Kimberley Jones

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For 792 reviews, this critic has graded:
  • 39% higher than the average critic
  • 2% same as the average critic
  • 59% lower than the average critic
On average, this critic grades 4.6 points lower than other critics. (0-100 point scale)

Kimberley Jones' Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 100 2046
Lowest review score: 0 Stealing Harvard
Score distribution:
792 movie reviews
    • 85 Metascore
    • 100 Kimberley Jones
    It's huge and bewildering and it hurts to watch, but it hurts so good it's gorgeous.
    • 71 Metascore
    • 100 Kimberley Jones
    It&#146;s a movie made of moments, the antithesis of "plot-driven," but the sum of these moments is magnificent, the culmination of so many elements: acting, scripting, score (by locals Michael Linnen and David Wingo), and cinematography.
    • 78 Metascore
    • 100 Kimberley Jones
    A riot of sight and sound that, however baffling, has an irresistible, elemental pull.
    • 85 Metascore
    • 100 Kimberley Jones
    Do we ever get the whole truth? Only this: The past is never the past. In Farhadi’s wounding worldview, the past is the present and, most certainly, the future, too.
    • 88 Metascore
    • 100 Kimberley Jones
    The Grand Budapest Hotel is nothing short of an enchantment.
    • 88 Metascore
    • 100 Kimberley Jones
    The film is so soaring, sometimes literally, I hardly missed the feeling of hard ground underfoot.
    • 87 Metascore
    • 100 Kimberley Jones
    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.
    • 94 Metascore
    • 100 Kimberley Jones
    “Subtle” is the watchword for this kind of arthouse film. That can be a backhanded compliment, a buyer-beware to attention-deficit audiences, but Haigh is really quite plain with his preoccupations: the constant tick-tock of time, and the illusion that in marriage two are melded into one.
    • 93 Metascore
    • 100 Kimberley Jones
    It’s almost criminal to have to stay in your seat when the contact high of La La Land is goosing you to grand jeté in the aisle. The heart, at least, is at liberty to swell to bursting.
    • 62 Metascore
    • 89 Kimberley Jones
    The characters in The Claim suffer under the weight of very big things -- betrayal, abandonment, disease, death -- but they do so quietly, stoically, until, by God, they just can't take it anymore.
    • 79 Metascore
    • 89 Kimberley Jones
    It's all about the little things, and the way in which the little things can steal into your heart in big ways.
    • 77 Metascore
    • 89 Kimberley Jones
    Cue the footage of Cockettes in spangles and glitter, high-kicking and belting out show tunes at the top of their lungs. Damn, it looks grand.
    • 82 Metascore
    • 89 Kimberley Jones
    Delicious.
    • 77 Metascore
    • 89 Kimberley Jones
    The Dogme pedigree rarely distracts; there is too much emotional investment to care much about dogmatic fidelity.
    • 69 Metascore
    • 89 Kimberley Jones
    A film that wants you to get happy.
    • 72 Metascore
    • 89 Kimberley Jones
    Smart, uncanny, resistant to the short cuts of pop psychology, and shocking in the best since of the word, Steers' debut is a stunner.
    • 86 Metascore
    • 89 Kimberley Jones
    The actors, as a powerful and convincing ensemble, are equally understated and just as devastating.
    • 52 Metascore
    • 89 Kimberley Jones
    Sexy, sophisticated comedy that only occasionally falls short of its admirable ambition: that is, to be a fun, fizzy, razzle-dazzle thing. Straight to the moon, indeed.
    • 90 Metascore
    • 89 Kimberley Jones
    A triumph in anguish.
    • 86 Metascore
    • 89 Kimberley Jones
    Moments of almost unbearable beauty.
    • 89 Metascore
    • 89 Kimberley Jones
    A lovely, quietly thrilling thing.
    • 73 Metascore
    • 89 Kimberley Jones
    A rare achievement.
