Boyd van Hoeij

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For 214 reviews, this critic has graded:
  • 44% higher than the average critic
  • 7% same as the average critic
  • 49% lower than the average critic
On average, this critic grades 5.4 points higher than other critics. (0-100 point scale)

Boyd van Hoeij's Scores

  • Movies
  • TV
Average review score: 68
Highest review score: 100 The Ornithologist
Lowest review score: 10 Another Me
Score distribution:
  1. Negative: 7 out of 214
214 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.
    • 98 Metascore
    • 100 Boyd van Hoeij
    The chemistry between the men is palpable, but what's more important, they convey their characters' complex emotions, expectations and thoughts without necessarily opening their mouths.
    • 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.
    • 85 Metascore
    • 100 Boyd van Hoeij
    Though clearly not a proposition for either devout Christians or audiences for whom the multiplex is a temple, this is the kind of take-no-prisoners art house fare that advances and deepens the understanding of a singular director’s oeuvre as a whole.
    • 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.
    • 75 Metascore
    • 90 Boyd van Hoeij
    Much of the feature’s quietly accumulated emotional power derives from the fact that viewers have to connect some of the dots themselves. Indeed, just like in the subject’s own work, the imagination of the audience is as important an ingredient for the final result as what is actually written or suggested.
    • 77 Metascore
    • 90 Boyd van Hoeij
    [An] evocative and atmospheric feature.
    • 77 Metascore
    • 90 Boyd van Hoeij
    One of Apprentice’s strongest selling points is how, in a very compact yet pleasingly dense way, it takes viewers into both the world of the executioners and the executed criminals’ family members who remain behind, two often almost ignored categories in films touching on capital punishment.
    • 73 Metascore
    • 90 Boyd van Hoeij
    The way in which Ozon again uses mirror images, which reveal the similarities between the French and the Germans just after the war, or the way Fanny and Anna come to possibly mirror each other again suggest that a master storyteller is at work.
    • 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.
    • 76 Metascore
    • 90 Boyd van Hoeij
    The 31-year-old Chemla (Camille Rewinds) is a revelation in the title role and utterly mesmerizing and credible whether she’s playing Jeanne at 20 or at 47.
    • 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.
    • 75 Metascore
    • 80 Boyd van Hoeij
    The film is much more about the way in which people perceive one another than about the way people really are.
    • 78 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.
    • tbd Metascore
    • 80 Boyd van Hoeij
    German Concentration Camps Factual Survey is a time capsule as much as a direct historical document, showing not only what the Allied Forces found when they first arrived at the Nazi concentration camps but also how the British government of the time thought it was appropriate to communicate about the Nazi atrocities.
    • 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.
    • 69 Metascore
    • 80 Boyd van Hoeij
    The sound of the zipper on Diane’s handbag, for example, becomes extremely ominous in Mermoud’s capable hands, while two distinct musical themes, written by Christian Garcia and Gregoire Hetzel, respectively, further enhance the mood and help establish the film’s bona fides as a classy and classical psychological thriller.
    • 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.
    • tbd Metascore
    • 80 Boyd van Hoeij
    Strictly in terms of basic plot, Eastern Business isn’t exactly innovative. But what makes the film stand out is how perceptive it is about Moldova’s place in (Eastern) Europe and how it uses its characters’ behavior to illustrate points about human behavior that’s recognizable the world over.
    • tbd Metascore
    • 80 Boyd van Hoeij
    A scrappy but at times uproarious Romanian comedy.
    • 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.
    • 75 Metascore
    • 80 Boyd van Hoeij
    The film, also written by Blair, manages an impressive balancing act in term of its tricky, quicksilver tone, which constantly oscillates between foreboding, menacing, hilarity and absurdity without ever feeling incongruous.
    • 82 Metascore
    • 80 Boyd van Hoeij
    Thankfully, Finley isn’t only adept at writing and directing good dialogue but he also understands how images and sounds can enhance his story.
    • 82 Metascore
    • 80 Boyd van Hoeij
    Though the film’s two halves aren’t equally as strong, with the second half lacking some of the complexity and breathtaking sweep of part one, this is an impressive step up for Quillevere.
    • 64 Metascore
    • 80 Boyd van Hoeij
    Noxon, who also wrote the screenplay, manages to explore dark and complex issues while frequently leavening them with unexpected moments of humor.
    • 75 Metascore
    • 80 Boyd van Hoeij
    The constant combination of highbrow and lowbrow elements is undeniably French but also very effective.
    • 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.
    • 63 Metascore
    • 80 Boyd van Hoeij
    The Eyes of My Mother is both strange and strangely enthralling.
