Boyd van Hoeij

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For 159 reviews, this critic has graded:
  • 46% higher than the average critic
  • 6% same as the average critic
  • 48% lower than the average critic
On average, this critic grades 5.6 points higher than other critics. (0-100 point scale)

Boyd van Hoeij's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 The Second Mother
Lowest review score: 10 Wrong Cops
Score distribution:
  1. Positive: 98 out of 159
  2. Negative: 7 out of 159
159 movie reviews
    • 82 Metascore
    • 100 Boyd van Hoeij
    Muylaert does a deft job here of plotting her story and setting up her characters and their predicaments in ways that immediately invite reflection.
    • 83 Metascore
    • 100 Boyd van Hoeij
    An explosive combination of highly personal moral drama and a wider, scathing portrait of a country in which corruption and greed seem to be the only shared values left, this well-oiled narrative machine is further aided by a clever ticking-clock mechanism that actually ratchets up the tension the longer the characters’ vodka-soaked, blame-game speeches are allowed to go on.
    • 81 Metascore
    • 90 Boyd van Hoeij
    Taken separately, these two medium-length works would be diverting but also rather minor Hong, with their typical dry humor and observations about life and love. But taken as a single, 120-minute work, the small differences in the dialogue and attitudes of parts one and two reveal nothing less than the humanity, inner life and subconscious decision-making processes of the characters, turning the whole into one of Hong’s strongest features to date.
    • 56 Metascore
    • 90 Boyd van Hoeij
    Two minor problems in the closing reels hold the film back from instant-classic status.
    • 81 Metascore
    • 90 Boyd van Hoeij
    Beguiling in its strangeness, yet also effortlessly evoking recognizable emotions such as loneliness and the feeling of being stuck in a dead-end town and life, this moody and gorgeous film is finally more about atmosphere and emotions than narrative -- and none the worse for it.
    • 70 Metascore
    • 90 Boyd van Hoeij
    Jean-Francois Laguionie’s consistently enjoyable, inventive and beautifully crafted tale is a color riot suitable for all ages.
    • 80 Metascore
    • 90 Boyd van Hoeij
    The sobering message of the film is that independence doesn’t really mean anything in Africa if you’ve got resources that richer countries have an interest in and a general population that remains woefully poor and uneducated.
    • 72 Metascore
    • 90 Boyd van Hoeij
    The film’s only weakness is its ending, which is so subtle it risks being interpreted by the majority of viewers as enigmatic or unclear.
    • 68 Metascore
    • 90 Boyd van Hoeij
    Newcomer Van Acken is a phenomenal find and she’s never less than believably torn between doing the right thing and being her own person.
    • 76 Metascore
    • 90 Boyd van Hoeij
    The unknown cast is aces, and Moshe inscribes his loquacious film in the Western tradition without overdoing the references to the classics.
    • tbd Metascore
    • 90 Boyd van Hoeij
    Beautifully played and impeccably lit and composed, this high-quality family drama takes its time to introduce its flawed but human protagonists and then steadily builds toward a payoff that’s at once cathartic and artfully restrained.
    • 82 Metascore
    • 90 Boyd van Hoeij
    This is essentially an absorbing and intelligent exploration of queer desire spiced up with thriller elements.
    • 78 Metascore
    • 90 Boyd van Hoeij
    A gossamer debut feature that compensates for its lo-fi look with glimpses of profound humanism.
    • 76 Metascore
    • 80 Boyd van Hoeij
    Just like a cubist painting, what happens in the film doesn’t necessarily resemble real life in a narrow documentary sense but instead gives the viewer something else: a chance to consider certain behavior from various sides and on a more abstract level.
    • 84 Metascore
    • 80 Boyd van Hoeij
    Jodorowsky keeps circling back to the question of who he is and how poetry is inextricably linked with how he experiences the world.
    • 83 Metascore
    • 80 Boyd van Hoeij
    The Salt of the Earth doesn’t reveal so much as gracefully confirm that the empathy and humanism that make Salgado’s photojournalistic work so special are also a part of the artist’s outlook on life.
    • 79 Metascore
    • 80 Boyd van Hoeij
    By contrasting what the investigators are trying to uncover with the youthful adventures of the children, Dumont seems to suggest that the world of adults, despite appearances, is so rotten that it can only be stomached and perhaps even saved by two things: laughter of the tragicomic kind and a child-like innocence that somehow needs to be maintained into adulthood.
    • 87 Metascore
    • 80 Boyd van Hoeij
    My Golden Days more often privileges emotional truths over historical veracity. This helps not only to make the past dilemmas of the protagonists feel more immediate and real, but also suggests how, looking back, we see our lives as a succession of emotional experiences, not dry historical facts.
    • 86 Metascore
    • 80 Boyd van Hoeij
    Patterns emerge by virtue of repetition.
    • 74 Metascore
    • 80 Boyd van Hoeij
    Initially somewhat wispy-feeling, this 72-minute feature transforms in its final reel from an ironic divertissement to a work of considerable feeling and intensity.
    • 80 Metascore
    • 80 Boyd van Hoeij
    This challenging but refreshingly candid nonfiction feature is the debut of the talented Swedish-Danish filmmaking couple Frida and Lasse Barkfors, who have not only found a fascinating subject but who also manage to build a case against isolating sex offenders without resorting to such facile shortcuts as voiceovers or heavy editorializing.
    • 63 Metascore
    • 80 Boyd van Hoeij
    What we're looking at is, in essence, an artwork that looks at other art — a concept film about a conceptual art project. It suggests that a one-minute part can be the whole for one viewer or that, conversely, the whole is made up of an infinite amount of smaller parts that can each tell only a small part of the story.
    • 87 Metascore
    • 80 Boyd van Hoeij
    This is another solid and provocative feature from Ostlund.
    • 89 Metascore
    • 80 Boyd van Hoeij
    Utterly uneasy to watch but strikingly and confidently assembled, the film is a powerful aural and visual experience that doesn’t quite manage to sustain itself over the course of its running time, but is a remarkable — and remarkably intense — experience nonetheless.
    • 86 Metascore
    • 80 Boyd van Hoeij
    A nail-biter that’s actually quite light on action but so well-scripted and shot, it’s nonetheless edge-of-your-seat material.
    • 78 Metascore
    • 80 Boyd van Hoeij
    Though the story has undergone quite a few changes, what’s intact is the novel’s grittiness and emotional honesty, which more than compensates for the occasional coming-of-age cliche.
    • 80 Metascore
    • 80 Boyd van Hoeij
    Though the pint-sized protagonist is never far out of sight, the film’s vision is anything but limited, as various encounters in the desert conjure a vivid picture of a world that has remained unchanged for centuries but that is quickly coming undone.
    • 66 Metascore
    • 80 Boyd van Hoeij
    Before anyone has even said anything, the economy of Barrett as a storyteller is abundantly clear.
    • tbd Metascore
    • 80 Boyd van Hoeij
    Caissy and his editor, Mathieu Bouchard-Malo, manage to construct something that acquires a cumulative force that speaks compellingly and much more generally about the intersection of youth, education and personal morality than the specific cases of these often nameless, zit-sprinkled pieces of work.
    • 71 Metascore
    • 80 Boyd van Hoeij
    Ribeiro’s screenplay, which is marbled with moments of humor as well as emotion, feels extremely well-tuned into the conflicted emotional lives of his adolescent characters, who often retreat into the safety of their childhood comfort zone after every exciting, but also scary, excursion into the adult unknown.

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