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

J. Hoberman's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 Springtime in a Small Town
Lowest review score: 0 A Hole in My Heart
Score distribution:
  1. Negative: 74 out of 944
944 movie reviews
    • 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.
    • 74 Metascore
    • 50 J. Hoberman
    The film is sluggish and repetitive, yet it exerts a certain clinical fascination.
    • 60 Metascore
    • 50 J. Hoberman
    Mildly tasteless (natürlich), if not exactly uproarious.
    • 53 Metascore
    • 50 J. Hoberman
    Almost despite itself, this is a deeply pessimistic movie.
    • 62 Metascore
    • 50 J. Hoberman
    Yes, there's something terribly familiar about this historical fantasy. As we now know, and Willmott is well aware, the South actually did win the Civil War.
    • 65 Metascore
    • 50 J. Hoberman
    To call this story unbelievable is to say the very least. If it's a hoax, Bruce is a fantastic actor (but then, the movie suggests, so are we all). If not, you may wonder less about Bruce's personality than his condition.
    • 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.
    • 74 Metascore
    • 50 J. Hoberman
    Depending on one's mood, the movie might seem boldly simplified and poetic--or boringly simpleminded and prosaic.
    • 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.
    • 64 Metascore
    • 50 J. Hoberman
    Not for nothing is this movie opening on Good Friday. It can be as boring as church. There's no snake in Bettie's Eden and no narrative to Harron's movie. It's more of an altar piece: Our Lady of the Garter Belt, the Fastidious Bettie Page.
    • 56 Metascore
    • 50 J. Hoberman
    Larry Clark's latest finds the grizzled shock-meister in a thoughtful mode and a mellow mood.
    • 63 Metascore
    • 50 J. Hoberman
    Lunacy is dark, scary, and yucky--even by the Czech animator's own standards.
    • 49 Metascore
    • 50 J. Hoberman
    Dramatically inert but a minor techno-miracle, Range's movie is a faux documentary with fake talking heads and seamless digital effects.
    • 50 Metascore
    • 50 J. Hoberman
    A misguided tribute to the woman his (Shainberg's) film identifies among "the greatest artists of the 20th century."
    • 72 Metascore
    • 50 J. Hoberman
    Inland Empire is Lynch's most experimental film since "Eraserhead." But unlike that brilliant debut (or its two masterful successors, "Blue Velvet" and "Mulholland Dr."), it lacks concentration. It's a miasma. Cheap DV technology has opened Lynch's mental floodgates.
    • 69 Metascore
    • 50 J. Hoberman
    A soap opera as convoluted as it is overdetermined. [20 Jan 1998]
    • Village Voice
    • 44 Metascore
    • 50 J. Hoberman
    A sweet, dumb pup of a movie, not unlike its eponymous hero, The Wendell Baker Story frisks along sniffing the sidewalk.
    • 53 Metascore
    • 50 J. Hoberman
    This tweener goddess--a virtual Batcave of handy accessories packed in her shoulder bag--may prove too annoying for general audiences, particularly as Roberts plays her comically straight.
    • 74 Metascore
    • 50 J. Hoberman
    Angelina Jolie is the major alienation effect in A Mighty Heart, although she's not the only one. The hectic pizzazz with which hired gun Michael Winterbottom directs this tale of terrifying terrorism is another distraction.
    • 64 Metascore
    • 50 J. Hoberman
    Ghosts of Cité Soleil is a prismatic, jagged, none too coherent travelogue.
    • 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 García Bernal and Charlotte Gainsbourg.)
    • 45 Metascore
    • 50 J. Hoberman
    An affable action hero in search of the planet's arch supervillain, Spurlock is less irritating than his obvious model, Michael Moore, but also less politically astute; assuming the role of a faux-naïf stranger in a strange land, he's more benign and not nearly as funny as unacknowledged analogue Sacha Baron Cohen.
    • 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.
    • 56 Metascore
    • 50 J. Hoberman
    Bill Maher's one-man stand-up attack on religious fundamentalism is a dog that has more bark than bite--a skeptical, secular-humanist hounding of the hypocrites, amusingly annotated with sarcastic subtitles and clips from cheesy biblical spectacles.
    • 54 Metascore
    • 50 J. Hoberman
    Not nearly as uproarious as it should be.
    • 56 Metascore
    • 50 J. Hoberman
    Watchmen is neither desecratory disaster nor total triumph. In filming David Hayter and Alex Tse's adaptation of the most ambitious superhero comic book ever written, director Zack Snyder has managed to address the cult while pandering to the masses.
    • 54 Metascore
    • 50 J. Hoberman
    Flapping like a scarecrow in the wind, Battle in Seattle is too frantic to make more than a transitory impression, yet too responsibly hackneyed in its characterizations to achieve pure tabloid hysteria.
    • tbd Metascore
    • 50 J. Hoberman
    Tightly framed and tightly wound, Mary is a claustrophobic, incandescent, nutty 83 minutes with everyone in the cast teetering on the ledge of madness.
    • 53 Metascore
    • 50 J. Hoberman
    It's obvious that Amer and Usman labor under the burden of making humor at once insider-cool and outsider-friendly. And it's hard to finesse "offensive" from a defensive crouch.
    • 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.

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