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 Mysteries of Lisbon
Lowest review score: 0 A Hole in My Heart
Score distribution:
  1. Negative: 74 out of 944
944 movie reviews
    • 52 Metascore
    • 50 J. Hoberman
    Although frequently funny, Be Kind doesn't have the same pathos as "The Science of Sleep." (Nothing approaches the loneliness projected by Gael GarcĂ­a Bernal and Charlotte Gainsbourg.)
    • 72 Metascore
    • 50 J. Hoberman
    In no way obsessive, Walk the Line is more sincerely--which is to say, more boringly--sincere. It doesn't leave you with much to think about, except maybe the empty vibrato of effective ventriloquism.
    • tbd Metascore
    • 50 J. Hoberman
    As a movie, King of Hearts is more pageant than story. As a cultural artifact, however, the movie is less a relic than a symptom.
    • 71 Metascore
    • 50 J. Hoberman
    The remake is an altogether leaner, meaner, more high-powered, stylish, and deftly directed affair, though similarly hampered by a too-long narrative fuse.
    • 82 Metascore
    • 50 J. Hoberman
    Increasingly muddled, cumulatively monotonous, would-be heartwarming, Three Kings becomes its own entertainment allegory -- searching, Hollywood style, for the point at which blatant self-interest can turn humanitarian, while still remaining profitable.
    • 33 Metascore
    • 50 J. Hoberman
    Trash Humpers projects a cranky resignation to the world as it is; still, it's picturesque.
    • 47 Metascore
    • 50 J. Hoberman
    Pegged to the 10th anniversary of the Gulf War victory celebration, a fiesta that lasted nearly three times longer than the fighting itself.
    • 56 Metascore
    • 50 J. Hoberman
    Larry Clark's latest finds the grizzled shock-meister in a thoughtful mode and a mellow mood.
    • 67 Metascore
    • 50 J. Hoberman
    Sophie's (or is it July's?) coy narcissism becomes a criticism of itself, and her "sadness" turns into something truly sad. In short, I have seen The Future and it's heartbreaking.
    • 81 Metascore
    • 50 J. Hoberman
    Terence Davies revisits his youth to decidedly mixed effect.
    • 57 Metascore
    • 50 J. Hoberman
    The Anchorage uses a narrative structure introduced to more powerful effect 35 years ago in Chantal Akerman's Jeanne Dielman.
    • 61 Metascore
    • 50 J. Hoberman
    Loevy, who made this documentary with an Israeli and Palestinian crew, supplies a self-conscious voice-over.
    • 70 Metascore
    • 50 J. Hoberman
    A mild comedy of embarrassment.
    • 74 Metascore
    • 50 J. Hoberman
    The film is sluggish and repetitive, yet it exerts a certain clinical fascination.
    • 45 Metascore
    • 50 J. Hoberman
    The vision of America as a vast, ratings-driven amateur hour is not without promise, but Weitz's movie, named for the most popular TV program in its parallel universe, is disappointingly soft in its individual characterizations.
    • 65 Metascore
    • 50 J. Hoberman
    Everything Must Go, which is ostensibly set in Scottsdale, Arizona, has a generic resemblance to broken-heartland movies like "Up in the Air" and "Cedar Rapids," although this suburban meltdown is more depressed than either.
    • 76 Metascore
    • 50 J. Hoberman
    A ghost story that's shot as though it were a documentary -- and a documentary that feels like a dream. Almost too fashionable for its own good.
    • 60 Metascore
    • 50 J. Hoberman
    The so-called Plan is derailed!
    • 72 Metascore
    • 50 J. Hoberman
    Set off by sprightly graphics and shimmering with over-bright colors, Full Battle Rattle has a fake transparency. The movie arouses, without gratifying, a desire to see the camera.
    • 58 Metascore
    • 50 J. Hoberman
    His (Nelson) timing is off and his bullshit detector nonexistent. I don't much care for the Coens, but the sad truth is that their cynical nihilism is a lot less spurious than Nelson's earnest sentimentality.
    • 78 Metascore
    • 50 J. Hoberman
    As elegantly crafted as it often is, Anderson's movie is essentially a one-trick pony that, hampered by an undeveloped script, ultimately pulls up lame.
    • 71 Metascore
    • 50 J. Hoberman
    Wild Things isn't overlong, but it is underwhelming.
    • 70 Metascore
    • 50 J. Hoberman
    A Town Called Panic, which has more strident colors and less synopsizable action than a year's worth of comic-book adventures, embodies a sensibility that might be termed "extreme quirk."
    • 61 Metascore
    • 50 J. Hoberman
    Alternately grueling and soporific, Quitting is a movie about addiction that demands the viewer also give something up.
    • 48 Metascore
    • 50 J. Hoberman
    Thanks to Egoyan's trademark mix of detachment and prurience, the fun is more cheesy than queasy.
    • 62 Metascore
    • 50 J. Hoberman
    Absorbing even in its incoherence,V for Vendetta manages to make an old popular mythology new. Impossible not to break into a grin: It's the thought that counts.
    • 63 Metascore
    • 50 J. Hoberman
    Burdened by a convoluted script and an ensemble-proof leading lady, the director fails to illuminate a particular corrupt system.
    • 66 Metascore
    • 50 J. Hoberman
    His (Weir) hardship drama is stolidly old-fashioned, more extreme travelogue than exercise in visceral horror.
    • 68 Metascore
    • 50 J. Hoberman
    A slick, shameless job that takes way too long to make its point.
    • 69 Metascore
    • 50 J. Hoberman
    A soap opera as convoluted as it is overdetermined. [20 Jan 1998]
    • Village Voice

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