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

J. Hoberman's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 Tarnation
Lowest review score: 0 A Hole in My Heart
Score distribution:
  1. Negative: 74 out of 944
944 movie reviews
    • 82 Metascore
    • 90 J. Hoberman
    This affecting eulogy underscores not only Demme's own tribute to Dominique but also the film's homage to radio. This is a motion picture that's in love with the magic of airborne speech.
    • 66 Metascore
    • 90 J. Hoberman
    Naomi Watts is a tremendous movie actress. She need only sidle on camera and glance over the terrain to claim the scene. What's her secret? Like the great Isabelle Huppert, Watts doesn't radiate feelings so much as she absorbs them.
    • 82 Metascore
    • 90 J. Hoberman
    A movie of elegant understatement and considerable formal intelligence.
    • 91 Metascore
    • 90 J. Hoberman
    This has to be the most richly entertaining movie anyone has ever made on the subject of female genital mutilation.
    • 94 Metascore
    • 90 J. Hoberman
    Jack and Miles are male archetypes, as well as the two most fully realized comic creations in recent American movies.
    • 75 Metascore
    • 90 J. Hoberman
    Drawing on interviews with SLA co-founder Russ Little and amazing TV news footage, Robert Stone illuminates this fantastic narrative as vividly as it has ever been.
    • 72 Metascore
    • 90 J. Hoberman
    If you can forget the world-historic significance of the mass revolution that overthrew Europe's oldest absolute monarchy -- or rather, subsume it in the mysteries of personality -- The Lady and the Duke is the stuff of human interest.
    • 78 Metascore
    • 90 J. Hoberman
    Genuinely unnerving movie.
    • 84 Metascore
    • 90 J. Hoberman
    This extravagant family melodrama, one of the highlights of last year's New York Film Festival, runs two and a half hours and never lags, so moment-to-moment enthralling are Desplechin's narrative gambits, as well as his reckless eccentricity.
    • 81 Metascore
    • 90 J. Hoberman
    Cronenberg's movie manages to have its cake and eat it--impersonating an action flick in its staccato mayhem while questioning these violent attractions every step of the way.
    • 75 Metascore
    • 90 J. Hoberman
    Robust, engrossing, and surprisingly restrained in saving most of its effects for the grand finale, the first Chronicles of Narnia installment eschews Harry Potter's satanic subtext and "The Lord of the Rings'" Wagnerian cosmology. It may be as close to adult-friendly kid fare as Hollywood will ever get.
    • 87 Metascore
    • 90 J. Hoberman
    Fateless has a remarkable absence of sentimentality. The movie is obviously artistic, but there are no cheap or superfluous effects. It's almost mystically translucent.
    • 88 Metascore
    • 90 J. Hoberman
    The Fallen Idol has been overshadowed by the noir comedy, giddy style, and Cold War thematics of Reed and Greene's subsequent sensation "The Third Man," but (in similarly dealing with the nature of betrayal) The Fallen Idol is actually a superior psychological drama.
    • 84 Metascore
    • 90 J. Hoberman
    An explicit ode to mortality, not without a certain grim humor.
    • 99 Metascore
    • 90 J. Hoberman
    It's here that Melville fully achieved his notion of the sublime, applying "Le Samouraï's" "empty" compositions and near theatrical blocking, as well as its methodical suspense, cosmic fatalism, and sense of grim solitude, to a subject far closer to his heart, namely his own World War II experiences.
    • 89 Metascore
    • 90 J. Hoberman
    Indeed, the man who invented Borat is a masterful improviser, brilliant comedian, courageous political satirist, and genuinely experimental film artist. Borat makes you laugh but Baron Cohen forces you to think.
    • 84 Metascore
    • 90 J. Hoberman
    It's a measure of Cuarón's directorial chops that Children of Men functions equally well as fantasy and thriller. Like Spielberg's "War of the Worlds" and the Wachowski Brothers' "V for Vendetta" (and more consistently than either), the movie attempts to fuse contemporary life with pulp mythology.
    • 85 Metascore
    • 90 J. Hoberman
    Offside is blatantly metaphoric and powerfully concrete, deceptively simple and highly sophisticated in its formal intelligence.
    • 61 Metascore
    • 90 J. Hoberman
    Terror is existential in this highly intelligent, somewhat sadistic, totally fascinating movie.
    • 82 Metascore
    • 90 J. Hoberman
    A rhapsodic movie directed with considerable formal intelligence and brooding power from an original screenplay by Steve Knight, Eastern Promises is very much a companion to "A History of Violence."
    • 78 Metascore
    • 90 J. Hoberman
    A highly entertaining adaptation of French dandy Jules-Amédée Barbey d'Aurevilly's mid-19th-century novel Une vieille maîtresse.
    • 84 Metascore
    • 90 J. Hoberman
    A heady plum pudding of a movie--studded with outsized performances and drenched in cinematic brio. The concoction is over-rich, yet irresistible.
    • 80 Metascore
    • 90 J. Hoberman
    Trembling throughout on the verge of a tearful breakdown, but far too dignified to allow her character to choke up, Williams delivers a sensationally nuanced performance that, were it not so resolutely undramatic, would constitute an aria of stoical misery.
    • 79 Metascore
    • 90 J. Hoberman
    The results are extraordinary. As understated as it is, the movie is both deeply absurd and powerfully affecting.
    • 76 Metascore
    • 90 J. Hoberman
    Serbis may be a raunch-fest, but it's also a mind-trip--a raunch-fest with ideas.
    • 75 Metascore
    • 90 J. Hoberman
    Treeless Mountain is skillfully unsentimental--because of, but also despite, the presence of two irresistible, unself-conscious performers in virtually every scene.
    • 69 Metascore
    • 90 J. Hoberman
    Energetic, inventive, swaggering fun, Quentin Tarantino's Inglourious Basterds is a consummate Hollywood entertainment--rich in fantasy and blithely amoral.
    • 76 Metascore
    • 90 J. Hoberman
    The filmmaker uncovers a foul, lurid, corrupt, and perversely compelling conspiracy--which is to say, he successfully turns The Night Watch into a Peter Greenaway film.
    • 85 Metascore
    • 90 J. Hoberman
    Though he successfully humanizes Hirohito, who is shown happily shedding his divinity, Sokurov doesn't entirely exonerate him. He contrives a shock ending that, as measured as everything else in this engrossing, supremely assured movie, acknowledges one last blood sacrifice on the emperor's altar.
    • 75 Metascore
    • 90 J. Hoberman
    The Duel is the most successful literary adaptation I've seen since Pascal Ferran's 2006 "Lady Chatterley."

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