Kimberley Jones

Select another critic »
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
view
per page
    • 73 Metascore
    • 78 Kimberley Jones
    Urbania
    Leaves you scratching your head a bit, wondering what just happened, and worrying if maybe it could happen to you too.
    • 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.
    • 73 Metascore
    • 78 Kimberley Jones
    The Impossible
    First, to dispel the two talking points attending The Impossible, Juan Antonio Bayona's dramatization of the 2004 Indian Ocean tsunami: No, it's not racist, and no, you don't have to be a parent to feel the film in your bones.
    • 73 Metascore
    • 78 Kimberley Jones
    Super Size Me
    Although Super Size Me benefits from a number of interviews with nutritionists, lobbyists, lawyers, and the like, the film inevitably (but not unenjoyably) is dominated by Spurlock, who offers his sober-minded statistics and cheeky asides without ever devolving into an off-putting Michael Moore-like moralizing.
    • 73 Metascore
    • 67 Kimberley Jones
    Le Week-End
    Director Roger Michell and his frequent writer Hanif Kureishi (their last film together was Venus) regularly dance to the very cliff’s edge of despair, and only for the grace of good casting do you not wish they’d just jump and get it over with.
    • 73 Metascore
    • 89 Kimberley Jones
    Cold Mountain
    A rare achievement.
    • 73 Metascore
    • 78 Kimberley Jones
    Me and Orson Welles
    Linklater has crafted an always genial and at times even joyful period charmer about that moment on the cusp: before a boy becomes a man and another man becomes a mythological figure.
    • 73 Metascore
    • 67 Kimberley Jones
    The Grandmaster
    The U.S. cut, which Wong endorses, runs a slim 108 minutes, and has by all accounts been reshaped for American audiences, who, by and large, don’t have the same foreknowledge of Ip Man, or martial arts, as Asian audiences do.
    • 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.
    • 67 Metascore
    • 50 Kimberley Jones
    Jay Kelly
    The familiar faces inject instant warmth, but I’m not sure it’s entirely earned. By the time Jay Kelly arrived at its last line – buffed to a bland sheen, as if the whole film was reverse-engineered to land there – I had cooled considerably.
    • 57 Metascore
    • 78 Kimberley Jones
    Happy Endings
    Happy Endings is unabashedly sentimental (cheekily couched in a black-comic guise), with Roos acting as a sort of benevolent god over his characters.
    • 73 Metascore
    • 89 Kimberley Jones
    Folktales
    By film’s end, my cheeks were wet with feeling so many feelings for these young people just getting going. I am in awe of their boldness.
    • 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.
    • 73 Metascore
    • 78 Kimberley Jones
    The Hangover
    The Hangover instantly has the feel of one for the ages.
    • 73 Metascore
    • 67 Kimberley Jones
    The Girl Cut in Two
    A Girl Cut in Two is Hitchcock sans the whodunit, essentially a long preamble of seduction and spiritual ruin, capped by a crime everyone saw coming (and an eye-dazzling coda that twists the title from metaphor to … something else).
    • 55 Metascore
    • 50 Kimberley Jones
    Legend
    Mostly Legend just lurches.
    • 73 Metascore
    • 40 Kimberley Jones
    The Company
    When The Company owns up to what it is -– a performance piece -– it’s glorious. Everything else -– the window-dressing of a fiction film -– just gums up that gloriousness.
    • 73 Metascore
    • 50 Kimberley Jones
    The Widow of Saint-Pierre
    It's impossible to shake the feeling that these are merely actors -- albeit good ones.
    • 51 Metascore
    • 40 Kimberley Jones
    Diary of a Wimpy Kid 2: Rodrick Rules
    Wimpy Kid's filmmakers have gone off-book, so to speak, to inflect Greg with a surprising cruel streak.
    • 55 Metascore
    • 40 Kimberley Jones
    Liberal Arts
    Liberal Arts is not unlikable: There are some intelligent observations about how humans woo, and the film is so suffused with sincerity you want to give it a pat on the head just for trying so hard.
    • 73 Metascore
    • 67 Kimberley Jones
    The 40 Year Old Virgin
    Isn't quite a home run: The visually flat film leans on a pop culture crutch that probably won't age very well, and the finale – while terrifically funny – feels piped in from another, far sillier movie.
    • 73 Metascore
    • 67 Kimberley Jones
    A Royal Affair
    It is certainly competent, lovely to look at, but leaves little lasting impression.
    • 73 Metascore
    • 89 Kimberley Jones
    The Puffy Chair
    It's all so goddamn realistic and reminiscent of real-life love (and how often does that happen onscreen?) that The Puffy Chair would be hell to watch if it weren't so funny.
    • 35 Metascore
    • 40 Kimberley Jones
    The Host
    This film adaptation feels like YA, with cat’s-cradle love matches, soft-focus sexuality, and a main character who never satisfactorily makes the transition from page to screen.
    • 72 Metascore
    • 67 Kimberley Jones
    Road to Perdition
    It's a dirty, ugly, joyless world these fathers and sons live in, and for all the passion involved, of retribution and a father's fierce love, Perdition is as emotionally distant as Sullivan. The feelings are all there, just submerged.
    • 72 Metascore
    • 67 Kimberley Jones
    It's Never Over, Jeff Buckley
    An impression is ultimately all that coalesces in 105 minutes, and I wonder if that has something to do with how little the film engages with his songwriting.
    • 32 Metascore
    • 0 Kimberley Jones
    Someone Like You...
    It's cheap and it's lowdown, and to those responsible for this exercise in devolution: Honestly, I'm not sure I want to know someone like you.
    • 72 Metascore
    • 50 Kimberley Jones
    Headhunters
    The film holds its twists too close to the chest, and there's little to chew on till the ambitiousness of its plotting is revealed late in the film.
    • 72 Metascore
    • 67 Kimberley Jones
    Crime After Crime
    I suspect it's that spirit as much as the injustice of her incarceration that drew so many people to her cause and inspired this labor-of-love documentary about her journey to hell and back.
    • 72 Metascore
    • 89 Kimberley Jones
    In the House
    In the House, from the eclectic French filmmaker François Ozon (Under the Sand, 8 Women), is an almost perverse delight, an egghead thriller that slyly shell-games its truer purpose as an inquiry into the construction – and deconstruction – of fiction. Scratch deconstruction: Make that tear-the-house-down demolition.
Page:

Top Trailers

See all »
See all trailers »