For 81 reviews, this critic has graded:
  • 43% higher than the average critic
  • 3% same as the average critic
  • 54% lower than the average critic
On average, this critic grades 3.6 points lower than other critics. (0-100 point scale)

Oliver Jones' Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 Won't You Be My Neighbor?
Lowest review score: 12 Rambo: Last Blood
Score distribution:
  1. Positive: 44 out of 81
  2. Negative: 22 out of 81
81 movie reviews
    • 63 Metascore
    • 38 Oliver Jones
    Despite its title, Onward is a regressive film, sometimes painfully so.
    • 63 Metascore
    • 75 Oliver Jones
    All of it combines into not only a profoundly romantic experience, but also an exploration of a number of different kinds of love and connection.
    • 47 Metascore
    • 75 Oliver Jones
    In what is something of a movie miracle or at the very least an unexpected surprise, this adaptation of the much-loved Sega video game franchise launched nearly 30 years ago as a direct assault on Nintendo’s leaping plumber Mario, largely presses the all the right buttons—and even does so in the right order.
    • 64 Metascore
    • 50 Oliver Jones
    Despite the lofty and even admirable aspirations of this particular entrant to the ever-growing genre, what it has to offer bears little difference from all the rest: namely, a couple of really bad nights in a very bad house.
    • 45 Metascore
    • 63 Oliver Jones
    Unlike many of the other films of its ilk, The Rhythm Section never feels the need to move beyond Stephanie’s sadness and sense of loss. This is really a tragedy thriller more than it is a revenge thriller.
    • 35 Metascore
    • 12 Oliver Jones
    The best thing about reviewing the new PG-13 horror movie The Turning is that you don’t have to worry about spoiling the ending because it doesn’t have one. It just, sort of, stops.
    • 59 Metascore
    • 75 Oliver Jones
    This is a movie where the charming guys fire holes into the un-charming guys while blowing stuff up and telling mildly funny jokes. Its story is absurd, most of the dialogue not spoken by one of the two leads is laughable, and save for a draggy middle section when the plot mechanics keep the bad boys separated, it’s a lot of fun.
    • 26 Metascore
    • 38 Oliver Jones
    Words are generally a problem for Dolittle—a fatal flaw when your picture is about talking animals. While the words are abundant, most are either perfunctory exposition or anachronistic jokes that fall flatter than the state of Nebraska.
    • 68 Metascore
    • 75 Oliver Jones
    The beating heart of the film, this performance is further evidence of what a gift Foxx’s late career shift to supporting parts has been for filmgoers.
    • 90 Metascore
    • 88 Oliver Jones
    The Safdies’ film is a cinematically expressive tightrope walk that seems designed to leave your blood pressure permanently spiked. It can be relentless and hard to take, but it is brimming with surprise and a vivacity that radiates off the screen.
    • 95 Metascore
    • 100 Oliver Jones
    It also happens to be the best ending of a movie this year and the work of a filmmaker completely attuned to both her craft and the inner lives of her characters. Moreover, the shot is the final act of passion and precision in a film that is teeming with both, a work of art whose flame will continue to smolder in your mind and heart well after you have left the theater.
    • 64 Metascore
    • 50 Oliver Jones
    Both the songs (once again written by two-time Oscar-winners Kristen Anderson-Lopez and Robert Lopez) and the relationships between the characters — strong points of the original film — register with less energy and originality this time around.
    • 50 Metascore
    • 50 Oliver Jones
    This is a movie where the characters utter the word “weird” enough times to fill an Advent calendar; in truth, the only thing that’s actually weird about it is how middle-of-the-road and mild it is.
    • 43 Metascore
    • 38 Oliver Jones
    Indeed, considering its trippy visuals and leaden dialog, Maleficent: Mistress of Evil would work much better with the sound turned off (the music is as ubiquitous as it is unremarkable) and Dark Side of the Moon or a bootleg of a Dead show blasting on the stereo.
