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 5.3 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
    • 75 Metascore
    • 80 J. Hoberman
    This poignant, acutely observed movie is eloquent and suggestive in dramatizing a particular trauma in the context of an ordinary Haifa family.
    • 41 Metascore
    • 80 J. Hoberman
    Like everything Jarmusch, The Limits of Control is calibrated for cool.
    • tbd Metascore
    • 80 J. Hoberman
    Contemporary audiences may not see why, even in its toned-down simplification of the novel, From Here to Eternity was the most daring movie of 1953, but it remains an acting bonanza.
    • 70 Metascore
    • 80 J. Hoberman
    Kaufman's earnestly overblown celebration of the Marquis de Sade.
    • 96 Metascore
    • 80 J. Hoberman
    Revived (with vastly improved subtitles) some 14 years after it first stunned Hong Kong critics, Days of Being Wild is a sort of meta-reverie populated by a cast of beautiful young pop icons.
    • Village Voice
    • 77 Metascore
    • 80 J. Hoberman
    Highly audacious, hugely enjoyable, exceptionally well-written, brilliantly edited, and exuberantly actor-driven extravaganza.
    • 83 Metascore
    • 80 J. Hoberman
    At once monumental and ghostly.
    • 80 Metascore
    • 80 J. Hoberman
    For the most part, the Coens' is a highly enjoyable yarn, stocked with pungent bushwa and a full panoply of frontier bozos.
    • 70 Metascore
    • 80 J. Hoberman
    Cure has a generic resemblance to "Seven," but it's far more oblique, and that much more troubling.
    • 77 Metascore
    • 80 J. Hoberman
    The movie's best moments evoke the thrill of doing something new. Pollock convincingly retails the beauty and originality of the painter's best work -- it may not be an intellectual adventure, but it does represent one.
    • 82 Metascore
    • 80 J. Hoberman
    For its 80 minutes, the movie creates the illusion that not just Tati but his form of cerebral slapstick lives.
    • 91 Metascore
    • 80 J. Hoberman
    A work of leisurely development and tragic inevitability.
    • 65 Metascore
    • 80 J. Hoberman
    There isn't a bankable Hollywood director with a flintier sense of aesthetic integrity.
    • 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.
    • 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.
    • 81 Metascore
    • 80 J. Hoberman
    Boldly facetious and monstrously clever.
    • 76 Metascore
    • 80 J. Hoberman
    A notably confident and achieved debut.
    • 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.
    • 76 Metascore
    • 80 J. Hoberman
    Complex, superbly rendered, and wildly eccentric anime-even by Miyazaki's own standards.
    • 73 Metascore
    • 80 J. Hoberman
    An entertainingly raffish action-comedy.
    • 92 Metascore
    • 80 J. Hoberman
    Jackson's adaptation is certainly successful on its own terms.
    • 91 Metascore
    • 80 J. Hoberman
    Ari Folman's broodingly original Waltz With Bashir -- one of the highlights of the last New York Film Festival -- is a documentary that seems only possible, not to mention bearable, as an animated feature.
    • 71 Metascore
    • 80 J. Hoberman
    Like "Chuck & Buck," The Good Girl is a droll, well-acted, character-driven comedy with unexpected deposits of feeling.
    • 59 Metascore
    • 80 J. Hoberman
    It can feel a bit slight and, given the epic sweep of its subject's life, somewhat underplotted. But there's no denying the incendiary power of Ramos's performance -- he's present in nearly every scene. The movie is as much the story of his transformation into Madame Satã as it is João Francisco's.
    • 73 Metascore
    • 80 J. Hoberman
    Psychologically rich, unobtrusively minimalist, at once admirably straightforward and slyly comic, Catherine Breillat's Bluebeard is a lucid retelling and simultaneous explanation of Charles Perrault's nastiest, most un-Disneyfiable nursery story.
    • 84 Metascore
    • 80 J. Hoberman
    Opens cute and poignant, turns wildly visceral, and ends in a burst of magical realism.
    • 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.
    • 70 Metascore
    • 80 J. Hoberman
    A fascinating and painful account of an entertainer trapped not only by his Jewishness but by his overwhelming need to make theater.
    • 81 Metascore
    • 80 J. Hoberman
    As dense and fluid as Martel's movie is, the viewer--like the protagonist--is compelled to live in the moment. And a rich moment it is.
    • 63 Metascore
    • 80 J. Hoberman
    John Sayles's Amigo aspires more to educate than entertain, but it's no less engrossing for that.

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