For 943 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 Police, Adjective
Lowest review score: 0 A Hole in My Heart
Score distribution:
  1. Negative: 75 out of 943
943 movie reviews
    • 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."
    • 71 Metascore
    • 80 J. Hoberman
    Warmhearted but unsentimental, touching but not mawkish, clever but never cute, Divan is almost miraculously modest.
    • 54 Metascore
    • 80 J. Hoberman
    Superbly shot around Prague -- From Hell is even more stylish than gruesome -- it has the lush decrepitude of an autumn compost heap or an old Hammer werewolf flick.
    • 82 Metascore
    • 80 J. Hoberman
    The filmmaker might be accused of preaching to the choir were the story not so compelling and the performances so strong.
    • 81 Metascore
    • 80 J. Hoberman
    If Hollywood were truly devoted to telling it like it is, Baker would win a special Oscar. To add to the creepiness, Solondz is (as he made clear in Dollhouse) an extremely sensitive director of kids.
    • 65 Metascore
    • 80 J. Hoberman
    Bana, who appears in nearly every shot, talking all the while, gives a remarkably mercurial performance.
    • 68 Metascore
    • 80 J. Hoberman
    Funny, reasonably crazy, and unpretentiously faithful to its source.
    • 81 Metascore
    • 80 J. Hoberman
    Boldly facetious and monstrously clever.
    • 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.
    • 69 Metascore
    • 80 J. Hoberman
    Allen's funniest, least sour outing in nearly a decade is a small movie with a tidy payoff. The movie gives vulgarity a good name.
    • 73 Metascore
    • 80 J. Hoberman
    Becalmed or bobbing along, they remain balseros -- but then, as this engrossing documentary suggests, so are we all.
    • 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.
    • 96 Metascore
    • 80 J. Hoberman
    Remains Chaplin's most sustained burlesque of authority.
    • 84 Metascore
    • 80 J. Hoberman
    May be pumped-up, but it's rarely boring
    • 90 Metascore
    • 80 J. Hoberman
    Nothing can redeem the movie's final 40 minutes. That may not be an ultimate horror, but it is a real one.
    • 63 Metascore
    • 80 J. Hoberman
    The unnecessarily emphatic ending suggests that Secretary's makers are a bit anxious to demonstrate they've whipped a potentially grotesque, spanks-for-the-memories scenario into the season's most romantic love story -- which is, in fact, what they've done.
    • 84 Metascore
    • 80 J. Hoberman
    Maddin has created a fascinating hybrid--this enraptured composition in mist, gauze, and Vaseline is more rhapsody than narrative, less motion picture than shadow play.
    • 63 Metascore
    • 80 J. Hoberman
    A linguistic stew with a zesty, homemade flavor that belies its carefully researched preparation.
    • 64 Metascore
    • 80 J. Hoberman
    When it comes to stoopid fun, X-Men could be the summer movie to beat.
    • tbd Metascore
    • 80 J. Hoberman
    Gets better as it goes along, building up to a prolonged shipboard finale.
    • 70 Metascore
    • 80 J. Hoberman
    Kaufman's earnestly overblown celebration of the Marquis de Sade.
    • 91 Metascore
    • 80 J. Hoberman
    A work of leisurely development and tragic inevitability.
    • 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.
    • 79 Metascore
    • 80 J. Hoberman
    Filled with purposeful, if absurd, activity rendered gravely hilarious through Tsai's deadpan, distanced representation of extreme behavior.
    • 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.
    • 66 Metascore
    • 80 J. Hoberman
    Basically an experimental psychodrama, Epidemic has a pleasingly slapdash, underground quality that recalls early Fassbinder and Wenders -- although, with its cynical premise and frequent infusions of Wagner, it exudes the prankster snarkiness characteristic of von Trier.
    • 78 Metascore
    • 80 J. Hoberman
    The movie is an expert, sunlit chiller audaciously predicated on an unquiet historical memory: "What is a ghost?"
    • 71 Metascore
    • 80 J. Hoberman
    Like "Chuck & Buck," The Good Girl is a droll, well-acted, character-driven comedy with unexpected deposits of feeling.
    • 86 Metascore
    • 80 J. Hoberman
    Dazzling dance to the music of time.
    • 68 Metascore
    • 80 J. Hoberman
    Almost buoyant in its creepiness and positively bejeweled in its disgust -- the movie can be enjoyably considered as a self-conscious fiction in the convoluted tradition of Raul Ruiz or Brian De Palma's "Raising Cain."