Boyd van Hoeij
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For 57 reviews, this critic has graded:
  • 45% higher than the average critic
  • 8% same as the average critic
  • 47% lower than the average critic
On average, this critic grades 5.1 points higher than other critics. (0-100 point scale)

Boyd van Hoeij's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 90 La Maison de la Radio
Lowest review score: 10 Wrong Cops
Score distribution:
  1. Positive: 31 out of 57
  2. Negative: 3 out of 57
57 movie reviews
    • 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.
    • 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.
    • 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.
    • 48 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.
    • 55 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.
    • 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.
    • 25 Metascore
    • 10 Boyd van Hoeij
    With jokes that fall flat so often, the film’s cardiograph flatlines before the first five minutes are over.