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

J. Hoberman's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 The White Ribbon
Lowest review score: 0 The Nutcracker
Score distribution:
  1. Negative: 74 out of 944
944 movie reviews
    • 69 Metascore
    • 50 J. Hoberman
    A kindred exercise in ensemble cheer and cozy humanism -- not as sentimental as it might be but cheerfully affirmative in dispelling the darkness of its premise.
    • 76 Metascore
    • 50 J. Hoberman
    DiCaprio is far more successfully cast here than in Gangs of New York: His performance is all about acting; it's a mild kick to see how he'll manage to talk his way out of nearly every scrape.
    • 62 Metascore
    • 50 J. Hoberman
    Mumford is good for a few chuckles and not nearly as egregious or cloying as it might have been.
    • 59 Metascore
    • 50 J. Hoberman
    Life Is Beautiful is funny (kinda) and even tasteful (sorta). But in its fantasy of divine grace, it is also nonsense.
    • 67 Metascore
    • 50 J. Hoberman
    Impressively pulled together on a modest budget, Moon has a strong lead and a valid philosophical premise but, despite Bell's fissured psyche, the drama is inert.
    • 56 Metascore
    • 50 J. Hoberman
    But the ickiest thing about Fever Pitch is its reverential Field of Dreams music.
    • 75 Metascore
    • 50 J. Hoberman
    In the absence of any greater cultural context, the ritual reiteration of Greenberg's greatness grows wearisome.
    • 52 Metascore
    • 50 J. Hoberman
    The cheesy disco action scenes are topped only by the movie's ripe double entendres and continual cheesecake.
    • 73 Metascore
    • 50 J. Hoberman
    The Sarsgaard slow burn is only marginally more compelling than the Christensen simper; like its subject, the movie is self-important yet insipid.
    • 70 Metascore
    • 50 J. Hoberman
    Despite an absurdly melodramatic premise, Lost Embrace is an essentially plotless series of riffs and jokes. It's 20 minutes too long--forgivable in view of Burman's affection for his material.
    • 61 Metascore
    • 50 J. Hoberman
    Enjoyable but slight— an intermittently funny, one-joke vaudeville.
    • 58 Metascore
    • 50 J. Hoberman
    One of the few Hollywood movies to ever acknowledge the Desert Storm "experience," Sam Mendes's Jarhead is both fastidiously grueling and perversely withholding.
    • 56 Metascore
    • 50 J. Hoberman
    Max
    For all its flaws, Max does propose a credible young Hitler, played by Noah Taylor as an unpleasantly opinionated, arrogantly ascetic, defensively vain autodidact with a diffident sneer and a bottomless well of grievance to draw upon.
    • 83 Metascore
    • 50 J. Hoberman
    Undeniably high-powered. At 153 minutes, it's also punishingly overlong.
    • 48 Metascore
    • 50 J. Hoberman
    Not only light on laughs but discomfitingly didactic in its disgust.
    • 49 Metascore
    • 50 J. Hoberman
    Feels both tiresomely old-fashioned and disturbingly topical.
    • 69 Metascore
    • 50 J. Hoberman
    Entertaining as it is, Imelda seems all too willing to take her at her word.
    • 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.
    • 71 Metascore
    • 50 J. Hoberman
    Engaging, if ultimately wearisome.
    • 52 Metascore
    • 50 J. Hoberman
    The only conceivable reason to immerse oneself in this inexplicable release is, of course, Huppert. Gravely, she accepts the challenge of delivering a coherent performance in a wildly incoherent role.
    • 74 Metascore
    • 50 J. Hoberman
    This comic horror story rivals A.I. as the year's creepiest representation of maternal love -- partly because it naturalizes the Frankenstein story in terms of human procreation.
    • 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.
    • 69 Metascore
    • 50 J. Hoberman
    Authentically British or not, Intimacy is squarely in the indigenous kitchen-sink style -- a far cry from the absurdly chic, sentimental pseudo-worldliness of something like "An Affair of Love."
    • 63 Metascore
    • 50 J. Hoberman
    Too bland and fustily tasteful to be truly prurient, Sade moves along at a reasonable clip, goosed by claps of gothic lighting, solemn chords, and amplified sound effects.
    • 56 Metascore
    • 50 J. Hoberman
    The Rum Diary could use a shot of the mania that fueled Terry Gilliam's "Fear and Loathing in Las Vegas." As deadpan as he is, Depp could use a crazed Benicio Del Toro to complement his cool.
    • 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.
    • 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.
    • 72 Metascore
    • 50 J. Hoberman
    Foreigners often comment on the peculiar American combination of superficial friendliness and profound indifference. Stevie epitomizes a related national trait -- the belief in the curative powers of publicity.
    • 72 Metascore
    • 50 J. Hoberman
    Chilean filmmaker Pablo Larrain's alarming Tony Manero--named not for its protagonist, but rather his ego-ideal, John Travolta's character in "Saturday Night Fever"--is another study of a cinema-struck, solitary daydreamer, albeit a particularly stunted member of the genus.
    • 53 Metascore
    • 50 J. Hoberman
    This withholding actor's (Affleck) impish smile and mild, pale-eyed stare--not to mention the Clintonesque hoarseness with which he spins his convoluted lies--are sufficiently convincing to keep The Killer Inside Me from being just a steamy, stylish, punishing bloodbath.

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