becomes lighter on its feet, moves with the breath of life and not just the strength of memory.
    • 67 Metascore
    • 50 Kimberley Jones
    The Wrecking Crew
    The subject itself – the musicians, the music – and the spirit of the thing – one son’s obvious devotion – transcend the film’s technical shortcomings.
    • 74 Metascore
    • 67 Kimberley Jones
    Ballet 422
    With the documentary Ballet 422, Lipes’ first return to dance after notable narrative cinematography work (on TV’s Girls and the upcoming Trainwreck, among other projects), he’s somewhat boxed himself into a corner with the cinema verité directive to capture the moment and keep out of the way.
    • 56 Metascore
    • 50 Kimberley Jones
    Focus
    This con artist caper from the writer/director duo behind "Bad Santa" and "I Love You Philip Morris" bears some superficial resemblance to the 2005 romantic comedy "Hitch."
    • 56 Metascore
    • 20 Kimberley Jones
    The DUFF
    An adaptation of Kody Keplinger’s YA novel, The DUFF is exponentially dumb.
    • 27 Metascore
    • 20 Kimberley Jones
    Mortdecai
    Most Americans will be unfamiliar with the late British writer Kyril Bonfiglioli’s Mortdecai novels, on which this Johnny Depp comedy is based; still, no reference point is required to come to the conclusion this is a rotten movie all around.
    • 79 Metascore
    • 89 Kimberley Jones
    A Most Violent Year
    A Most Violent Year is its own thing, hypnotic and exacting and as subtly savage as mellow-voiced Marvin Gaye’s “Inner City Blues (Makes Me Wanna Holler),” which opens the film and sets the tone. I was fully in thrall to it all.
    • 71 Metascore
    • 67 Kimberley Jones
    The Imitation Game
    What lingers is the feeling that the filmmakers may pay lip service to Turing’s sexuality, but they prefer to keep his sex life strictly theoretical. Careful, there: No tracking dirt on the nice clean prestige picture.
    • 33 Metascore
    • 50 Kimberley Jones
    Annie
    Little girls will love it. I used to be a little girl once, too. I didn’t care much for the Top 40 glossy coat slathered over every song, but this heart will never harden to a spunky kid who’s certain the sun’ll come out tomorrow.
    • 74 Metascore
    • 78 Kimberley Jones
    Wild
    Wild lands some hard punches, but it can’t sustain the impact. Some of that lies in its inherited arc: Strayed found some peace – the whole point of the trek – but arriving-at-peace is less provocative than the struggle, at least in a movie.
    • 53 Metascore
    • 67 Kimberley Jones
    Penguins of Madagascar
    A merry entertainment that never pretends to greatness, Penguins of Madagascar is all about antics, verbal and visual.
    • 64 Metascore
    • 50 Kimberley Jones
    The Hunger Games: Mockingjay - Part 1
    The movie lumbers on some more, reiterating the obvious and relying on overfamiliar imagery. Audiences have a long year to wait for Part 2. Would it not have been better to leave them breathless than heaving a sigh?
    • 18 Metascore
    • 40 Kimberley Jones
    Kirk Cameron's Saving Christmas
    Saving Christmas will hold little interest for anyone not already a believer. It’s too single-minded in its instructional purpose, too averse to multidimensional characters, too youth-pastor-like in its dorky humor.
    • 87 Metascore
    • 100 Kimberley Jones
    Force Majeure
    The film gets its biggest laughs – and there truly are some grandly bleak belly-shakers here – by upsetting the apple cart on traditional gender roles.
    • 74 Metascore
    • 67 Kimberley Jones
    Interstellar
    Interstellar is riddled with ridiculisms; the but how comes … never stop. And yet: Nolan, a notoriously chilly filmmaker who’s never shown much faculty with matters of the heart, is pinning that heart squarely on his sleeve.
    • 89 Metascore
    • 67 Kimberley Jones
    Whiplash
    The leads’ prolonged, puffed-feathers sparring is entertaining while it lasts, but the sensation of something sizable is only fleeting.
    • 87 Metascore
    • 100 Kimberley Jones
    Birdman or (The Unexpected Virtue of Ignorance)
    The film is so soaring, sometimes literally, I hardly missed the feeling of hard ground underfoot.
    • 61 Metascore
    • 78 Kimberley Jones
    Harmontown
    As much a portrait of a community as of its brilliant, de facto mayor, Harmontown is a stirring tribute to the restorative power of finding your people.
    • 38 Metascore
    • 20 Kimberley Jones
    Men, Women & Children
    Not just narratively crude but aesthetically ugly, Men, Women & Children’s framing occasionally cuts characters off at the forehead, in effect lobotomizing them. I couldn’t think of a better metaphor for this brainless splotch of self-important scaremongering.
    • 29 Metascore
    • 11 Kimberley Jones
    The Best of Me
    Already hobbled by an overwrought story that turns positively Hallmark-Movie-preposterous in its third act, journeyman director Michael Hoffman (Soapdish, The Last Station) can’t conceive of a single memorable set-piece or rouse his actors into action. By the time Marsden’s character has very polite sex with the love of his life with his pants still on, I was done.
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