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 5.1 points higher than other critics. (0-100 point scale)

J. Hoberman's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 Cowards Bend the Knee or The Blue Hands
Lowest review score: 0 A Hole in My Heart
Score distribution:
  1. Negative: 74 out of 944
944 movie reviews
    • 75 Metascore
    • 60 J. Hoberman
    Slight but sardonic, Norwegian director Bent Hamer's deadpan Kitchen Stories makes a taciturn comedy of nothingness out of color-coordinated '50s coziness and Scandinavian social planning.
    • 56 Metascore
    • 60 J. Hoberman
    Disney's big-screen expansion of their hit TV show is nirvana for the pubescent crowd.
    • 60 Metascore
    • 60 J. Hoberman
    Both frustrating and fascinating, Yuen's documentary is something of a stray footnote. It requires not only the context of the yang ban xi but the perspective of other movies on the subject of entertainment and utopia.
    • 67 Metascore
    • 60 J. Hoberman
    A tense and engrossing political thriller.
    • 56 Metascore
    • 60 J. Hoberman
    In its post-Vietnam cynicism, Buffalo Soldiers feels almost avant-garde.
    • 62 Metascore
    • 60 J. Hoberman
    Entertaining if cornball, lacking the cold-eyed nastiness of something like Mike Nichols's "Closer," The Dying Gaul is tricked out with strident montage sequences and tremulous Steve Reich music. It's already drowning in an icky sea of language when Lucas makes a stretch for Greek tragedy and sends the whole Malibu playhouse abruptly crashing down.
    • 63 Metascore
    • 60 J. Hoberman
    Enjoyable if light, until it becomes apparent that Breillat is not simply waxing narcissistic but fashioning a simultaneous critique, explication, and demystification of the lengthy, near-single-take defloration that is Fat Girl's centerpiece.
    • 69 Metascore
    • 60 J. Hoberman
    The art direction is impeccable, but this is a pop-up book that I was impatient to slam.
    • 68 Metascore
    • 60 J. Hoberman
    As its title jokingly implies, this is a more grown-up version of Aniston's long- running TV vehicle--complete with the star herself as eternal ingenue.
    • 64 Metascore
    • 60 J. Hoberman
    There's a palpable avoidance of risk as this new mythology is wheeled gingerly into the marketplace and carefully positioned to zap your pre-sold brain...Solid but uninspired, Harry lacks brio. It's respectable and a bit dull.
    • 81 Metascore
    • 60 J. Hoberman
    This is an exercise in civility -- a tasteful "Boy's Life" adventure with plenty of boys aboard to express their appreciation.
    • 64 Metascore
    • 60 J. Hoberman
    Historical forces and famous ghosts jostle past each other in this evocation of mid-1930s New York like harried commuters at Grand Central Station.
    • 56 Metascore
    • 60 J. Hoberman
    The result is contrived, but compelling--as is the movie's high-powered humanism.
    • 56 Metascore
    • 60 J. Hoberman
    An elegantly constructed if misleadingly titled class lecture.
    • 55 Metascore
    • 60 J. Hoberman
    A modernist travelogue, at once impressionistic and precise.
    • 62 Metascore
    • 60 J. Hoberman
    A well-wrought indie written and directed by Goran Dukic, has to be the kewpie doll of current zombie flicks: Its walking dead are a bunch of attractive slackers whose wounds are largely internal. They've got attitude.
    • 76 Metascore
    • 60 J. Hoberman
    Austere, underlit, uncompromisingly lackadaisical at three hours, and anachronistic in a half dozen ways.
    • 53 Metascore
    • 60 J. Hoberman
    The performances are broad; the comedy is mainly slapstick. The politics are nationalist and vaguely left-wing.
    • 38 Metascore
    • 60 J. Hoberman
    Certainly Sandler's most ambitious work. It's not just a bid for respectability but a genuine allegory.
    • 71 Metascore
    • 60 J. Hoberman
    Persian Cats is likeable but undistinguished filmmaking.
    • 64 Metascore
    • 50 J. Hoberman
    Not for nothing is this movie opening on Good Friday. It can be as boring as church. There's no snake in Bettie's Eden and no narrative to Harron's movie. It's more of an altar piece: Our Lady of the Garter Belt, the Fastidious Bettie Page.
    • 66 Metascore
    • 50 J. Hoberman
    The movie is a drama of faith, a Tibetan monk's search for the reincarnation of his beloved master Lama Konchog.
    • 60 Metascore
    • 50 J. Hoberman
    That Reconstruction is even remotely involving is due to the quality of its acting.
    • 79 Metascore
    • 50 J. Hoberman
    It plays as a "Rocky"-fied fairy tale for our time: Consigned to Palookaville, a sweet, unassuming boxer with more heart than brains steps up-all the way to the top of the world.
    • 74 Metascore
    • 50 J. Hoberman
    Angelina Jolie is the major alienation effect in A Mighty Heart, although she's not the only one. The hectic pizzazz with which hired gun Michael Winterbottom directs this tale of terrifying terrorism is another distraction.
    • 50 Metascore
    • 50 J. Hoberman
    As an action flick, Shaft is clumsy out of the gate and overfond of hurtling stuntmen through windows.
    • 46 Metascore
    • 50 J. Hoberman
    Ravenous loses resonance as it proceeds.
    • 63 Metascore
    • 50 J. Hoberman
    A movie of cornball sentiment, humorously anachronistic dialogue, and expensive Colonial Williamsburg sets.
    • 71 Metascore
    • 50 J. Hoberman
    Never hits a note of high hilarity.
    • 49 Metascore
    • 50 J. Hoberman
    However cool, Smith's lovable braggadocio and Lee's practiced deadpan don't exactly make them Laurel and Hardy.

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