    • 66 Metascore
    • 80 Boyd van Hoeij
    Before anyone has even said anything, the economy of Barrett as a storyteller is abundantly clear.
    • 74 Metascore
    • 80 Boyd van Hoeij
    If some anime films also feature more painterly details in the backdrops, especially when depicting nature, what feels new here is the attention to details such as the glow of light sources, including candles and lanterns, that are warmer and more realistically detailed than usual.
    • 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.
    • 82 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.
    • 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.
    • 72 Metascore
    • 80 Boyd van Hoeij
    The character development here is understated but beautifully laid bare by a quartet of top actors.
    • 90 Metascore
    • 80 Boyd van Hoeij
    An intriguing exposé of a gripping story.
    • 81 Metascore
    • 80 Boyd van Hoeij
    [Waititi's] nimble adaptation here combines solid writing with an entire bag of filmmaking tricks that includes visual gags, unexpected cuts and quick montage sequences to score laughs from the get-go. He also cleverly exploits who these people are to get the audience in stitches.
    • 72 Metascore
    • 80 Boyd van Hoeij
    The strength of Asaph Polonsky’s debut feature, One Week and a Day (Shavua Ve Yom), is that it’s actually a bittersweet comedy-drama in which the pain is as real as the frequent chuckles.
    • 82 Metascore
    • 80 Boyd van Hoeij
    A low-fi but beguiling mixture of intellectual discourse and emotional rollercoaster from Spanish maestro José Luis Guerin.
    • 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.
    • 81 Metascore
    • 80 Boyd van Hoeij
    By simply contrasting short sequences that each tell a small story, Wiseman constructs a much larger mosaic.
    • 79 Metascore
    • 80 Boyd van Hoeij
    Lafleur delivers an affecting, funny and eccentric -- in the best sense of the word -- meditation on that in-between state that people in their early twenties find themselves, as they are technically old enough to participate fully in all of life’s activities but they still lack the experience to know what they really want or what’s really good for them.
    • 78 Metascore
    • 80 Boyd van Hoeij
    It is absolutely fascinating to watch how Puiu X-rays his characters to show how every single person onscreen belongs to several groups or affiliations at once...and how every one of them is either willing or forced to compromise parts of who they are to continue belonging to all these groups.
    • 57 Metascore
    • 80 Boyd van Hoeij
    The use of both dialogue and film language is sophisticated; sometimes Ismael’s Ghosts borders on overripe melodrama, while at other times it relies on genre tropes but then gives them an unexpected twist.
    • 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.
    • 62 Metascore
    • 80 Boyd van Hoeij
    Another effective, great-looking and well-acted Scandinavian crime film based on a bestselling novel.
    • 80 Metascore
    • 80 Boyd van Hoeij
    Instead of a straightforward narrative arc for the small cast of characters, the film -- gorgeously shot and framed by Cemetery of Splendor cinematographer Diego Garcia -- combines a documentary-like look at their everyday lives with a fascinating if not entirely clear-cut exploration of body and gender issues.
    • 85 Metascore
    • 80 Boyd van Hoeij
    What sets Courgette apart is the constant attention to how each incident and experience influences and builds character, which is how these children can slowly ease themselves into their future grown-up selves.
    • 80 Metascore
    • 80 Boyd van Hoeij
    It's a tough and cerebral but finally illuminating film.
    • 91 Metascore
    • 80 Boyd van Hoeij
    Part of the beauty of Nostalgia is that the many metaphors and surprising parallels between the universe, archaeology and Chile’s recent past rise organically from the material.
    • 81 Metascore
    • 80 Boyd van Hoeij
    Lindholm here makes yet another modestly scaled but effective drama that asks more uncomfortable questions than it answers.
    • 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.
    • 85 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.
    • 69 Metascore
    • 80 Boyd van Hoeij
    What’s finally tragic about their destiny of choice is not that the couple succeeded in becoming immortal together but that everything leading up to their death was the result of very banal actions and shot through with an extreme sense of loneliness.
    • 72 Metascore
    • 70 Boyd van Hoeij
    The story’s anchored by strong performances from Belgian star Cecile de France (The Kid With a Bike, Hereafter) and French singer-turned-actress Izia Higelin (Mauvaise fille), who have a natural chemistry that’s not only credible but actually infectious.
    • 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.
    • 37 Metascore
    • 70 Boyd van Hoeij
    Dante again smoothly combines moments of romantic and screwball comedy, schlocky genre elements and an overarching retro feel for this cute and pretty efficient zom com.
