J. Hoberman, Village Voice
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For 943 reviews, this critic has graded:
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38% higher than the average critic
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3% same as the average critic
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59% lower than the average critic
On average, this critic grades 5.6 points higher than other critics.
(0-100 point scale)
J. Hoberman's Scores
- Movies
| Average review score: | 65 |
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| Highest review score: |
Critic Score
100
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| Lowest review score: |
Critic Score
0
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Score distribution:
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Positive: 559 out of 943
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Mixed: 309 out of 943
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Negative: 75 out of 943
943
movie reviews
- By critic score
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J. Hoberman 100
Detailed yet oblique, leisurely but compelling, perfectly cast and irreproachably acted, the movie has a seductively novelistic texture complete with a less-than-omniscient narrator. -
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J. Hoberman 100
Romanian writer-director Cristian Mungiu's brilliantly discomfiting second feature is one long premonition of disaster. -
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J. Hoberman 100
Killer of Sheep is an urban pastoral--an episodic series of scenes that are sweet, sardonic, deeply sad, and very funny. -
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J. Hoberman 100
Literally and figuratively marvelous, a rich, daring mix of fantasy and politics. -
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J. Hoberman 100
This is truly a work of symphonic aspirations and masterful execution. -
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J. Hoberman 100
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. -
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J. Hoberman 100
A superbly balanced piece of work, addressing the passion of Irish Republican martyr Bobby Sands. -
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J. Hoberman 100
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. -
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J. Hoberman 100
The movie grabs hold and runs you through the wringer. -
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J. Hoberman 100
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. -
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J. Hoberman 100
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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J. Hoberman 100
Watkins restages history in its own ruins, uses the media as a frame, and even so, manages to imbue his narrative with amazing presence. No less than the event it chronicles, La Commune is a triumph of spontaneous action. -
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J. Hoberman 100
Iranian director Jafar Panahi's Crimson Gold is an anti-blockbuster--a deceptively modest undertaking that brilliantly combines unpretentious humanism and impeccable formal values. -
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J. Hoberman 100
Tense, engrossing, and superbly structured, Bus 174 is not just unforgettable drama but a skillfully developed argument. -
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J. Hoberman 100
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. -
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J. Hoberman 100
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. -
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J. Hoberman 100
To my mind, the greatest film by Iranian master Abbas Kiarostami. -
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J. Hoberman 100
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." -
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J. Hoberman 100
To cut to the chase, Robert Bresson's heart-breaking and magnificent Au Hasard Balthazar (1966) -- the story of a donkey's life and death in rural France -- is the supreme masterpiece by one of the greatest of 20th-century filmmakers. -
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J. Hoberman 100
Spider lasts in the mind and it's built to last -- this is a movie that invites and repays repeated viewings. -
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J. Hoberman 100
So elemental in its means yet so cosmic in its drama, it could herald a rebirth of cinema. -
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J. Hoberman 100
Tian's movie seems to be among the finest expressions of the Chinese new wave. -
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J. Hoberman 100
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. -
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J. Hoberman 100
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. -
