Boyd van Hoeij

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For 174 reviews, this critic has graded:
  • 45% higher than the average critic
  • 5% same as the average critic
  • 50% lower than the average critic
On average, this critic grades 4.8 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 Another Me
Score distribution:
  1. Negative: 7 out of 174
174 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.
    • 78 Metascore
    • 90 Boyd van Hoeij
    A gossamer debut feature that compensates for its lo-fi look with glimpses of profound humanism.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 63 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.
    • 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.
    • 72 Metascore
    • 80 Boyd van Hoeij
    The character development here is understated but beautifully laid bare by a quartet of top actors.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 80 Metascore
    • 80 Boyd van Hoeij
    It's a tough and cerebral but finally illuminating film.
    • 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.
    • 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.
    • 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.

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