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 Hunger
Lowest review score: 0 A Hole in My Heart
Score distribution:
  1. Negative: 74 out of 944
944 movie reviews
    • 81 Metascore
    • 50 J. Hoberman
    Terence Davies revisits his youth to decidedly mixed effect.
    • 74 Metascore
    • 50 J. Hoberman
    Touching in its absurdity, the movie is what the French, if they didn't love Gray so much, might term agréablement ridicule.
    • 71 Metascore
    • 50 J. Hoberman
    Wild Things isn't overlong, but it is underwhelming.
    • 66 Metascore
    • 50 J. Hoberman
    The movie is a drama of faith, a Tibetan monk's search for the reincarnation of his beloved master Lama Konchog.
    • 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.
    • 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.
    • 57 Metascore
    • 50 J. Hoberman
    As over-emphatic as one might expect from the ham-fisted Guy Ritchie, this resurrection of the world's most famous detective is a dank, noisy affair.
    • 83 Metascore
    • 50 J. Hoberman
    Up in the Air goes down like a sedative. This is a movie that's easy to like--and to dislike as well.
    • 69 Metascore
    • 50 J. Hoberman
    Instead of plumbing the depths of spiritual degradation, Herzog's movie is--largely due to Cage's performance--almost fun.
    • 70 Metascore
    • 50 J. Hoberman
    A Town Called Panic, which has more strident colors and less synopsizable action than a year's worth of comic-book adventures, embodies a sensibility that might be termed "extreme quirk."
    • 48 Metascore
    • 50 J. Hoberman
    Thanks to Egoyan's trademark mix of detachment and prurience, the fun is more cheesy than queasy.
    • 58 Metascore
    • 50 J. Hoberman
    His (Nelson) timing is off and his bullshit detector nonexistent. I don't much care for the Coens, but the sad truth is that their cynical nihilism is a lot less spurious than Nelson's earnest sentimentality.
    • 33 Metascore
    • 50 J. Hoberman
    Trash Humpers projects a cranky resignation to the world as it is; still, it's picturesque.
    • 57 Metascore
    • 50 J. Hoberman
    The Anchorage uses a narrative structure introduced to more powerful effect 35 years ago in Chantal Akerman's Jeanne Dielman.
    • 63 Metascore
    • 50 J. Hoberman
    Basically, Epstein and Friedman are feel-good filmmakers-their Ginsberg has one of the shortest, most successful bouts of psychotherapy in history. But is it really necessary to affirm the poem's ecstatic footnote ("Holy! Holy! Holy!") with a montage of smiling reaction shots?
    • 79 Metascore
    • 50 J. Hoberman
    It plays as a "Rocky"-fied fairy tale for our time: Consigned to Palookaville, a sweet, unassuming boxer with more heart than brains steps up-all the way to the top of the world.
    • 66 Metascore
    • 50 J. Hoberman
    His (Weir) hardship drama is stolidly old-fashioned, more extreme travelogue than exercise in visceral horror.
    • 70 Metascore
    • 50 J. Hoberman
    A mild comedy of embarrassment.
    • 60 Metascore
    • 50 J. Hoberman
    The so-called Plan is derailed!
    • 60 Metascore
    • 50 J. Hoberman
    Perhaps that's the problem. Mel's character isn't on Prozac, but the movie is-a succession of bland camera setups, cued to a highly conventional score. Would that the direction were half as nutty as the script or as wacked-out as its star!
    • 65 Metascore
    • 50 J. Hoberman
    Everything Must Go, which is ostensibly set in Scottsdale, Arizona, has a generic resemblance to broken-heartland movies like "Up in the Air" and "Cedar Rapids," although this suburban meltdown is more depressed than either.
    • 67 Metascore
    • 50 J. Hoberman
    Sophie's (or is it July's?) coy narcissism becomes a criticism of itself, and her "sadness" turns into something truly sad. In short, I have seen The Future and it's heartbreaking.
    • 58 Metascore
    • 50 J. Hoberman
    The movie turns terminally wearisome and even anti-climactic with the triumph of the brain-lodging "Je T'aime" (which, alone among the movie's numbers, is heard in its original version) and Gainsbourg's descent into alcoholic dissolution.
    • 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.
    • 84 Metascore
    • 50 J. Hoberman
    It left me cold. The pathos is as unearned as the protagonist's privilege.
    • 72 Metascore
    • 50 J. Hoberman
    Another creature of need, if the temperamental opposite of self-contained Brandon, Sissy is equally prepared to push her way into his life or push herself in front of a subway. She's also a performer - and Mulligan's blowsy desperation makes for the movie's best turn.
    • 71 Metascore
    • 50 J. Hoberman
    The remake is an altogether leaner, meaner, more high-powered, stylish, and deftly directed affair, though similarly hampered by a too-long narrative fuse.
    • 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.
    • 56 Metascore
    • 40 J. Hoberman
    An overemphatic, would-be wacky, ultimately tedious sex farce.
    • 34 Metascore
    • 40 J. Hoberman
    Halfway through, De Palma literally explodes his narrative to orchestrate a superb deep-space float-opera replete with runaway modules, high-tech lassos, dramatic self-sacrifice, and, in the most surprising maneuver, a montage-driven modicum of actual suspense.

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