    • 71 Metascore
    • 89 Kimberley Jones
    This modest French-language film follows the time-honored cinematic tradition of plot as spearheaded by a simple twist of fate.
    • 89 Metascore
    • 89 Kimberley Jones
    I don't know if the many plot swerves withstand a second viewing, but I suspect the meat of the matter – the swooning visuals, the expert choreography, the teasing love story – does.
    • 80 Metascore
    • 89 Kimberley Jones
    The sum is something deeply profound: about awkwardness, culture clash, failed connections, and – ultimately – the strength that comes from surviving a trial by fire.
    • 82 Metascore
    • 89 Kimberley Jones
    It packs a hefty emotional wallop.
    • 81 Metascore
    • 89 Kimberley Jones
    Nothing short of majestic.
    • 73 Metascore
    • 89 Kimberley Jones
    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.
    • 85 Metascore
    • 89 Kimberley Jones
    It’s not quite as brutalizing as McEwan’s brilliant source novel – it bears too much of a Great Art buff – but it ravishes nonetheless in its grand exploration of the sins of the daughter and a lifetime spent making reparations.
    • 66 Metascore
    • 89 Kimberley Jones
    Funny and sweet and guaranteed to flood you with good feeling.
    • 53 Metascore
    • 89 Kimberley Jones
    In its cinematic incarnation, Sex and the City has lost none of its bawdiness yet gained a more profound sense of soberness. Parker, especially, who in the last season of the show bordered on insufferable in her affected squeaks and shrieks, is allowed to go to very dark places – to be, in fact, quite unfabulous.
    • 84 Metascore
    • 89 Kimberley Jones
    The Vuillards, however fractured, know one another's rhythms and rituals, and Desplechin knows just how to convey them in the subtlest of ways.
    • 89 Metascore
    • 89 Kimberley Jones
    Bahrani's small marvel of a film.
    • 94 Metascore
    • 89 Kimberley Jones
    The tension is enough to make you slightly sick, and the overall mood of the thing is deeply dispiriting, but then, nobody ever said that war isn't hell.
    • 71 Metascore
    • 89 Kimberley Jones
    I don't want to oversell the thing. It is, quite simply, something very special indeed.
    • 67 Metascore
    • 89 Kimberley Jones
    Moon doesn't belabor anything, really, so confidently measured and philosophically nuanced it all plays out (aided by a striking, under-the-skin original score by Clint Mansell).
    • 83 Metascore
    • 89 Kimberley Jones
    This is an animated film that happily has room for both an existentialist dread of death and a grinning joie de vivre.
    • 92 Metascore
    • 89 Kimberley Jones
    I laughed more (sincerely, full-throatedly) at Toy Story 3’s smart comedy than at any other film of the still-young summer movie slate.
    • 76 Metascore
    • 89 Kimberley Jones
    The Last Station would have satisfied alone as a witty, manic lark, but as it moves toward the titular railway station, the film unfurls into so much more – a work of compassion, modulated mournfulness, and unchecked joy.
    • 81 Metascore
    • 89 Kimberley Jones
    Fish Tank isn't an easy watch – it's like two hours of ache – but there are rich rewards to be had in the many ways Arnold and her terrific team rend us to and fro.
    • 69 Metascore
    • 89 Kimberley Jones
    Kazan appears in every scene of The Exploding Girl’s perfectly paced 80 minutes, and you’d miss her if she ducked out for even a moment.
    • 69 Metascore
    • 89 Kimberley Jones
    Wright takes the tools of a bloodless medium, the video game, and crafts an action-comedy with a true-blue beating heart.
    • 95 Metascore
    • 89 Kimberley Jones
    Blisteringly entertaining.
    • 65 Metascore
    • 89 Kimberley Jones
    This is a quest movie, with a lot of ground covered, and just as our heroes never stay long in one place or feel safe in their surroundings, neither does the audience.