    • 75 Metascore
    • 70 Boyd van Hoeij
    [A] sleekly assembled and intriguing if clearly very commercial proposition.
    • 75 Metascore
    • 70 Boyd van Hoeij
    A low-key verite charmer.
    • 72 Metascore
    • 70 Boyd van Hoeij
    A beautifully animated tale of the growing friendship and occasionally rather cloying emotional travails of two 12-year-old girls.
    • 72 Metascore
    • 70 Boyd van Hoeij
    Rosefeldt and a very game Blanchett spring one surprising creation on the viewer after the other. But what it all adds up to is of course up for debate.
    • 75 Metascore
    • 70 Boyd van Hoeij
    Mostly lighthearted and, especially in its closing reels, rather clichéd, the character-driven film nonetheless manages to gently resist the temptation to turn into a full-throttle and heart-warming crowdpleaser.
    • 80 Metascore
    • 70 Boyd van Hoeij
    There is no denying the cumulative power of the material, in large part due the protagonists’ endless reservoirs of humanity, dignity and selflessness in the face of one of the world’s worst biggest current and most incomprehensible tragedies. Light on background and contextual facts, Last Men in Aleppo speaks very loudly from the heart.
    • 77 Metascore
    • 70 Boyd van Hoeij
    Because it wants to be a primer on a serious subject, an exciting cinematic exposé and an argument for more openness and some kind of regulatory framework, the necessities of these different strands end up getting in each other’s way.
    • 80 Metascore
    • 70 Boyd van Hoeij
    It is clear that Serraille has made a portrait of a very specific individual but that she’s also saying something more general about her own generation.
    • 71 Metascore
    • 70 Boyd van Hoeij
    This is a lean and efficient mix of thriller, drama and socio-political commentary.
    • 66 Metascore
    • 70 Boyd van Hoeij
    The first couple of reels are very loosely structured, with no one identified onscreen, which gives the film a verite edge but which also means that it takes a good while for the material to find its footing and make it clear what and, more importantly, who, the film is exactly about.
    • 76 Metascore
    • 70 Boyd van Hoeij
    Only in an extended sequence late into the proceedings...do we get a sense that Pineiro has tried to move outside of his comfort zone and does the film really become affecting.
    • 62 Metascore
    • 70 Boyd van Hoeij
    The film deftly explores the story's complex moral issues from several sides.
    • 61 Metascore
    • 70 Boyd van Hoeij
    In terms of its form, the film is rather classically assembled, combining a voice-over narration with archive material (some of it never previously seen) and spectacularly filmed and staged shots of the now 83-year-old Lorius as he witnesses the havoc caused by the climate change he saw coming some 30 years ago in various locales around the world.
    • 54 Metascore
    • 70 Boyd van Hoeij
    Based on a true story that's perhaps less famous than some others but just as intriguing, this serious-minded — no Helen Keller jokes, please — period film is nonetheless quite entertaining and, finally, moving.
    • 75 Metascore
    • 70 Boyd van Hoeij
    What makes the film so much fun to watch is not only its clear underdog narrative — the story's only halfway told by 2007, with several more surprising twists in store — but also that the no-nonsense commoners are such pleasant company, recounting how things went in candid, soundbite-ready and often amusing ways.
    • 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.
    • 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.
    • 76 Metascore
    • 70 Boyd van Hoeij
    By cataloging every spoon of food not eaten, every sip of water not swallowed and every sigh and every groan uttered, the myth becomes a man and the inherent paradox of being a divine ruler is revealed.
    • 67 Metascore
    • 70 Boyd van Hoeij
    An enticing, if not extremely insightful, overview of the maverick filmmaker’s work.
    • 64 Metascore
    • 70 Boyd van Hoeij
    While the gorgeous widescreen landscapes have a pencil-and-aquarelle quality, the characters themselves are literally rougher-edged, a clever reminder of the hand-drawn, sketchlike quality of traditional animation.
    • 65 Metascore
    • 70 Boyd van Hoeij
    Though individual scenes feel authentic, the overall structure’s rather loose and there’s not a single narrative throughline. This has several advantages... But it also somewhat diffuses the film’s focus.
    • 72 Metascore
    • 70 Boyd van Hoeij
    Expertly assembled across the board, Censored Voices tries and largely succeeds in providing a corrective to the idea that Israel’s 1967 victory was a quick and clean operation.
    • 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
    • 74 Metascore
    • 70 Boyd van Hoeij
    Talky and cerebral, this theatrical drama juxtaposes space and light and explores ghosts from the past and love in the present.
    • 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.

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