Boyd van Hoeij

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For 228 reviews, this critic has graded:
  • 43% higher than the average critic
  • 7% 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 The Fool
Lowest review score: 10 Another Me
Score distribution:
  1. Negative: 7 out of 228
228 movie reviews
    • 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.
    • 79 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.
    • 77 Metascore
    • 70 Boyd van Hoeij
    Though somewhat slow out of the starting blocks, this finally caustic drama, set in early 1980s Bratislava (then in Czechoslovakia), accumulates power and insight as it builds over the course of a tense parents-teachers conference, punctuated with the necessary flashbacks.
    • 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.
    • 74 Metascore
    • 70 Boyd van Hoeij
    For all its possible precedents, it’s still relatively uncommon to see a film in which actual sex acts are an integral part of the storytelling. Placed right up front like a kind of litmus test for the audience, the sex scenes here are explicit but also unambiguously non-salacious or intended to arouse.
    • 76 Metascore
    • 70 Boyd van Hoeij
    Though more mainstream-oriented audiences will not be on board with Ahn’s brand of subtlety, for those willing to fully invest themselves, Spa Night offers a carefully considered story about identity or rather identities.
    • 69 Metascore
    • 70 Boyd van Hoeij
    The Divine Order (Die Goettliche Ordnung) is an entertaining, if largely predictable, story of an individual swept up in the tide of history.
    • 72 Metascore
    • 70 Boyd van Hoeij
    It’s a sobering, collage-like overview of a problem that sadly hasn’t much changed since Michael Moore’s angrier and more provocative (if perhaps less rigorously journalistic) feature came out.
    • 83 Metascore
    • 70 Boyd van Hoeij
    Ingrid’s complex and flawed psyche finally does come into view in the home stretch but it feels like Vogt’s kept his narrative cards too close to his chest for too long. It’s a shame, especially because Petersen (Troubled Water) is terrific in a very tricky role.
    • 74 Metascore
    • 70 Boyd van Hoeij
    Though only an adequate singer, Medhaffer practically explodes with energy when she’s behind the microphone, making for a very charismatic performer.
    • 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.
    • 60 Metascore
    • 70 Boyd van Hoeij
    Greenaway’s habitual approach is perfect for this material, constantly externalizing the director’s ideas about Eisenstein’s life and work and the way the two are connected in a way that speaks directly -- often quite literally -- to the audience.
    • 73 Metascore
    • 70 Boyd van Hoeij
    There are no false notes in the ensemble but Francella, with dyed grey eyebrows, and Lanzini, saddled with black sideburns the size of dead mice, are clearly best in show. And the film finally gives audiences the long-awaited confrontation between the two in a strong sequence toward the end.
    • 76 Metascore
    • 70 Boyd van Hoeij
    The screenplay...is very good in its many observational scenes, which here are more straightforward and less laced with irony and dark humor than in Women.
    • 56 Metascore
    • 70 Boyd van Hoeij
    It helps immeasurably that Gainsbourg, as an actress, is as intense as her presence feels evanescent, always seemingly onto the next moment already, leaving everyone in her wake.
    • 70 Metascore
    • 70 Boyd van Hoeij
    Though in several ways related to the previous Heimat films, this beautifully shot black-and-white feature is accessible even for those unfamiliar with Reitz’s previous work.
    • 67 Metascore
    • 70 Boyd van Hoeij
    A quite absorbing but never riveting or revelatory overview of Armstrong’s career and testy personality.

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