    • 79 Metascore
    • 89 Kimberley Jones
    This drama-horror hybrid, set within a New York ballet company, strikes a tone more along the lines of the terrifying hallucinatories of Aronofsky's breakout film, "Requiem for a Dream," revisiting, too, favorite themes of monster mommies and female hysteria.
    • 75 Metascore
    • 89 Kimberley Jones
    In an age of doggedly unambitious comedy, one marvels at the finesse these first-time screenwriters and director Feig bring to marrying raunch, romantic comedy, and the tested but ever-true bond between women.
    • 81 Metascore
    • 89 Kimberley Jones
    Grief doesn't exactly sound like a promising starting point for a love story, but, really, what a bounty Mills presents to us of beauty and buoyancy and possibility.
    • 82 Metascore
    • 89 Kimberley Jones
    Screamingly funny. Like I said, terrific stuff.
    • 78 Metascore
    • 89 Kimberley Jones
    I can't remember the last time I felt so seduced by a film.
    • 72 Metascore
    • 89 Kimberley Jones
    Mostly it's just terribly funny and sad and beautifully acted and terrifically feel-good for being, you know, a cancer comedy.
    • 72 Metascore
    • 89 Kimberley Jones
    Equally harrowing and heartrending, Shame is a film that feels akin to going into battle, and I for one didn't emerge unscathed.
    • 85 Metascore
    • 89 Kimberley Jones
    One wishes for a chewier whodunit – there just aren't enough clues for the viewer to work with – and the reveal of the mole is perversely anticlimactic. But maybe that's just stickling. We always knew Smiley'd get his man.
    • 83 Metascore
    • 89 Kimberley Jones
    Excepting the occasional shot that forces the eye on a particular dancer, Wenders largely films the action in a way that re-creates the effect of attending a performance in a proscenium theatre – only without having to scrabble for the best seat in the house. No matter where you are, you're already in it.
    • 84 Metascore
    • 89 Kimberley Jones
    Anderson and his co-writer Roman Coppola have crafted an elegant and emphatic metaphor for adolescence, that tumultuous province of firsts and lasts.
    • 68 Metascore
    • 89 Kimberley Jones
    The film can feel a touch overscripted, but Polley and her actors effect true-to-life rhythms of speech.
    • 61 Metascore
    • 89 Kimberley Jones
    A manic, lithesome thing, 2 Days in New York flexes between broad comedy and a beautifully observed portrait of family life – especially life after death.
    • 84 Metascore
    • 89 Kimberley Jones
    Looper makes a full-meal entertainment out of piecemealing genres: It boasts the kicky mental gymnastics that come with time-travel terrain, the relentless rapid heart rate of a crackerjack thriller, and the bursts of extreme violence, buttressed with black humor, of a modern actioner.
    • 95 Metascore
    • 89 Kimberley Jones
    It's a mistake to confuse Zero Dark Thirty for "truth" – that would be a disservice to the high level of craftsmanship, from first-billed actors to below-the-line production crew, at work in this movie fiction – but there is admirably little fat on its bones.
    • 71 Metascore
    • 89 Kimberley Jones
    And yet that is what is so very remarkable about the film: In a slim 72 minutes, it heart-tethers us to these teenagers, paying tribute to their unique and private selves while allowing the audience to see its own reflection in them.
    • 76 Metascore
    • 89 Kimberley Jones
    Mud
    With American independent film teeming with so many shaky-cam snarksters, what an electric riposte to the status quo is Nichols, whose films are classically constructed and deadly serious. In his short but potent career, he’s mastered a wide-vistaed eye for the epic and the elemental.
    • 72 Metascore
    • 89 Kimberley Jones
    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.
    • 82 Metascore
    • 89 Kimberley Jones
    Funny and touching, Frances Ha may very well be the most eloquent take yet on a generation in flux – a cinematic talk-back to so many Atlantic articles, minus the scolding and the statistics, and uncharacteristically (for Baumbach) uncynical.
