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 Harvard Beats Yale 29-29
Lowest review score: 0 A Hole in My Heart
Score distribution:
  1. Negative: 74 out of 944
944 movie reviews
    • tbd Metascore
    • 90 J. Hoberman
    Excavated from the deep '50s, Michelangelo Antonioni's Le amiche (known in English as "The Girlfriends") is an unexpected treasure.
    • 83 Metascore
    • 90 J. Hoberman
    Boxing Gym is a companion piece of sorts to "La Danse: The Paris Opera Ballet," Wiseman's previous doc that played Film Forum last fall. It's not simply that boxing and ballet are understood as kindred activities. Boxing Gym is itself a dance movie-which is to say, a highly formalized exercise in choreographed activity.
    • 84 Metascore
    • 90 J. Hoberman
    Guy and Madeline is at once self-conscious and breezy, clumsy and deft, diffident and sweet, annoying and ecstatic. It's amateurish in the best sense, and it radiates cinephilia. No movie I've seen this year has given me more joy.
    • 81 Metascore
    • 90 J. Hoberman
    Claire Denis's strongest movie in the decade since "Beau Travail," her tense, convulsive White Material is a portrait of change and a thing of terrible beauty.
    • 74 Metascore
    • 90 J. Hoberman
    Ultimately, The Woodmans is a haunting study in family dynamics.
    • 87 Metascore
    • 90 J. Hoberman
    A work of unostentatious beauty and uncloying sweetness, at once sophisticated and artless, mysterious and matter-of-fact, cosmic and humble, it asks only a measure of Boonmeevian acceptance: The movie doesn't mean anything-it simply is.
    • 82 Metascore
    • 90 J. Hoberman
    Abbas Kiarostami's Certified Copy is exactly that: The Iranian modernist's first feature to be shot in the West is a flawless riff on our indigenous art cinema.
    • Village Voice
    • 80 Metascore
    • 90 J. Hoberman
    Plenty of moments in Melancholia are painfully funny. Some moments are even painful to watch, but there was never a moment when I thought about the time or my next movie or did not care about the characters or had anything less than complete interest in what was happening on the screen.
    • 73 Metascore
    • 80 J. Hoberman
    The movie is ultimately about the philosopher's personality -- if you loved "Lingua Franca" (and what lumpen academoid did not?), you'll certainly dig Derrida.
    • 70 Metascore
    • 80 J. Hoberman
    A near-irresistible button-pusher that's agile enough to hold a mirror to its own aspirations: The Sundance prize-winning filmmaker and her prize discovery, Michelle Rodriguez, merge in the image of a self-invented amateur boxer.
    • 59 Metascore
    • 80 J. Hoberman
    A superbly crafted science-fiction fairy tale that's both Grimm and grim.
    • 75 Metascore
    • 80 J. Hoberman
    A small-screen aesthetic is evident in the abundant close-ups and tight framing, but Holland makes it work for her.
    • 63 Metascore
    • 80 J. Hoberman
    A linguistic stew with a zesty, homemade flavor that belies its carefully researched preparation.
    • 82 Metascore
    • 80 J. Hoberman
    It's at once brilliant and inept.
    • 81 Metascore
    • 80 J. Hoberman
    Boldly facetious and monstrously clever.
    • 81 Metascore
    • 80 J. Hoberman
    More impressionistic than analytical, A Grin Without a Cat is a grand immersion.
    • 70 Metascore
    • 80 J. Hoberman
    Kaufman's earnestly overblown celebration of the Marquis de Sade.
    • 82 Metascore
    • 80 J. Hoberman
    More analytical than contemplative, never less than straightforward, Dream of Light makes no showy bid for the sublime.
    • 75 Metascore
    • 80 J. Hoberman
    An austere and fascinating documentary.
    • 81 Metascore
    • 80 J. Hoberman
    In every way a sunny film. Supremely affirmative, it ends with the funniest, sexiest close-up of the year.
    • 72 Metascore
    • 80 J. Hoberman
    The daring of the conception is matched only by the brilliance of the execution.
    • 75 Metascore
    • 80 J. Hoberman
    At once shockingly vivid and overwhelmingly antiheroic.
    • 92 Metascore
    • 80 J. Hoberman
    A work of bravura filmmaking.
    • 78 Metascore
    • 80 J. Hoberman
    Absorbing documentary portrait.
    • 79 Metascore
    • 80 J. Hoberman
    Projects a confessional frankness about human relationships that has the messy feel of truth.
    • 78 Metascore
    • 80 J. Hoberman
    The movie is an expert, sunlit chiller audaciously predicated on an unquiet historical memory: "What is a ghost?"
    • 66 Metascore
    • 80 J. Hoberman
    A cut above last season's best studio offerings. The performances are well turned out. The morality is stylishly gray. The attitude is almost fashionable.
    • 84 Metascore
    • 80 J. Hoberman
    Opens cute and poignant, turns wildly visceral, and ends in a burst of magical realism.
    • 82 Metascore
    • 80 J. Hoberman
    The filmmaker might be accused of preaching to the choir were the story not so compelling and the performances so strong.
    • 80 Metascore
    • 80 J. Hoberman
    The movie is a superb riff with a boffo finale, a terrific, cynical punch line, and a crazy closing image of Bob's Plymouth on an empty beach.

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