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

J. Hoberman's Scores

  • Movies
Average review score: 65
Highest review score: 100 *Corpus Callosum
Lowest review score: 0 The Nutcracker
Score distribution:
  1. Negative: 75 out of 944
944 movie reviews
    • 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.
    • 75 Metascore
    • 80 J. Hoberman
    An austere and fascinating documentary.
    • tbd Metascore
    • 80 J. Hoberman
    The Last Bolshevik, considered by some to be Marker's masterpiece.
    • 58 Metascore
    • 80 J. Hoberman
    Inoffensively glib and innocuously arty.
    • 59 Metascore
    • 80 J. Hoberman
    A superbly crafted science-fiction fairy tale that's both Grimm and grim.
    • 81 Metascore
    • 80 J. Hoberman
    If the carefully planted romantic intrigue is serenely slow to ripen, the process is never less than intriguing.
    • 84 Metascore
    • 80 J. Hoberman
    Opens cute and poignant, turns wildly visceral, and ends in a burst of magical realism.
    • 82 Metascore
    • 80 J. Hoberman
    More analytical than contemplative, never less than straightforward, Dream of Light makes no showy bid for the sublime.
    • 75 Metascore
    • 80 J. Hoberman
    A small-screen aesthetic is evident in the abundant close-ups and tight framing, but Holland makes it work for her.
    • 81 Metascore
    • 80 J. Hoberman
    More impressionistic than analytical, A Grin Without a Cat is a grand immersion.
    • 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.
    • 98 Metascore
    • 80 J. Hoberman
    Casually racist and inordinately sexist, Pépé le Moko is best enjoyed for its offhand surrealism.
    • 82 Metascore
    • 80 J. Hoberman
    Kosashvili's camera is restrained, the better to render Late Marriage superbly brash, raunchy, and confrontational.
    • 75 Metascore
    • 80 J. Hoberman
    Bean has built a bonfire of contradictions and the ensuing conflagration illuminates a bit of the world.
    • 85 Metascore
    • 80 J. Hoberman
    Panahi is a maestro of anxiety. Whatever its political significance, this is a dark, sustained, and wrenching film.
    • 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.
    • 66 Metascore
    • 80 J. Hoberman
    A cut above last season's best studio offerings. The performances are well turned out. The morality is stylishly gray. The attitude is almost fashionable.
    • 73 Metascore
    • 80 J. Hoberman
    The movie is ultimately about the philosopher's personality -- if you loved "Lingua Franca" (and what lumpen academoid did not?), you'll certainly dig Derrida.
    • tbd Metascore
    • 80 J. Hoberman
    Thanks to his mastery of montage, Buñuel naturalizes Dalí's images into a duplicitous rhythm of normality and outrage. The film suggests instances of sex and violence far more extreme than any actually represented while contriving effronteries so offhanded you can't believe you've actually seen them.
    • tbd Metascore
    • 80 J. Hoberman
    it may be the director's quintessential movie. It's an exercise in urban paranoia and mental disintegration that echoes or anticipates everything from "Repulsion" and "Rosemary's Baby" to "Bitter Moon" and "The Pianist."
    • 80 Metascore
    • 80 J. Hoberman
    The hyperbole can be predictable and the clichés earnest, but by and large, Charlie is a serious, often illuminating, and unavoidably entertaining account of the creature Downey calls "the most endearing superhero you might ever want to watch."
    • 75 Metascore
    • 80 J. Hoberman
    At once shockingly vivid and overwhelmingly antiheroic.
    • 73 Metascore
    • 80 J. Hoberman
    This fastidiously hyperreal neo-noir suggests a sadder but wiser remake of the Coens' rambunctious debut, "Blood Simple."
    • 76 Metascore
    • 80 J. Hoberman
    Manages to be not only consistently droll but cumulatively poignant and even scary.
    • 62 Metascore
    • 80 J. Hoberman
    Increasingly violent (although always distanced), The Outskirts is at once appalling and bleakly humorous.
    • 77 Metascore
    • 80 J. Hoberman
    Confidently absurd.
    • 72 Metascore
    • 80 J. Hoberman
    I've never seen a movie that paid more heartfelt tribute to the power of artistic invention.
    • 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.
    • 77 Metascore
    • 80 J. Hoberman
    A funny, relationship-driven ensemble piece that takes the chill out of the Danish winter with a snuggly blanket of humanism.
    • 71 Metascore
    • 80 J. Hoberman
    Skillfully directed and adroitly acted.