Boyd van Hoeij

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For 225 reviews, this critic has graded:
  • 44% higher than the average critic
  • 6% same as the average critic
  • 50% lower than the average critic
On average, this critic grades 5.3 points higher than other critics. (0-100 point scale)

Boyd van Hoeij's Scores

  • Movies
  • TV
Average review score: 68
Highest review score: 100 Call Me by Your Name
Lowest review score: 10 Wrong Cops
Score distribution:
  1. Negative: 7 out of 225
225 movie reviews
    • 67 Metascore
    • 60 Boyd van Hoeij
    Though complementary, the pic’s images and voiceover never quite fuse into a single whole.
    • 63 Metascore
    • 60 Boyd van Hoeij
    Though a lot of it is well written and directed and, quite often, funny or poignant, the individual scenes rarely become part of a larger whole.
    • 71 Metascore
    • 60 Boyd van Hoeij
    Sophisticated cutting brings out the story’s complex emotional undercurrents, though “Breakdown’s” less convincingly scripted second half sputters more often than it shines.
    • tbd Metascore
    • 60 Boyd van Hoeij
    A snazzy, fast-paced pic that’s nonetheless somewhat enslaved by the get-rich-quick and crime-doesn’t-pay cliches that finally trip up the lowlife protags.
    • 75 Metascore
    • 60 Boyd van Hoeij
    Quillevere, co-scribe Mariette Desert and editor Thomas Marchand struggle to keep audiences fully involved in the story... Thankfully, the performances are all first-rate.
    • 56 Metascore
    • 60 Boyd van Hoeij
    There are too many twists, insignificant literary references and drawn-out scenes of sex and violence to sustain either the pic’s running time or its ideas, with Sono’s message obscured in the final reels by an ambiguous treatment of his leading ladies.
    • 66 Metascore
    • 60 Boyd van Hoeij
    Because Sono tries to set the manga’s storyline, with its stylized violence, in the very real, post-earthquake/tsunami disaster area, Himizu struggles to find a coherent tone.
    • 59 Metascore
    • 60 Boyd van Hoeij
    After taking a couple of left turns following its thriller-like opening, Salvo unfortunately returns to a more conventional register in the closing reels, though the atmospheric picture does continuously fascinate on a visceral level.
    • 53 Metascore
    • 60 Boyd van Hoeij
    The main point of the film remains its style, which is so constantly and loudly reinforced that it’s often hard to concentrate on the story.
    • 59 Metascore
    • 60 Boyd van Hoeij
    The film’s beauty lies in its carefully observed details and the larger story’s got nowhere particularly surprising to go.
    • 62 Metascore
    • 60 Boyd van Hoeij
    The rock-solid bond between the film’s two drifting 17-year-olds... is the film’s undeniable highlight but the true depth of their friendship crystallizes quite late and is too often obscured by a subplot involving minor characters caught up in a cross-border drug running operation.
    • 66 Metascore
    • 60 Boyd van Hoeij
    [A] handsomely produced if occasionally rather old-fashioned feeling period drama, which plays like a soap opera in which the characters just happen to have better manners and finery.
    • 57 Metascore
    • 60 Boyd van Hoeij
    More a film about ideas and theories rather than a story that’s more directly involving emotionally.
    • 61 Metascore
    • 60 Boyd van Hoeij
    Quite powerful despite relying on familiar storytelling tropes.
    • tbd Metascore
    • 60 Boyd van Hoeij
    The conceit is pure genre fluff, but the underlying economics make less sense upon closer inspection... That said, Maiga projects so much intelligence and integrity it's hard not to warm to her character and she has believable chemistry of the mismatched kind with Boublil, who's up to his usual but quite charming shtick.
    • 57 Metascore
    • 60 Boyd van Hoeij
    Though the film’s European scenes carry too little dramatic weight and might be confusing for those unfamiliar with the novel, the Morocco-set opening 40 minutes are beautifully and quietly observed.
    • 56 Metascore
    • 60 Boyd van Hoeij
    Thankfully, the screenplay doesn’t portray the story in simple terms of good or evil, but that doesn’t mean that there’s quite enough nuance or insight to constantly elevate the material above the level of a well-made-but-TV-ready biopic.
    • 83 Metascore
    • 60 Boyd van Hoeij
    Impressive in parts, but wildly uneven as a whole.
    • 63 Metascore
    • 60 Boyd van Hoeij
    A less successful aspect of the film is Cognet’s attempt to tie the concentration camps as contemporary spaces into the narrative, with shots of the now practically empty landscapes -- some tourists here and there notwithstanding -- interspersed throughout.
    • 77 Metascore
    • 60 Boyd van Hoeij
    This bouncy and effervescent film often has the kind of timeless charms that can also be found in the early New Wave films, even if the screenplay, set against the backdrop of the massive 1999 student protests in Mexico City, unsuccessfully tries to smuggle in a slightly more serious and topical undercurrent via the backdoor.
    • 65 Metascore
    • 60 Boyd van Hoeij
    The overall result remains quite light, is occasionally funny but finally never manages to probe very deeply.
    • tbd Metascore
    • 60 Boyd van Hoeij
    There are some fascinating cracks in his constantly upbeat personality that Rice manages to smuggle in. A little more of this material, or at least a little more carefully edited and juxtaposed with the rest, might have made the film less of a valentine for Oakley fans and more of a fascinating behind-the-scenes look at a relatively new phenomenon in general and this "personality" in particular.
    • 78 Metascore
    • 60 Boyd van Hoeij
    Since from her other features it is clear she's an uncompromising director, it should perhaps come as no surprise that this film is as unapologetically personal and self-absorbed as it is, making no attempt to draw in viewers perhaps unfamiliar with the filmmaker.
    • 58 Metascore
    • 60 Boyd van Hoeij
    Audience’s tolerance for this kind of heavy-handed, occasionally very mannerist symbolism may vary, though Messina does ensure that the religious parallels never completely eclipse the contemporary characters.
    • 78 Metascore
    • 60 Boyd van Hoeij
    Directed by French director Anne Fontaine (Two Mothers/Adore, Coco Before Channel), this is another gorgeously appointed but also slightly overly formal film, with a muted emotional payoff that, while appropriate for the story’s convent setting, doesn’t exactly make for must-see cinema.
    • 62 Metascore
    • 60 Boyd van Hoeij
    Troy Espiritu’s plot-driven screenplay and Mendoza’s preference for a gritty, documentary-like style mean that the final result is neither as deep nor as resonant as it could have been.
    • 61 Metascore
    • 60 Boyd van Hoeij
    Some individual scenes are certainly striking and the couple’s complex relationship and chemistry are believable but the overall narrative retains an erratic and somewhat jerky quality as the various elements don’t always logically build on what has come before.
    • tbd Metascore
    • 60 Boyd van Hoeij
    The actors impressively give it their all.
    • 56 Metascore
    • 60 Boyd van Hoeij
    Taken together, the shorts offer some scraps on Berger the man and the artist and thinker without really supplying a full overview, while also exploring some of his main preoccupations in ways that would benefit from at least some prior knowledge of his work.
    • 72 Metascore
    • 60 Boyd van Hoeij
    Escalante struggles to illuminate how sex and violence are connected and what this, in turn, means for more specialized types of aggressiveness and oppression, such as misogyny and homophobia.

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