For 30 reviews, this critic has graded:
  • 46% higher than the average critic
  • 0% same as the average critic
  • 54% lower than the average critic
On average, this critic grades 2.1 points lower than other critics. (0-100 point scale)

Oliver Jones' Scores

  • Movies
  • TV
Average review score: 61
Highest review score: 100 Won't You Be My Neighbor?
Lowest review score: 25 Suspiria
Score distribution:
  1. Positive: 17 out of 30
  2. Negative: 8 out of 30
30 movie reviews
    • 74 Metascore
    • 88 Oliver Jones
    This is not simply one of the finest films to explore the unique challenges that beset women in rural parts of the country where men outnumber them two-to-one. It is also one of the only to illustrate the devastating social impact of the war against women and their reproductive rights that has been waged by statehouses across the nation.
    • 67 Metascore
    • 50 Oliver Jones
    This is a movie that’s back-loaded to the extreme: all of its action takes place in the last 20 minutes. Not that Leigh would ever be confused with Tarantino, but it would have been considerably more engaging to have started with the main event and moved backwards to how we got there.
    • 51 Metascore
    • 63 Oliver Jones
    Burton’s riff on the elephant that could fly and the circus freaks who love him is about as subversive as a Pottery Barn Kids fall catalog. Which is not to say it isn’t beautiful, and sometimes mesmerizingly so.
    • 82 Metascore
    • 75 Oliver Jones
    While it is good that a director as versed on the subject of consent as Schwartzman is bringing her unwavering eye to the problem, it makes it all the more painful that we seem even further away from solving the issue then we were on that fateful August night in Ohio seven years ago.
    • 71 Metascore
    • 25 Oliver Jones
    By the end, Shazam! feels like a corporate product that’s so thirsty for approval from all quadrants that it never ends up figuring out what it is.
    • 58 Metascore
    • 38 Oliver Jones
    While The Hummingbird Project may not be reap the benefits of a 13-episode season, at times, watching this dramatically flaccid tale of late-cycle capitalism run amok feels that long to get through.
    • 53 Metascore
    • 63 Oliver Jones
    The honesty of the actors and their commitment to each other bails the movie out. They manage to find truth in a highly manipulative situation, and that’s something even the least stardust-sprinkled among us can appreciate.
    • 64 Metascore
    • 75 Oliver Jones
    The truth is, this flawed but still entertaining film’s chief asset is its representation of a young woman who has spent her life following orders but is now finally crafting an identity of her own in a shifting moral landscape.
    • 60 Metascore
    • 50 Oliver Jones
    Rarely if ever has a film ostensibly about and informed by cinema been so thoroughly un-cinematic...And un-emotional: that spark of love is also missing in action. Perhaps this is why the film chose to drop the question mark from its title. If it had been posed as a query, the answer would have been, no, not nearly enough.
    • 65 Metascore
    • 25 Oliver Jones
    It’s not just emotion and creative innovation that feels MIA in this installment. The film acts as though it’s edgy, but lacks real bite.
    • 71 Metascore
    • 88 Oliver Jones
    The manner in which Mikkelsen, the former Danish gymnast and dancer we chiefly know for his suave villains in 2006’s "Casino Royale" and the NBC series "Hannibal," plays off his largely mute charge is simply extraordinary.
    • 50 Metascore
    • 50 Oliver Jones
    With her sweet face, alert eyes, and a tail that forever waves in the air like a maestro’s baton, this is a dog worth following, no matter the breed.
    • 56 Metascore
    • 25 Oliver Jones
    Forget all of it being true; I would have settled for some of it being interesting.
    • 87 Metascore
    • 88 Oliver Jones
    The experience is simultaneously intimate and stirring; the film brings its audience to a thrillingly colorful and utterly relevant world of its own at a time when the primary purpose of other superhero movies seems to be to tease future installments and fill corporate coffers.
    • 52 Metascore
    • 50 Oliver Jones
    While the presence of both Law and Depp is a little distracting — the film could also be called "The Proxy War of the Long in the Tooth Former Hotties" — the acting is generally strong. But here the film’s best assets are also criminally underused.
    • 71 Metascore
    • 63 Oliver Jones
    While there’s something dispiriting and cynical about this conflation of product placement and pop commentary, it does give the film a kitchen sink quality: there is literally something for everyone.
    • 85 Metascore
    • 100 Oliver Jones
    Remarkable film.
    • 43 Metascore
    • 88 Oliver Jones
    Not simply a worthy addition to David Fincher’s vastly under-appreciated "The Girl with the Dragon Tattoo" franchise (they’re calling it a “soft reboot,” but there’s nothing soft about it), The Girl in the Spider’s Web is also a top-shelf Batman movie. For good measure, it kicks the butt of the last few Bourne installments too.
    • 64 Metascore
    • 25 Oliver Jones
    Some of the visual horror will no doubt be of interest to genre fans, but even there the appeal is limited. In an age when we are awash in efficient and involving horror movies — from "Halloween" to "A Quiet Place" to even "The Nun" (which is not that great but is at least short) — Suspiria comes off as bloated and disconnected.
    • 69 Metascore
    • 88 Oliver Jones
    The intimacy and honesty of the family rapport, the razor sharp dialogue and—most unexpectedly—its deeply grounded humor keep the film and its slight and compassionate story utterly engaging.
    • 81 Metascore
    • 75 Oliver Jones
    Fortunately, it is a nuanced, intense and utterly involving look at how racist policies shape judicial and economic outcomes for families like the Carters, and it doesn’t dumb things down one bit.
    • 83 Metascore
    • 88 Oliver Jones
    It’s a little long and leisurely. However, fueled by Rachel and Richard’s baby mania, it never drags.
    • 60 Metascore
    • 25 Oliver Jones
    The humans in the film are blandly generic. But the yetis, while individually distinct, all share a much larger, troubling problem: they don’t have noses.
    • 59 Metascore
    • 63 Oliver Jones
    There is a cool detachment to the presentation of the story that, while perhaps fitting for a movie about a crime so carefully calculated it defies imagination, nonetheless serves to undercut the film’s high stakes.
    • 75 Metascore
    • 100 Oliver Jones
    Along with Dickey’s equally feral and vulnerable performance, what stands out most in Blaze is just how fully formed and realized Hawke’s vision is as a filmmaker.
    • 46 Metascore
    • 25 Oliver Jones
    Rich in atmosphere but bereft of new ideas about how to scare an audience, The Nun is like being stuck inside a club with cool decor where the DJ keeps playing the same song over and over again.
    • 27 Metascore
    • 25 Oliver Jones
    Phil is the only puppet character that registers at all, which is one of the countless ways that the movies falls short of the legacy it is meant to expand and subvert.
    • 80 Metascore
    • 88 Oliver Jones
    This bold new film not only shatters comedy’s cold streak, but also serves as a powerful reminder of the vitality of the genre as both social commentary and shared experience.
    • 52 Metascore
    • 50 Oliver Jones
    Music video director Director X, making his feature debut, presents it all in a compelling and often intoxicating manner. There is something narcotic and languid about his pacing and camera work that feels purposeful and stylistic when the script is focused but comes off as stumbling and haphazard when the story looses momentum, which is often.
    • 80 Metascore
    • 88 Oliver Jones
    This is the rare sequel that packs constant surprises while still delivering on expectations.

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