    • 55 Metascore
    • 89 Kimberley Jones
    The movie moves episodically, leisurely, through roughly a decade, and that feels like a gift: to nestle in with these extraordinary, ordinary people and get to know them.
    • 87 Metascore
    • 89 Kimberley Jones
    Audience fortitude aside: This is compulsively watchable stuff, a masterstroke of thoughtful direction and thought-provoking performance.
    • 92 Metascore
    • 89 Kimberley Jones
    Shot in winter grays with no warming ambers and the whiff of tuberculosis hanging around all the players, Inside Llewyn Davis is a chilly thing – a nominal comedy in brisk shivers.
    • 90 Metascore
    • 89 Kimberley Jones
    Her
    If in previous films "Adaptation" and "Being John Malkovich" Jonze seemed a little squirmy about sex, his treatment here is fully adult and keenly sensitive to the complexities of sexual intimacy – how it relates to emotional intimacy, whether or not a flesh-and-blood body is required to achieve it.
    • 81 Metascore
    • 89 Kimberley Jones
    A restless, nervy actor, Hardy seems to get a kick out of tying one hand behind his back. He dominated "The Dark Knight Rises" even with a modified ball gag obscuring most of his face. Here, locked behind a steeling wheel and a conceptual gimmick, he only has the upper half of his body to work with. No surprise to anybody who’s been paying attention: Half a Hardy adds up to a hell of a lot.
    • 77 Metascore
    • 89 Kimberley Jones
    The Immigrant is two hours long, but I stayed even longer in my seat, through the credits, still in thrall to it all. The title is singular, but the scope is not so easily quantifiable.
    • 76 Metascore
    • 89 Kimberley Jones
    It’s an indie film about abortion that comes snuggled in the broad strokes of a quirky relationship comedy. A grump might wonder when indie films got so soft, but I’m more intrigued by the inverse: Why aren’t more studio films this clever and winning and conversant in the same language as their audience?
    • 84 Metascore
    • 89 Kimberley Jones
    Snowpiercer holds its own; it’s an unruly but rattling – and ravishing – work of art. On first watch, I wondered if there was anything to scratch beneath the surface – it seemed so straightforward, I worried there wasn’t enough there there – so I rewatched it almost right away and was surprised to find it still left me panting.
    • 58 Metascore
    • 89 Kimberley Jones
    God Help the Girl is not so perfectly crafted, but the promise – oh, the promise is irresistible.
    • 79 Metascore
    • 89 Kimberley Jones
    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.
    • 94 Metascore
    • 89 Kimberley Jones
    Its audacity is entirely matched by its artistry.
    • 81 Metascore
    • 89 Kimberley Jones
    Even more extraordinary than the concept or its conceptualization is how intensely moving an experience it all amounts to.
    • 82 Metascore
    • 89 Kimberley Jones
    Sorkin smashes the cradle-to-grave biopic mold with Steve Jobs. R.I.P., I guess. It’s called a mold for a reason.
    • 81 Metascore
    • 89 Kimberley Jones
    McKay makes moral outrage wickedly entertaining.
    • 57 Metascore
    • 89 Kimberley Jones
    The whole film is a delicious excuse to gawk – at the magnificent costumes, at the diplomatic dance of museum personnel and party planners, and at the sumptuous squish of so many egos sharing space.
    • 76 Metascore
    • 89 Kimberley Jones
    Maggie’s Plan is an ensemble piece, with Maya Rudolph, Travis Fimmel, and a magic, romantic New York rounding out the cast. They’re all great, but it’s Gerwig who’s just so damn gosh-wow.
    • 75 Metascore
    • 89 Kimberley Jones
    Owen’s story is unique, and deserving of singling out.
    • 86 Metascore
    • 89 Kimberley Jones
    Nobody’s a monster here, and that’s the subtle, aching rub of Little Men: Everyone is right in their claim, depending on the right angle, be it economic, sentimental, moral, or fraternal.
