Boyd van Hoeij
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For 69 reviews, this critic has graded:
  • 49% higher than the average critic
  • 4% same as the average critic
  • 47% lower than the average critic
On average, this critic grades 5.2 points higher than other critics. (0-100 point scale)

Boyd van Hoeij's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 90 The Painting (Le Tableau)
Lowest review score: 10 Another Me
Score distribution:
  1. Positive: 38 out of 69
  2. Negative: 4 out of 69
69 movie reviews
    • 67 Metascore
    • 70 Boyd van Hoeij
    An enticing, if not extremely insightful, overview of the maverick filmmaker’s work.
    • 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.
    • 45 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 low-key verite charmer.
    • 58 Metascore
    • 70 Boyd van Hoeij
    Cartoon violence and action, gore and humor, all rolled into one schlocky but enjoyable package.
    • 52 Metascore
    • 70 Boyd van Hoeij
    A mixture of raw, first-hand footage, shot by protesters themselves, and more self-possessed interviewees ensures that the chaos and sometimes lethal risks of protesting come across as strongly as the pressing sociopolitical reasons behind them and the effects the events have had on the participants.
    • 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.
    • 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.
    • 57 Metascore
    • 60 Boyd van Hoeij
    More a film about ideas and theories rather than a story that’s more directly involving emotionally.
    • 54 Metascore
    • 50 Boyd van Hoeij
    The film frequently privileges art direction over emotion, and a constant sense of wonder based on visuals alone proves impossible to sustain over the lengthy 130-minute runtime.
    • 69 Metascore
    • 50 Boyd van Hoeij
    Though the script... is underdeveloped and pic is assembled in workmanlike fashion, it does feature some nicely modulated performances.
    • 51 Metascore
    • 50 Boyd van Hoeij
    Nicloux is unable to instill the material with any tension.
    • 61 Metascore
    • 50 Boyd van Hoeij
    So full of explanatory flashbacks and animated sequences visualizing the characters’ invented yarns that their real dramas are indeed almost obscured.
    • 43 Metascore
    • 50 Boyd van Hoeij
    The Players is an odd beast that, like all omnibus films, is only as strong as its weakest link.
    • 36 Metascore
    • 50 Boyd van Hoeij
    The main problem of Mr. Morgan’s Last Love is a structural one, as it is really two films in one.
    • 44 Metascore
    • 50 Boyd van Hoeij
    Recognizable human behavior is not this film’s forte -- which wouldn’t be a problem if something else would take its place but Punch never finds the right tone for the heterogeneous material, with sweetly melodramatic scenes alternating with high drama, some light action and farce.
    • 50 Metascore
    • 50 Boyd van Hoeij
    The screenplay... seems to generally lack a throughline or focus, coasting from party scenes full of drugs and alcohol to work-related drama but rarely managing to get inside the head of the self-destructive character the designer had become by the 1970s.
    • 57 Metascore
    • 50 Boyd van Hoeij
    The frequent voice-overs, in which the boys read what they wrote (heard over shots of them writing), add distance rather than insight because it is not the action of writing that's revealing but the events and thought processes that led them to write what they did.
    • 43 Metascore
    • 50 Boyd van Hoeij
    Rahim has a great face but isn’t given enough opportunity to make it clear to audiences what his character is going through beyond the most basic emotions.
    • 73 Metascore
    • 50 Boyd van Hoeij
    Instead of complex personalities and dilemmas, we mostly get clichés.
    • 34 Metascore
    • 30 Boyd van Hoeij
    Tonally surprisingly coherent, Franco’s apostles seem to have directed, as Pauline Kael would’ve said, on their knees.
    • 45 Metascore
    • 30 Boyd van Hoeij
    It is unlikely that a lot of viewers come to see a Step Up film for convincing dialogue or psychological insight into a group of young things trying to make it big in a ruthless industry. But there’s barely any humor that doesn’t feel third-rate and most of the plot threads are so thin that All In occasionally feels like a satire of a dance film.

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