Boyd van Hoeij

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For 257 reviews, this critic has graded:
  • 42% higher than the average critic
  • 6% same as the average critic
  • 52% lower than the average critic
On average, this critic grades 3.6 points higher than other critics. (0-100 point scale)

Boyd van Hoeij's Scores

  • Movies
  • TV
Average review score: 67
Highest review score: 100 The Second Mother
Lowest review score: 10 Wrong Cops
Score distribution:
  1. Negative: 8 out of 257
257 movie reviews
    • tbd Metascore
    • 70 Boyd van Hoeij
    This kind of film wouldn’t stand a chance if the actors weren’t believable but Garcia (who starred in El Amparo, which Cordova edited) and non-professional Reyes are both understated but utterly authentic.
    • 70 Metascore
    • 40 Boyd van Hoeij
    Whereas Aferim! was a thrilling epic that uncovered a piece of Romanian history heretofore largely ignored, Hearts hardly develops a pulse, hiding the faces of the protagonists in immobile medium and wide shots while any possible emotions get snowed under by non-contextualized intellectual musings and socio-politico-historical details.
    • 54 Metascore
    • 50 Boyd van Hoeij
    What keeps the material from feeling too scattershot is the vitality of Cassel’s performance, which is full of life even when he’s not always in the best of health. He’s a much-needed charismatic center that almost manages to keep the entire enterprise together.
    • 75 Metascore
    • 60 Boyd van Hoeij
    Both an unexciting and by-the-numbers history lesson and an inside-view, you-are-there look at an underreported armed conflict, the documentary This Is Congo is almost as full of contradictions as the nation it is trying to portray.
    • 76 Metascore
    • 90 Boyd van Hoeij
    At once an enjoyable genre ride and a feminist art house story, Marlina the Murderer in Four Acts might send some heads rolling but has its own head firmly on its shoulders.
    • 69 Metascore
    • 50 Boyd van Hoeij
    This is the second feature from Pakistani-Norwegian filmmaker Iram Haq, but unfortunately it lacks the nuance and insight of her impressively poignant yet controlled debut feature, I Am Yours.
    • tbd Metascore
    • 80 Boyd van Hoeij
    Part of the film is a realistic drama about two men in love with the same woman but because they are both involved in illegal activities, the negative tension between them gives rise to several jungle setpieces that are real nail-biters
    • 74 Metascore
    • 40 Boyd van Hoeij
    Graizer too often seems afraid to potentially offend anyone (but especially straight audiences along for the ride) and too polite to explore the darker recesses of grief, desire and sexuality.
    • 66 Metascore
    • 50 Boyd van Hoeij
    Sobel’s inexperience with the feature-length format and the requirements of specific genres shows, with Workers Cup constantly struggling to reconcile the horrible fate of what are essentially modern-day slaves with the aspirational side and dreams of victory and beyond that are the end game of any underdog sports story.
    • tbd Metascore
    • 90 Boyd van Hoeij
    It’s an utter delight to see that theoretical academic musings on gender, love, sexuality and politics can be packaged and reflected upon in such a jocular and constantly entertaining way.
    • 59 Metascore
    • 50 Boyd van Hoeij
    This is a picaresque road movie about two mismatched characters, with rookie director A.B. Shawky offering a motley and not entirely smooth cocktail of drama and melodrama, a dash of social critique and insight, some chuckles and a few tugs at the heartstrings, mainly by virtue of its near-virtuoso score.
    • 82 Metascore
    • 60 Boyd van Hoeij
    The main problem of Happy as Lazzaro is that it's unclear what Rohrwacher finally wants to say in part two, which combines the near-documentary realism of her first feature with the occasional flights of fancy of her second.
    • 82 Metascore
    • 70 Boyd van Hoeij
    This intriguing debut feature from Flemish director Lukas Dhont, in a completely natural mix of Dutch and French, looks terrific, is not afraid to tackle a number of difficult subjects and features a star-making performance from acting and dancing talent Victor Polster.
