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 Lebanon
Lowest review score: 0 The Nutcracker
Score distribution:
  1. Negative: 74 out of 944
944 movie reviews
    • 87 Metascore
    • 80 J. Hoberman
    Above all, this is an action film--or, better, a transaction film. It's not just that the Dardennes orchestrate an exciting motor scooter purse-snatching and a prolonged hot pursuit. L'Enfant is an action film because every act that happens is shown to have a consequence.
    • 73 Metascore
    • 80 J. Hoberman
    The climactic Christmas Day dinner of dreadful retribution is a terrifying prospect, but for anyone with a yen for our great lost genre, it's also some sort of gift.
    • 72 Metascore
    • 80 J. Hoberman
    The movie may not be a single-bound building-leaper but Bryan Singer reconfigures the daddy of all comic-book sagas into something knowing, witty, and even sensitive.
    • 73 Metascore
    • 80 J. Hoberman
    Downey, who, having grasped that he's playing a cartoon character, delivers the most animated performance. (Midway through 2006, this supporting turn is the performance to beat in what seems the year's American movie to beat.)
    • 84 Metascore
    • 80 J. Hoberman
    Gently persistent in its ironies, "Funny Ha Ha" managed to be both charmingly lackadaisical and annoyingly smug; Mutual Appreciation, which Bujalski shot in grainy black-and-white in hipster Brooklyn (and is self-distributing), is even more so.
    • 84 Metascore
    • 80 J. Hoberman
    If Old Joy is more laid-back and contemplative than "Mutual Appreciation," it's because the characters are more weathered. Open-ended as it may appear, it has a crushing finality. For all the wool-gathering and guitar-noodling, this road movie is at least as tender as it is ironic.
    • 70 Metascore
    • 80 J. Hoberman
    Sweet, crazy, and tinged with sadness, Michel Gondry's new feature The Science of Sleep is a wondrous concoction.
    • 79 Metascore
    • 80 J. Hoberman
    Nelson has fashioned a compelling movie around an unfathomable mystery. To see Jones's face, eyes hidden behind trademark aviator shades, is to experience the last shock in Psycho. His is the blank stare of living death.
    • 72 Metascore
    • 80 J. Hoberman
    A terrific movie in the Antonioni tradition, Climates confirms 47-year-old Turkish director Nuri Bilge Ceylan as one of the world's most accomplished filmmakers--handling the end of a relationship and the cloud of human confusion rising from its wreckage as if the subject had never before been attempted.
    • 88 Metascore
    • 80 J. Hoberman
    Alberto Lattuada's tricky-to-parse Mafioso dates from 1962 but, with its abrupt tonal shifts and disturbing existential premise, this nearly forgotten dark comedy could be the most modern (or at least modernist) movie in town.
    • 71 Metascore
    • 80 J. Hoberman
    Black Book, which takes its title from a secret list of Dutch collaborators, is an impressively old-fashioned yet fashionably embittered movie.
    • 75 Metascore
    • 80 J. Hoberman
    Not for nothing did this movie open the International Critics' Week (and win its grand prize) last year at Cannes; Poison Friends may be all talk, but it's cut like an action flick.
    • 80 Metascore
    • 80 J. Hoberman
    This is not so much a love story (and even less a story about love) than it is a movie of passionate loveliness.
    • 83 Metascore
    • 80 J. Hoberman
    At once monumental and ghostly.
    • 75 Metascore
    • 80 J. Hoberman
    Terror's Advocate is largely a mix of talking heads and archival footage, but as Vergés's connections to Swiss neo-Nazis and Congo secessionists are explored, the movie becomes a fantastic international thriller.
    • 76 Metascore
    • 80 J. Hoberman
    As archetypal as its title, Ridley Scott's would-be epic aspires to enshrine Harlem dope king Frank Lucas in Hollywood heaven, heir to Scarface and the Godfather. Or, as suggested by the Mark Jacobson article on Lucas that inspired the movie, a real-life Superfly.
    • 83 Metascore
    • 80 J. Hoberman
    No Greek tragedy, this Hollywood Sweeney is a FUN creepy-crawly. If nothing else, Burton has learned that the successfully gruesome is its own reward.
    • 85 Metascore
    • 80 J. Hoberman
    Spare yet tactile, a mysterious mixture of lightness and gravity, Alexander Sokurov's Alexandra is founded on contradiction. Musing on war in general and the Russian occupation of Chechnya in particular, this is a movie in which combat is never shown.
    • 84 Metascore
    • 80 J. Hoberman
    In the course of this clanging, spectral memoir, all of the artist's previous movies--from his underground mock epic "Tales from the Gimli Hospital" through his faux–Soviet silent "The Heart of the World" to his period spectacular "The Saddest Music in the World"--come to mind.
    • 78 Metascore
    • 80 J. Hoberman
    Impressionistic and lyrical, as well as somber and gripping, The Betrayal conveys a ceaseless flow. It's as if the filmmaker has opened a window onto a parallel world traveling beside our own.
    • 84 Metascore
    • 80 J. Hoberman
    Milk is so immediate that it's impossible to separate the movie's moment from this one.
    • 80 Metascore
    • 80 J. Hoberman
    Frost/Nixon's main attraction is neither its topicality nor its historical value, but Langella's re-creation of his Tony-winning performance.
    • 67 Metascore
    • 80 J. Hoberman
    Rudo y Cursi is as fatalistic as any film noir, but it's played for cartoonish screwball comedy. At once smooth and frantic, filled with cozy clutter and vulgar jive, the movie subsumes its moralizing in frat-house entertainment.
    • 71 Metascore
    • 80 J. Hoberman
    Mainly, Fix the World is about the beauty of the riff. The Yes Men are funniest when addressing a straight audience, making outlandish claims in favor of the free market and the benefits of unregulated catastrophe--the Black Plague gave us capitalism!
    • 63 Metascore
    • 80 J. Hoberman
    A master of smash-mash montage and choreographed chaos, Greengrass is the best action director working today, adroit at producing the sense of everyone converging and everything happening simultaneously.
    • 76 Metascore
    • 80 J. Hoberman
    Greenberg is a movie of throwaway one-liners and evocatively nondescript locations. The style is observational, the drama is understated, and, when the time comes, it knocks you out with the subtlest of badda-booms.
    • 78 Metascore
    • 80 J. Hoberman
    Absorbing documentary portrait.
    • 75 Metascore
    • 80 J. Hoberman
    An action film at once baroque and austere, hypnotic and opaque.
    • 72 Metascore
    • 80 J. Hoberman
    The daring of the conception is matched only by the brilliance of the execution.
    • 74 Metascore
    • 80 J. Hoberman
    A movie of long, expressive silences, Divine Intervention articulates things that have never been articulated, at least on the screen.

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