    • 83 Metascore
    • 89 Kimberley Jones
    This movie is delightful – funny and dreamy and sometimes desperately sad.
    • 78 Metascore
    • 78 Kimberley Jones
    Swinton is heartbreaking. She's not just craft; she's high art.
    • 75 Metascore
    • 78 Kimberley Jones
    Appropriately belongs to Lopez. His mannequin glaze and never-wavering smile provide more creepy-crawlies than a thousand quivering violins or perfectly timed thunderclaps.
    • 78 Metascore
    • 78 Kimberley Jones
    Is nothing if not exquisitely detailed: It's like a blood orange that del Toro spends the film seductively unpeeling, revealing layer upon layer of meaning and pathos.
    • 68 Metascore
    • 78 Kimberley Jones
    Something that falls just shy of greatness.
    • 66 Metascore
    • 78 Kimberley Jones
    It's easy enough to forget there are special effects involved, so convincing is Stu's rippling fur and big beamy eyes filling up with tears.
    • 85 Metascore
    • 78 Kimberley Jones
    Writer/director Lonergan succeeds at capturing eloquently the disappointments of growing up and growing old. But he isn't always successful at reining in the schmaltz.
    • 58 Metascore
    • 78 Kimberley Jones
    The terrific ensemble acting and Troche&#8217;s genuine, nonjudgmental interest in exploring the weird places wounded people go, both internally and externally, amount to an insulated but moving portrait of the real nuclear family.
    • 72 Metascore
    • 78 Kimberley Jones
    The magnificence of the film's pieces does not quite add up to a satisfying whole.
    • 83 Metascore
    • 78 Kimberley Jones
    Sollett&#146;s first feature is a small, but indelible picture, one that approaches the most universal of themes -&#150; first love, confused hormones, parental clashes -&#150; with originality.
    • 82 Metascore
    • 78 Kimberley Jones
    The pictures are gorgeous, and the words, well, if you listen hard enough, the words say exactly what one needs to hear: that is, to wake up and live.
    • 66 Metascore
    • 78 Kimberley Jones
    Much to cheer here, from its treasure trove of early and alternate versions of songs to the triumphant finale.
    • Austin Chronicle
    • 78 Metascore
    • 78 Kimberley Jones
    Ramsay is experimental, unconventional, and forever reaching at the gorgeousness in grief and despair. Her film moves slow as molasses, slow as paint drying -&#8211; and all the better to see the colors and the complexities.
    • 73 Metascore
    • 78 Kimberley Jones
    Burrus has a face that does all the talking for him -- deep creases, sad eyes, and a gray hue that hangs over him like a rain cloud. It's a remarkable performance.
    • 90 Metascore
    • 78 Kimberley Jones
    It isn't about where you get, but how you get there -- and the getting there is a chewy delight.
    • 73 Metascore
    • 78 Kimberley Jones
    Leaves you scratching your head a bit, wondering what just happened, and worrying if maybe it could happen to you too.
    • 63 Metascore
    • 78 Kimberley Jones
    Good, clean fun, with none of the icky aftertaste so common to &#8220;family friendly&#8221; ware, Drumline proves irresistible in more ways than one.
    • 42 Metascore
    • 78 Kimberley Jones
    In short, the actors deserve a big round of applause -&#150; especially Affleck, for finally wiping the smug look off of his face (OK, 80% smug-free); Garner, for her dead sexy mix of attitude and adrenaline; and the grunting, googly-eyed Farrell, for &#133; well, for being "fookin&#146;" nuts, I guess.
    • 64 Metascore
    • 78 Kimberley Jones
    Bardem injects a shaggy, compassionate humor throughout, aided by a wry and moving ensemble cast and co-writer/director Fernando Le&#243;n de Aranda's eye for the offbeat.
    • 56 Metascore
    • 78 Kimberley Jones
    Some of The Anniversary Party's titillation factor rests on the awareness that these are actors playing actors, in roles written specifically for them that at times appear awfully close to home.

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