    • 96 Metascore
    • 88 Oliver Jones
    In a masterful bit of cinematic sleight of hand, Bong, the writer and director behind 2013’s "Snowpiercer" and 2017’s "Okja," harnesses the precise anxieties everyone of us is currently sharing — top of that list, the growing income gap and the crumbling planet — and uses them to make every scene in this blackhearted comic thriller crackle with energy and purpose.
    • 36 Metascore
    • 75 Oliver Jones
    Portman’s delicate and damaged portrayal is mesmerizing.
    • 69 Metascore
    • 63 Oliver Jones
    What it lacks in textual depth, it makes up for with the genuine sympathy it evinces for characters that most films would dismiss as stupid, depraved and undeserving of our empathy and concern. Like Freud, Scheinert seems to understand that even people who commit unspeakable acts deserve our understanding.
    • 26 Metascore
    • 12 Oliver Jones
    After awhile, Last Blood feels less like a new Rambo movie than the latest installment of "Texas Chainsaw Massacre."
    • 80 Metascore
    • 63 Oliver Jones
    So which side of the movie finally prevails — the lackluster conventionality of its text or the breathtaking singularity of its visuals and action? The latter does, if just by the nose on Brad Pitt’s perfectly imperfect face. Combined with the film’s lavish technical achievements, his classic movie star sturdiness makes Ad Astra a memorable filmgoing experience even as the story it tells slips off into the ether.
    • 58 Metascore
    • 50 Oliver Jones
    We end up spending way too much time running over the same old ground. What have we found? The same old fear.
    • 63 Metascore
    • 88 Oliver Jones
    The story Hood’s film tells is a vital one to revisit, not just because the deceptions it illuminates inform so much of the political and international morass affecting our daily lives, but also shows the power of a single act of moral courage, and it does so while being blisteringly entertaining cinema.
    • 45 Metascore
    • 63 Oliver Jones
    It is a doom-invoking, cathartic and strangely satisfying head-trip that’s also a bit ridiculous.
    • 51 Metascore
    • 38 Oliver Jones
    It is the Oscar winner’s most affected performance to date, which is truly saying something when you consider that she has already played both Katherine Hepburn and Bob Dylan.
    • 60 Metascore
    • 63 Oliver Jones
    Like that dash across the freeway, the dirty jokes, bad language and bursts of violence end up being something that we have to grit our teeth to endure to get a glimpse of the inner lives of these boys, which are far richer than we typically see from a Hollywood comedy.
    • 71 Metascore
    • 75 Oliver Jones
    It’s far from subtle, more than a little sudsy, but also pleasingly direct and full of heart. Most significantly though, its timing is perfect.
    • 35 Metascore
    • 25 Oliver Jones
    The truth is, the film represents a troubling trend in films today, where production and marketing types think they can get by providing shallow examples of things that are popular in the social justice zeitgeist — women being tough-as-nails lead characters, for example — and act like that’s enough. It’s not. Give us real characters; give us good writing; give us a compelling story. Otherwise, don’t bother.
    • 61 Metascore
    • 63 Oliver Jones
    Øvredal also coaxes mostly strong performances from his young cast. This is especially true of Zoe Colletti (Showtime’s City on a Hill) as protagonist Stella.
    • 43 Metascore
    • 50 Oliver Jones
    If he weren’t voiced by a mellow and serene Kevin Costner, Enzo would sound like Martin Short’s old Ed Grimley character, only with Formula One replacing Pat Sajak and Wheel of Fortune as his object of obsession.
    • 60 Metascore
    • 38 Oliver Jones
    No one was expecting Midnight Run level repartee from Hobbs and Shaw, but is it too much to ask for a bit more than the who-has-a-bigger-penis stuff we get here?
    • 72 Metascore
    • 50 Oliver Jones
    The result is a well-intentioned but ultimately torpid film, one that feels much more concerned with saying something important than it is the far more noble task of conveying a compelling story worth telling.

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