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 Wrong Cops
Score distribution:
  1. Negative: 7 out of 174
174 movie reviews
    • 62 Metascore
    • 50 Boyd van Hoeij
    Truth is indeed sometimes stranger than fiction but Ripstein struggles here to turn his odd collection of two-dimensional characters into real people. What does impress is the gorgeously crisp black-and-white cinematography, which deserves to be seen on the big screen.
    • 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.
    • 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.
    • 56 Metascore
    • 50 Boyd van Hoeij
    Absent any real sense of who these three women are as individuals, most of their behavior is reduced to what feels like tics that are meant to illuminate character in a rather crude way.
    • 72 Metascore
    • 50 Boyd van Hoeij
    Visually, the results are quite often striking, and they are also sharply cut together. But there’s a nagging suspicion throughout that there’s been more preparation for especially the set-pieces than would normally be the case on a documentary.
    • 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.
    • 56 Metascore
    • 50 Boyd van Hoeij
    The story [lacks] a clear narrative or emotional throughline to connect all of the film’s setpieces.
    • 39 Metascore
    • 50 Boyd van Hoeij
    There’s a sense that the goings-on are more quirky than comical.
    • 52 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.
    • 39 Metascore
    • 50 Boyd van Hoeij
    There’s certainly an overall sense of a formerly rich family’s fortunes dwindling, both economically and emotionally, but the three sections don’t add up to something more than the sum of their parts.
    • 66 Metascore
    • 50 Boyd van Hoeij
    A serviceable piece of B-movie entertainment without an ounce of originality
    • tbd Metascore
    • 40 Boyd van Hoeij
    The screenplay, written by French arthouse writer-director Antoine Barraud (Les gouffres) with an assist from U.S. scribe Edwards, too often seems to be under the mistaken impression that making a movie for kids means everything needs to be overly spelled out, especially by using as many short-hand clichés as possible.
    • 61 Metascore
    • 40 Boyd van Hoeij
    Though blessed with a spectacular true story and character to work from, director and co-screenwriter Lars Kraume...fails to breathe much life into the stuffy, overly complex enumeration of the historical facts.
    • 49 Metascore
    • 40 Boyd van Hoeij
    Cub
    This unquestionably good-looking film, shot by world-class cinematographer Nicolas Karakatsanis (The Drop, Bullhead), plays like a Low Countries-variation on the classy Spanish-language work of Guillermo Del Toro, at least in terms of style if not substance, with what little narrative there is more of a clothesline for small-scale set pieces rather than a conduit for character insight.
    • 39 Metascore
    • 40 Boyd van Hoeij
    This is the kind of indie doodle of a movie in which several potentially interesting ideas co-exist but never quite come together and where supporters will call the narrative "freewheeling" while naysayers will insist on "rambling."
    • 73 Metascore
    • 40 Boyd van Hoeij
    McCarthy more often seems to apply a generic style to his substance, rather than actually use a stylistic choice to help suggest or demonstrate something about his story and characters.
    • tbd Metascore
    • 40 Boyd van Hoeij
    Sagnier and especially Baye try to locate the heart in their cartoonish maternal characters, and newcomer Lasseron is at least a warm and spunky presence in a role that's severely underwritten, though all of them are frequently upstaged by all the bells and whistles newcomer Neel feels he needs to keep throwing at the screen in order to mask the fact there's not much of story in the first place.
    • 53 Metascore
    • 30 Boyd van Hoeij
    Originality or insight aren’t very high on the priority list of this drama.
    • 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.
    • 22 Metascore
    • 30 Boyd van Hoeij
    The comedy here feels secondhand and becomes grating when no cliche is left unused, whether about nationality, race, gays or the female gender.
    • 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.
    • 32 Metascore
    • 30 Boyd van Hoeij
    The film contains numerous stylistic flourishes... But none of these elements advance the story, prompt a deeper emotional response or suggest something new about the characters, reducing them to meaningless window-dressing for what little story their is.
    • 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.
    • tbd Metascore
    • 10 Boyd van Hoeij
    There is a clear sense here that Coixet is completely out of her depth in this genre exercise, which is all excessive surfaces and no tension, however hard the music and sound effects try to tell audiences otherwise.

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