For 943 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 5.8 points higher than other critics. (0-100 point scale)

J. Hoberman's Scores

  • Movies
Average review score: 65
Highest review score: 100 The Four Times (Le Quattro Volte)
Lowest review score: 0 A Hole in My Heart
Score distribution:
  1. Negative: 75 out of 943
943 movie reviews
    • 54 Metascore
    • 30 J. Hoberman
    An unappealing, conventional, and somnolent piece of work in which, as glumly directed from David Levien and Brian Koppelman's corny script, every scene feels like it's being played for the second time.
    • 46 Metascore
    • 30 J. Hoberman
    This is a movie about the nature of acting -- or, more specifically, the nature that creates an actress -- centered on what appears to be a spectacularly unconvincing title-role performance.
    • 60 Metascore
    • 30 J. Hoberman
    A vaguely absurd epidemiological thriller filled with elaborately superfluous setups and shamelessly stale James Bond riffs.
    • 33 Metascore
    • 30 J. Hoberman
    Intermittently, in attempts to articulate a coherent argument, Collateral Damage shifts from pulse-pounding mode to something more migraine-conducive.
    • 52 Metascore
    • 30 J. Hoberman
    Like a visual concussion.
    • 44 Metascore
    • 30 J. Hoberman
    Never quite becomes unwatchable.
    • 62 Metascore
    • 30 J. Hoberman
    A tediously childish exhibition.
    • tbd Metascore
    • 30 J. Hoberman
    Performance seems more like eye candy than castor oil in the brave new world of "Freddy Got Fingered."
    • 56 Metascore
    • 30 J. Hoberman
    Exceedingly slow setup and even more tediously static sequence that effectively terminates the movie well before its official running time.
    • 14 Metascore
    • 30 J. Hoberman
    That this mime show works better than it should is, in a sense, the ultimate dis.
    • 43 Metascore
    • 30 J. Hoberman
    Costner himself is the doggedly humorless heart and soul (and brains?) of this monumentally maudlin picture.
    • 76 Metascore
    • 30 J. Hoberman
    The neophyte director has a tendency to pose his actors and musically overscore each new dramatic development. The combination can border on the ludicrous.
    • 55 Metascore
    • 30 J. Hoberman
    The absurdity floods the banks of the filmmaker's intentions.
    • 45 Metascore
    • 30 J. Hoberman
    It's Rambo with a split hero -- Morse absorbing punishment and Crowe wreaking vengeance.
    • 44 Metascore
    • 30 J. Hoberman
    An overtly saccharine fairy tale of abandonment that is subverted by its own comic brutality. It's oddly affecting...which is to say, sad in a way that its maker might not have intended.
    • 36 Metascore
    • 30 J. Hoberman
    Mesmerizingly bad filmmaking.
    • 48 Metascore
    • 30 J. Hoberman
    Crudely remaking the 1932 Universal original.
    • 52 Metascore
    • 30 J. Hoberman
    A handheld and grainy exercise in cine-stupefaction...too spastic to connect...the movie just flails the air.
    • 54 Metascore
    • 30 J. Hoberman
    Has little to offer beyond muzzy kismet and generalized amnesia, a bit of National Geographic and a lot of cocktail jazz.
    • 43 Metascore
    • 30 J. Hoberman
    Home Room is badly acted and, running well over two hours, often mind-numbingly ponderous. Depressed rather than hysterical, it's in every way less clever and more literal-minded than "Zero Day."
    • 44 Metascore
    • 30 J. Hoberman
    A lackluster screwball comedy.
    • 74 Metascore
    • 30 J. Hoberman
    Despite some deadpan, Jacques Tati-like orchestration and occasional sight gags, there's no real pleasure in the game -- Songs From the Second Floor is more absurd than funny.
    • 47 Metascore
    • 30 J. Hoberman
    Hollywood Homicide knows it's a dog, and it ain't too proud to beg.
    • 43 Metascore
    • 30 J. Hoberman
    Intermittently appealing, fundamentally dysfunctional action-comedy.
    • 49 Metascore
    • 30 J. Hoberman
    Niccol has no gift for comedy. His ongoing exploration of modern celebrity results in an industry satire that's less funny than half-empty and hyper-designed.
    • 55 Metascore
    • 30 J. Hoberman
    The least one can say for this costume action flick is that it hits bottom immediately.
    • 33 Metascore
    • 30 J. Hoberman
    Closer to Sturges than Capra, the movie means to satirize the TV-fueled carnivalesque nature of American electoral politics but only demonstrates the TV-fueled debasement of American commercial comedy.
    • 43 Metascore
    • 30 J. Hoberman
    This ponderous, didactic weepie aspires to "Titanic" stature even if the only ship it sinks is itself.
    • 56 Metascore
    • 30 J. Hoberman
    The Coens are uncharacteristically restrained. Indeed, given that the crime comedy is their preferred genre, The Ladykillers is remarkable mainly for its timidity.
    • 53 Metascore
    • 30 J. Hoberman
    Overwrought and often hysterical, filled with distracting montages and portentous drumbeats, the documentary feels as cheesy as its subject.