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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    • 62 Metascore
    • 67 Kimberley Jones
    Veronica Mars
    Marshmallow nation, you may now exhale: Rob Thomas did ya right.
    • 62 Metascore
    • 67 Kimberley Jones
    Pop & Me
    Everybody likes to watch the messy guts-stuff of other peoples' lives, if only because we know then we're not alone in our weird ways.
    • 62 Metascore
    • 67 Kimberley Jones
    Oh, Hi!
    There are worse accusations to hurl at a filmmaker than that she has too much empathy for her characters, but in the case of Oh, Hi!, it stymies the potential in its provocative premise and holds a pretty good movie back from greatness.
    • 69 Metascore
    • 67 Kimberley Jones
    Diana Vreeland: The Eye Has to Travel
    She knew what "it" was going to be before anyone else. Or maybe she invented "it," and the magazine-buying public simply did as they were told.
    • 71 Metascore
    • 67 Kimberley Jones
    Sleepwalk with Me
    Sleepwalk With Me is never anything less than awfully likable. But I so wanted it to be more.
    • 53 Metascore
    • 67 Kimberley Jones
    A Wrinkle in Time
    The opening act, I’m sorry to report, is a mess.
    • 63 Metascore
    • 67 Kimberley Jones
    I Capture the Castle
    Falling in love with the wrong person makes for a far more toothsome melodrama, a fact this small, satisfying picture rightly recognizes.
    • 63 Metascore
    • 67 Kimberley Jones
    Youth in Revolt
    It’s an enjoyable enough exercise in teen angst triumphing.
    • 62 Metascore
    • 67 Kimberley Jones
    Saved!
    While Saved! initially gets in some good gags at the expense of religious hypocrisy, it eases off, opting not to skewer religion but rather to poke it gently with a stick to see what happens.
    • 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).
    • 50 Metascore
    • 67 Kimberley Jones
    Letters to Juliet
    Is Gary Winick atoning for his sins? If “Bride Wars” was an acid spill -- and that’s putting it generously -- then Letters to Juliet is like the safety shower in your high school chemistry class, delivering an unsubtle blast of sanitized sentimentality.
    • 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.
    • 69 Metascore
    • 67 Kimberley Jones
    One Life
    There’s something a little pious about how resistant the film is to portraying Nicky not just as an admirable character but as an interesting one, too.
    • 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."
    • 78 Metascore
    • 67 Kimberley Jones
    Harry Potter and the Half-Blood Prince
    It’s always a pleasure to be in the company of Potter, and when looking back at the just-competent first outings – well, baby, you’ve come a long way – but still: Where’s the magic, huh?
    • 42 Metascore
    • 67 Kimberley Jones
    Jackass: The Movie
    All told, either you get it or you don't. Film critics and senators with election prospects don't. Kids in the mood to laugh at stupid shit for 87 minutes do. I'll toss my hat in the latter ring with glee.
    • 72 Metascore
    • 67 Kimberley Jones
    Seabiscuit
    Taking a cue from the horse in question, Ross’ film takes its time getting into the race, but once it gets going, the going gets good.
    • 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.
    • 73 Metascore
    • 67 Kimberley Jones
    The Bourne Supremacy
    All herky-jerky camera movements and no pussyfooting around with the interior lives of these characters.
    • 53 Metascore
    • 67 Kimberley Jones
    The Notebook
    What a glorious weepie The Notebook might have been if they’d just found a way to get rid of the damned notebook.
    • 75 Metascore
    • 67 Kimberley Jones
    A House of Dynamite
    It’s a dead-serious cautionary tale and sincere call for de-escalation, dressed like a political thriller by a director who’s aces with action (and whose actual best film, by the way, is Point Break). A House of Dynamite does not always easily straddle the gulf between docudrama and disaster movie conventions.
    • 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.
    • 51 Metascore
    • 67 Kimberley Jones
    The Broken Hearts Club: A Romantic Comedy
    Funny and friendly and all-inclusive and unremarkable.
    • 55 Metascore
    • 67 Kimberley Jones
    Wildcat
    For neophytes, there’s still much to enjoy – cinematographer Steve Cosen’s painterly framing, exuberant scenery chewing (Linney makes a meal out of one vignette’s rotted teeth) – but the thematic resonance between story and storyteller gets a little lost when you’re only working off the reenactments’ CliffsNotes.
    • 56 Metascore
    • 67 Kimberley Jones
    The Family Stone
    There are just too many damn characters, with the best ones taking a backseat to the dullish love quadrangle.
    • 67 Metascore
    • 67 Kimberley Jones
    The Gospel According to André
    While Kate Novack’s documentary suffers from a certain vagueness in the telling of Talley’s life, what’s clear is that it’s been an exceptional one.
    • 53 Metascore
    • 67 Kimberley Jones
    Delicacy
    Comedic actor François Damiens mines but never mocks Markus' awkwardness, thereby creating a winning portrait in decency. His tracing, with the ever-luminous Tautou, of the slow bloom of new love is a thing of understated beauty.
    • 61 Metascore
    • 67 Kimberley Jones
    Carnage
    The script is chockablock with al dente amusements – obvious targets still make for wickedly funny one-liners – and the German actor Waltz (Inglourious Basterds) is terrific as the only parent unburdened by decorum.
    • 67 Metascore
    • 67 Kimberley Jones
    The Door in the Floor
    To do no disservice to the impressive work of Bridges' co-stars, anytime his ragged writer, in flowing caftans and floppy hats, is on screen, it's impossible to take in anything else, so commanding is his presence.
    • 80 Metascore
    • 67 Kimberley Jones
    Lucky
    You feel Lucky’s frustration and gloom, how they burden him, without Stanton opening his mouth. But thank goodness he does, otherwise we wouldn’t get to hear him croon the lover’s lament “Volver, Volver” with a backing mariachi band. The moment is sublime – gawdam, Harry could really sell a song – and piercingly poignant.
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