    • 37 Metascore
    • 50 Boyd van Hoeij
    Cotillard, looking like one of the most glamorous white-trash fantasy figures in the history of the movies, has a hypnotic quality that will make you follow her character whatever she says or does.
    • 67 Metascore
    • 60 Boyd van Hoeij
    If the film remains largely watchable it is because Farhadi has cast some of the finest actors in Spain and they know how to breathe life into their characters even when they don’t have all that much to do (though a few of them have quite a lot to say).
    • 50 Metascore
    • 50 Boyd van Hoeij
    Schoenaerts is his usual, intense self, Exarchopoulos has here found her best role since Blue and there’s no denying their chemistry is wild. But their characters become prisoners of the many twists and turns of the narrative instead of rising above it; their personalities aren’t revealed through the story so much as they are constrained by it.
    • 77 Metascore
    • 70 Boyd van Hoeij
    There is no denying the visceral power of Wang’s insistence on looking encroaching death, as it were, in the eye and the filmmaker exercises appropriate restraint when the final moment does come.
    • 65 Metascore
    • 70 Boyd van Hoeij
    A film that’s an emotional rollercoaster and socio-political tract rolled into one.
    • 58 Metascore
    • 60 Boyd van Hoeij
    This story of sibling camaraderie and familial strife at a Burgundy winery unfolds against the backdrop of reliably picturesque views, with its bouquet of largely familiar elements presented with a modern finish.
    • tbd Metascore
    • 50 Boyd van Hoeij
    The film tries but often struggles to properly fuse the personal and the political.
    • 72 Metascore
    • 70 Boyd van Hoeij
    Is it possible for a viewer to be touched by a character’s predicament and despair when every element of their life is so strikingly arranged? Because Pfeiffer disappears into her role and plays it small, and because Dosunmu’s modus operandi privileges visuals and the unspoken over dialogue and facile melodrama, the film sort of gets away with it, if just barely.
    • 18 Metascore
    • 30 Boyd van Hoeij
    While the precociously talented Sidney, played by Logan Lerman, is not an uninteresting character, the artificially constructed nature of the narrative gives the supposedly shocking revelations way too much importance, essentially subjugating any sense of character development and flaws to its mystery-type structure.
    • 81 Metascore
    • 70 Boyd van Hoeij
    Western is a naturalistic, almost documentary-like feature that slowly builds.
    • 55 Metascore
    • 50 Boyd van Hoeij
    In terms of its overall look, Cinderella the Cat blends blocky, videogame-like 3D/CGI animation and voluptuous, watercolor-like 2D animation. It shouldn't work, yet it does create a coherent universe.
    • tbd Metascore
    • 90 Boyd van Hoeij
    Writer-directors Andrea Testa and Francisco Marquez shrewdly use their Average Joe protagonist to explore questions of (feigned) political disinterest and civil responsibility under a repressive dictatorship.
    • 67 Metascore
    • 70 Boyd van Hoeij
    The Divine Order (Die Goettliche Ordnung) is an entertaining, if largely predictable, story of an individual swept up in the tide of history.
    • 78 Metascore
    • 60 Boyd van Hoeij
    The film has two powerful, loosely connected stories to tell but not a unifying vision that could package the often-potent material for maximum impact.
    • 39 Metascore
    • 40 Boyd van Hoeij
    The main problem is that the directors often struggle to assign meaning to their images that helps advance either the narrative or illuminate the emotional state of their main character.
    • 68 Metascore
    • 70 Boyd van Hoeij
    Often shown in dark, flat and agitated closeups, Goic and Duran are both compelling performers.
    • 77 Metascore
    • 70 Boyd van Hoeij
    Though somewhat slow out of the starting blocks, this finally caustic drama, set in early 1980s Bratislava (then in Czechoslovakia), accumulates power and insight as it builds over the course of a tense parents-teachers conference, punctuated with the necessary flashbacks.

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