Boyd van Hoeij
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For 68 reviews, this critic has graded:
  • 48% higher than the average critic
  • 4% same as the average critic
  • 48% lower than the average critic
On average, this critic grades 5.5 points higher than other critics. (0-100 point scale)

Boyd van Hoeij's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 90 A Girl Walks Home Alone at Night
Lowest review score: 10 Another Me
Score distribution:
  1. Positive: 38 out of 68
  2. Negative: 4 out of 68
68 movie reviews
    • 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.
    • 78 Metascore
    • 90 Boyd van Hoeij
    A gossamer debut feature that compensates for its lo-fi look with glimpses of profound humanism.
    • 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.
    • 56 Metascore
    • 90 Boyd van Hoeij
    Two minor problems in the closing reels hold the film back from instant-classic status.
    • 82 Metascore
    • 90 Boyd van Hoeij
    This is essentially an absorbing and intelligent exploration of queer desire spiced up with thriller elements.
    • 80 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.
    • 67 Metascore
    • 80 Boyd van Hoeij
    There are no big surprises in store in terms of where this setup is headed...But the pic’s pleasures are nonetheless numerous, starting with its talented cast.
    • 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.
    • 77 Metascore
    • 80 Boyd van Hoeij
    Like in all of the director’s work, psychologically reductive readings of the characters are absent, though intriguing performances give audiences a way into the material.
    • 83 Metascore
    • 80 Boyd van Hoeij
    This is a sprawling yet intimate narrative, constructed almost entirely of in-between moments rather than the big turning points and tragedies.
    • 86 Metascore
    • 80 Boyd van Hoeij
    Patterns emerge by virtue of repetition.
    • 87 Metascore
    • 80 Boyd van Hoeij
    This is another solid and provocative feature from Ostlund.
    • 77 Metascore
    • 80 Boyd van Hoeij
    What makes the film so accessible despite its controversial subject matter is Wnendt’s total command of tone, which is never vulgar or intentionally out to shock.
    • 78 Metascore
    • 80 Boyd van Hoeij
    The director clearly takes depression and suicidal urges and the possibility they may be hereditary very seriously but that doesn’t mean that the film isn’t often very witty.
    • 72 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.
    • 80 Metascore
    • 80 Boyd van Hoeij
    It's a tough and cerebral but finally illuminating film.
    • 80 Metascore
    • 80 Boyd van Hoeij
    The narrative’s general rites-of-passage layout is of course extremely familiar, though, especially for foreign audiences, many of the stories-within-stories and characters that dot this particular journey will feel new as well as delightful.
    • 80 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.
    • 76 Metascore
    • 70 Boyd van Hoeij
    Mikkelsen impresses here as a warm-hearted man who finds himself caught up in a situation way beyond his control.
    • 72 Metascore
    • 70 Boyd van Hoeij
    [An] intimate and dexterous debut feature.
    • 58 Metascore
    • 70 Boyd van Hoeij
    Les Coquillettes never comes off as an elaborate in-joke; instead it feels like a sincere attempt to convey what the very particular rush of a film festival, rarely seen onscreen, can feel like from inside the bubble.
    • 67 Metascore
    • 70 Boyd van Hoeij
    A quite absorbing but never riveting or revelatory overview of Armstrong’s career and testy personality.
    • 66 Metascore
    • 70 Boyd van Hoeij
    The directors have brought onboard the entire original cast. This makes their job much easier, as countless performances have perfected the timing and tone of each single line.
    • 43 Metascore
    • 70 Boyd van Hoeij
    A more mature work from actor-director-producer Zach Braff that feels like a Garden State for grown-ups.
    • 74 Metascore
    • 70 Boyd van Hoeij
    [A] sleekly assembled and intriguing if clearly very commercial proposition.
    • 51 Metascore
    • 70 Boyd van Hoeij
    Though the screenplay, based on Laurence Benaim’s biography, is all build-up and no payoff, there is just enough emotional insight to compensate for the lack of narrative fireworks in the last half-hour.
    • 70 Metascore
    • 70 Boyd van Hoeij
    Despite a slightly grating tendency to resist any kind of subtlety, the honest and convincingly played central romance does finally linger.
    • 71 Metascore
    • 70 Boyd van Hoeij
    Though perfs and dialogue remain somewhat theatrical, the combined acting prowess of the trio ensures the emotions are heartfelt.
    • 66 Metascore
    • 70 Boyd van Hoeij
    Never a full-on character piece or even an exploration of the titular sentiment, Jealousy instead offers moments of quiet tragedy in some seemingly innocent throwaway moments
    • 67 Metascore
    • 70 Boyd van Hoeij
    Though the political background is fascinating, what finally resonates is that Schirman manages to humanize both Yousef and his Israeli handler, Gonen Ben Yitzhak, who would become an unlikely friend and ally.

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