For 944 reviews, this critic has graded:
  • 38% higher than the average critic
  • 3% same as the average critic
  • 59% lower than the average critic
On average, this critic grades 5.3 points higher than other critics. (0-100 point scale)

J. Hoberman's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 Pan's Labyrinth
Lowest review score: 0 The Nutcracker
Score distribution:
  1. Negative: 74 out of 944
944 movie reviews
    • 92 Metascore
    • 100 J. Hoberman
    Directed by anyone else, Masculine Feminine--one of three movies that Godard made in his peak year, 1966--would be a masterpiece. For the young JLG it's business as usual.
    • 84 Metascore
    • 100 J. Hoberman
    The movie grabs hold and runs you through the wringer.
    • 81 Metascore
    • 100 J. Hoberman
    Police, Adjective is a deadly serious as well as dryly humorous analysis of bureaucratic procedure and, particularly, the tyranny of language. Images may record reality, but words define it.
    • 66 Metascore
    • 100 J. Hoberman
    You can call me fanboy, but this is the best anime I've ever seen.
    • 65 Metascore
    • 100 J. Hoberman
    Solaris achieves an almost perfect balance of poetry and pulp. This is as elegant, moody, intelligent, sensuous, and sustained a studio movie as we are likely to see this season -- and in its intrinsic nuttiness, perhaps the least compromised.
    • 82 Metascore
    • 100 J. Hoberman
    A superbly balanced piece of work, addressing the passion of Irish Republican martyr Bobby Sands.
    • 100 Metascore
    • 100 J. Hoberman
    The Leopard is the greatest film of its kind made since World War II—its only rivals are Kubrick's "Barry Lyndon" and Visconti's own "Senso."
    • 81 Metascore
    • 100 J. Hoberman
    Iranian director Jafar Panahi's Crimson Gold is an anti-blockbuster--a deceptively modest undertaking that brilliantly combines unpretentious humanism and impeccable formal values.
    • 90 Metascore
    • 100 J. Hoberman
    Summer sequelitis is upon us, but the season is unlikely to bring anything more remarkable than Richard Linklater's sweet, smart, and deeply romantic Before Sunset.
    • 82 Metascore
    • 100 J. Hoberman
    Leisurely and digressive, this generally exhilarating saga ("a storm of misadventures" per Ruiz) variously suggests Victor Hugo, Stendhal, and (thanks in part to the unnatural, emphatic yet uninflected, acting) Mexican telenovelas. The score is richly romantic; the period locations are impeccable.
    • 91 Metascore
    • 100 J. Hoberman
    A movie so tactile in its cinematography, inventive in its camera placement, and sensuous in its editing that the purposefully oblique and languid narrative is all but eclipsed.
    • 83 Metascore
    • 100 J. Hoberman
    The pleasing circularity of Gus Van Sant's masterful Paranoid Park is not only a function of the film's narrative structure but reflects the arc of its maker's career. Few directors have revisited their earliest concerns with such vigor.
    • 91 Metascore
    • 100 J. Hoberman
    The year's most ingenious and original animated feature.
    • 86 Metascore
    • 100 J. Hoberman
    To my mind, the greatest film by Iranian master Abbas Kiarostami.
    • 88 Metascore
    • 100 J. Hoberman
    In every respect, this unclassifiable movie is an amazing accomplishment.
    • 59 Metascore
    • 100 J. Hoberman
    For passion, originality, and sustained chutzpah, this austere allegory of failed Christian charity and Old Testament payback is von Trier's strongest movie--a masterpiece, in fact.
    • 83 Metascore
    • 100 J. Hoberman
    Vera Drake puts the passion in compassion. Building up to a shattering conclusion, Leigh's movie is both outrageously schematic and powerfully humanist.
    • 73 Metascore
    • 100 J. Hoberman
    The Canadian painter-photographer-filmmaker-musician gives full vent to his genius in this exhilarating perceptual vaudeville, titled for the "central region" of tissue that acts as a conduit between the brain's two hemispheres.
    • 82 Metascore
    • 100 J. Hoberman
    What's truly extraordinary about this movie--which strikes me on two viewings as Maddin's masterpiece--is that it not only plays like a dream but feels like one.
    • 79 Metascore
    • 100 J. Hoberman
    This may or may not be the greatest instance of college football ever played, but "Brian's Song," J"erry Maguire," and "The Longest Yard" notwithstanding, Rafferty's no-frills annotated replay is the best football movie I've ever seen: A particular day in history becomes a moment out of time.
    • 91 Metascore
    • 100 J. Hoberman
    So elemental in its means yet so cosmic in its drama, it could herald a rebirth of cinema.
    • 83 Metascore
    • 100 J. Hoberman
    Spider lasts in the mind and it's built to last -- this is a movie that invites and repays repeated viewings.
    • 73 Metascore
    • 100 J. Hoberman
    I'm Not There is the movie of the year.
    • 87 Metascore
    • 100 J. Hoberman
    A tale of sadness and hysteria so raw that it bleeds.
    • 94 Metascore
    • 100 J. Hoberman
    Killer of Sheep is an urban pastoral--an episodic series of scenes that are sweet, sardonic, deeply sad, and very funny.
    • 85 Metascore
    • 100 J. Hoberman
    Ultimate geezerfest and rock-doc holy grail.
    • 86 Metascore
    • 100 J. Hoberman
    Tian's movie seems to be among the finest expressions of the Chinese new wave.
    • 83 Metascore
    • 100 J. Hoberman
    Tense, engrossing, and superbly structured, Bus 174 is not just unforgettable drama but a skillfully developed argument.
    • 84 Metascore
    • 100 J. Hoberman
    One of the sweetest, saddest stories Franz Kafka never wrote.
    • 86 Metascore
    • 100 J. Hoberman
    Flight of the Red Balloon is in a class by itself. In its unexpected rhythms and visual surprises, its structural innovations and experimental perfs, its creative misunderstandings and its outré syntheses, this is a movie of genius.

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