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

J. Hoberman's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 Masculine Feminine (re-release)
Lowest review score: 0 A Hole in My Heart
Score distribution:
  1. Negative: 74 out of 944
944 movie reviews
    • 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
    This poignant, acutely observed movie is eloquent and suggestive in dramatizing a particular trauma in the context of an ordinary Haifa family.
    • 71 Metascore
    • 80 J. Hoberman
    Warmhearted but unsentimental, touching but not mawkish, clever but never cute, Divan is almost miraculously modest.
    • 70 Metascore
    • 80 J. Hoberman
    A fascinatingly mean-spirited erotic comedy.
    • 62 Metascore
    • 80 J. Hoberman
    Increasingly violent (although always distanced), The Outskirts is at once appalling and bleakly humorous.
    • 63 Metascore
    • 80 J. Hoberman
    Unpretentiously poetic and casually stylish, yet perversely precise. Reconstructing the past, Carri seems to suggest, is akin to grabbing the water in a flowing stream.
    • 76 Metascore
    • 80 J. Hoberman
    Both resonant and skillfully devious.
    • 78 Metascore
    • 80 J. Hoberman
    Because everything is funny and nothing provides a punchline, audiences may be too shell-shocked to laugh--you know you're in Maddinville when individual cackles detonate at unexpected intervals.
    • 71 Metascore
    • 80 J. Hoberman
    A fabulously fond and entertaining tribute to the quick-witted Lower East Side kid.
    • 78 Metascore
    • 80 J. Hoberman
    As crass as it is visionary, Godzilla belongs with--and might well trump--the art films "Hiroshima Mon Amour" and "Dr. Strangelove" as a daring attempt to fashion a terrible poetry from the mind-melting horror of atomic warfare.
    • 75 Metascore
    • 80 J. Hoberman
    S21 is understated and unforgettable; in its modest way, this movie is as horrific an exposure to evil as Lanzmann's "Shoah."
    • 79 Metascore
    • 80 J. Hoberman
    This absorbing, significant, and shamelessly entertaining movie not only goes through the looking glass but, no less significantly, turns the mirror back on us.
    • 75 Metascore
    • 80 J. Hoberman
    Accurate enough as history to provide a potent reminder that black independent cinema did not end with Oscar Micheaux or begin with Spike Lee.
    • 86 Metascore
    • 80 J. Hoberman
    It is an essay in film form with near-universal interest and a remarkable degree of synthesis.
    • 76 Metascore
    • 80 J. Hoberman
    Demme, who works a clever permutation on the original ending, is more than capable of doing the thriller thing--even with material that will strike a good percentage of his audience as familiar. As an intelligent genre flick, the movie plays to his strengths. His direction of actors has never been better.
    • 74 Metascore
    • 80 J. Hoberman
    A satisfyingly well-wrought, old-school thriller: Character drives the plot, literally.
    • 75 Metascore
    • 80 J. Hoberman
    A deadpan, self-consciously prehistoric version of Jean Renoir's rueful idyll A Day in the Country, Blissfully Yours is unconscionably happy.
    • 88 Metascore
    • 80 J. Hoberman
    Like many cult films, it is also less than the sum of its parts.
    • 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
    Too touchy-feely for some hardcore Godardians, Notre Musique is the most lucid of the master's recent films.
    • 64 Metascore
    • 80 J. Hoberman
    A bracingly no-nonsense, highly professional policier—as proudly old-fashioned as its curmudgeon hero.
    • 76 Metascore
    • 80 J. Hoberman
    Manages to be not only consistently droll but cumulatively poignant and even scary.
    • 79 Metascore
    • 80 J. Hoberman
    Filled with purposeful, if absurd, activity rendered gravely hilarious through Tsai's deadpan, distanced representation of extreme behavior.
    • 71 Metascore
    • 80 J. Hoberman
    Made with considerable wit and style, Horn's thoughtful celebration of the era and its most uncanny diva could function as the show's ("East Village USA") supplement.
    • 76 Metascore
    • 80 J. Hoberman
    A work of great charm and bold aesthetic impurity, Agnès Varda's Cinévardaphoto is a suite of documentary shorts.
    • 66 Metascore
    • 80 J. Hoberman
    Steamboy doesn't have the deep melancholia or the visionary élan of last year's Ghost in the Shell 2: Innocence. Consistent in its graphic invention from first to last, however, it's a sensationally designed piece of work. (The retro stylistics are comparable to Brazil, David Lynch's Dune, and The Iron Giant.)
    • 78 Metascore
    • 80 J. Hoberman
    Chow manages to have his cake and eat it too: Kung Fu Hustle is a kung fu parody that's also a terrific kung fu movie.
    • 82 Metascore
    • 80 J. Hoberman
    Soberly entertaining documentary.
    • 75 Metascore
    • 80 J. Hoberman
    Not the least remarkable thing about this deadpan, deceptively haphazard ensemble comedy, a movie as much choreographed as directed, is the way that--at the final moment--the mist simply evaporates.
    • 80 Metascore
    • 80 J. Hoberman
    Exquisitely understated.