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
    • 78 Kimberley Jones
    The Names of Love
    What is so surprising – even exhilarating – about The Names of Love is that it shucks off the desultory roadblocks that engine the modern romantic comedy – all that razzmatazz of missed connections and dunderheaded misunderstandings.
    • 53 Metascore
    • 40 Kimberley Jones
    The Big Year
    The Big Year's biggest disappointment is its inadequacy in elucidating the passion of the birder. What ardency, and what an exceptional, impenetrable world they move in. I for one wanted a better look at it.
    • 64 Metascore
    • 67 Kimberley Jones
    The Way
    The Way never arrives anywhere you couldn't see coming a mile away, but it does so with such empathy that its conclusions feel comforting rather than overly predictable.
    • 57 Metascore
    • 30 Kimberley Jones
    Shut Up Little Man! An Audio Misadventure
    But most damningly, Shut Up Little Man! fails to convey what was so hypnotic about the original tapes, and Bate's decision to re-enact the transcripts with actors seems weirdly contrary to the spirit of the thing.
    • 44 Metascore
    • 40 Kimberley Jones
    Killer Elite
    There's nothing here for the viewer to do, no kinks to work out, no double-crossings to anticipate, not even a half-hearted flail at figuring out how Danny ticks.
    • 35 Metascore
    • 20 Kimberley Jones
    What's Your Number?
    What goes most wrong is the casting. Every facet of Faris' performance feels off.
    • 72 Metascore
    • 89 Kimberley Jones
    50/50
    Mostly it's just terribly funny and sad and beautifully acted and terrifically feel-good for being, you know, a cancer comedy.
    • 65 Metascore
    • 78 Kimberley Jones
    Life, Above All
    In its third act, Life, Above All takes a bit of a dip into la-la land, in terms of believability – how precisely is an impoverished family supposed to have afforded an ambulance and hospice care? – but that doesn't diminish the emotional impact of Manyaka's performance and the idea that courage can be infectious, too.
    • 38 Metascore
    • 50 Kimberley Jones
    I Don't Know How She Does It
    For the first 30 minutes I couldn't shake the feeling that I was watching a really promising pilot for network TV.
    • 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.
    • 9 Metascore
    • 0 Kimberley Jones
    Bucky Larson: Born to Be a Star
    What does startle is how tiresome it all is.
    • 79 Metascore
    • 89 Kimberley Jones
    Drive
    I can't remember the last time I felt so seduced by a film.
    • 24 Metascore
    • 50 Kimberley Jones
    Apollo 18
    The real tension of the piece lies in the sound design, with its layering of heavy breaths, inexplicably compromised frequencies, and invasive thwackings of no known origin to the ship hull.
    • 22 Metascore
    • 11 Kimberley Jones
    Shark Night 3D
    About as humorless – and joyless – as they come.
    • 63 Metascore
    • 67 Kimberley Jones
    Echotone
    Echotone is scattered, for sure (the sound ordinance battle is poorly handled), but as an anecdotal account of Austin in the first decade of a new century, it's rarely anything less than compelling.
    • 79 Metascore
    • 78 Kimberley Jones
    Senna
    Undeniably gripping stuff.
    • 44 Metascore
    • 20 Kimberley Jones
    Redemption Road
    As the film's central focal point, Simpson (who also co-wrote the script) is an awful zero – you could hardly imagine a more uncharismatic lead – and his embarrassing swings at big emotion in the climax prove the final blow to a film already hobbled by mawkishness.
    • 48 Metascore
    • 67 Kimberley Jones
    One Day
    Sturgess, saddled with a caddish character, is less compelling, but he does provide the film's only spot of unloosed, raw emotion. Everything else feels too precisely and too compactly assembled for much impact.
    • 48 Metascore
    • 30 Kimberley Jones
    Glee: The 3D Concert Movie
    The film restages the greatest hits of the show's many musical numbers, to greatly diminished effect, with lackluster choreography and all the narrative appeal stripped away.
    • 67 Metascore
    • 40 Kimberley Jones
    The Future
    As an unsparing portrait of disaffection among the small-paycheck, faux-creative class, The Future is rather astute … which isn't to say it isn't also bang-your-head-on-the-wall annoying.
    • 62 Metascore
    • 50 Kimberley Jones
    The Help
    The Help may be more interested in the moral at the end of the story than the story itself, but what saves the film from its meticulous one-dimensionality is that nuanced, deeply moving cast.
    • 74 Metascore
    • 50 Kimberley Jones
    Tabloid
    Morris has found a real character in McKinney, but to what end, I couldn't say.
    • 39 Metascore
    • 50 Kimberley Jones
    The Change-Up
    Instantly forgettable but intermittently funny movie.
    • 50 Metascore
    • 50 Kimberley Jones
    Cowboys & Aliens
    For better or worse (and I'd argue the latter), the aliens are as monolithically evil, unformed, and un-individuated as characters as Native Americans once were in the earliest of Westerns.
    • 76 Metascore
    • 67 Kimberley Jones
    Beats Rhymes & Life: The Travels of a Tribe Called Quest
    White couldn't stay away, and neither can the band's legions of fans, who bop up and down in sold-out arenas at the reunion tour that provides the film's hopeful coda.
    • 66 Metascore
    • 50 Kimberley Jones
    Captain America: The First Avenger
    The final conflict is so protracted as to comfortably accommodate a bathroom break. Don't worry. You won't miss anything you haven't seen before.
    • 63 Metascore
    • 67 Kimberley Jones
    Friends with Benefits
    The middle of a movie is often where filmmakers lose their way, but Friends With Benefits nails this stretch, in which nothing very remarkable happens as two people talk, in bed and out of bed. There's a fine line between fun-dirty and ick-dirty – sometimes you can't identify the line until it's been crossed – and this film keeps its toes on the right side of raunch.
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