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

J. Hoberman's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 Solaris
Lowest review score: 0 A Hole in My Heart
Score distribution:
  1. Negative: 74 out of 944
944 movie reviews
    • 47 Metascore
    • 40 J. Hoberman
    X-ploitative though it may be, the spectacle of a man beaten and tortured to death seeks to be an object of contemplation. Serious questions are raised.
    • 45 Metascore
    • 40 J. Hoberman
    Blown opportunity.
    • 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.
    • 53 Metascore
    • 40 J. Hoberman
    Openly gay and overwhelmingly glum.
    • 31 Metascore
    • 40 J. Hoberman
    Ultimately more amusing than hilarious, and sometimes less than that.
    • 58 Metascore
    • 40 J. Hoberman
    Alternately grandiose and abject, Bandini is a sort of underground man, and if no more miscast than usual, heartthrob Colin Farrell miserably fails to convincingly render Bandini's neurosis.
    • 54 Metascore
    • 40 J. Hoberman
    Exercise in existential tedium that it is, Gerry isn't without devotees.
    • 53 Metascore
    • 40 J. Hoberman
    Like more than one recent movie, Alice seems a trailer for a Wonderland computer game--and it is. The final battle is clearly designed for gaming. So, it would seem, is the character of actualized as well as action Alice.
    • 52 Metascore
    • 40 J. Hoberman
    Possession suffers from insufficient nastiness.
    • 57 Metascore
    • 40 J. Hoberman
    Playing the young Coleman with the requisite intelligence and ambiguity, Wentworth Miller contributes the sole viable characterization.
    • 62 Metascore
    • 40 J. Hoberman
    The Dreamers is bad, but unlike the similarly camped-up "Little Buddha" or "Stealing Beauty," it's not exactly boring.
    • 50 Metascore
    • 40 J. Hoberman
    High-powered and gory.
    • 40 Metascore
    • 40 J. Hoberman
    Much of the movie is dull, and as it has been dubbed into English, the blah-blah is impossible to ignore.
    • 45 Metascore
    • 40 J. Hoberman
    Lovingly detailed but unaccountably clumsy, obviously ambitious, and unfortunately chintzy. It's also genuinely anachronistic.
    • 65 Metascore
    • 40 J. Hoberman
    The last-minute combination of Greek tragedy and Janis Joplin is so genuinely startling that, had the movie been shorted by a third, it might have turned everything around.
    • 82 Metascore
    • 40 J. Hoberman
    Waking Life doesn't leave you in a dream, specifically the dream of Linklater's previous films, so much as it traps you in an endless bull session.
    • 54 Metascore
    • 40 J. Hoberman
    Despite a backbeat of perky music and the sarcastic voiceover meant to lubricate the action, The Men Who Stare at Goats lacks pizzazz. The movie isn't funny enough to work as farce, but it's far too dippy to take seriously.
    • 64 Metascore
    • 40 J. Hoberman
    As entertainment goes, however, this desert spectacle is no "Aladdin"-- despite the impressively strong graphics of the vast urban spaces.
    • 65 Metascore
    • 40 J. Hoberman
    A ridiculous deus-ex-machina "wrong man" story.
    • 72 Metascore
    • 40 J. Hoberman
    Since he's (Spielberg) a director largely incapable of understatement, War Horse is served up with a self-aggrandizing, distracting surplus of Norman Rockwell backlighting, aerial landscape shots designed to out-swoop David Lean's, and an aggravated sense of doggone wonderment amplified by the director's dependence on John Williams's bombastic score.
    • 41 Metascore
    • 40 J. Hoberman
    The result is explicit, if less than hilarious. The Hebrew Hammer lacks the edge of Adam Sandler's "Chanukah Song," although as anti-seasonal fare, it would make a suitably unbearable double bill with Terry Zwigoff's "Bad Santa."
    • 58 Metascore
    • 40 J. Hoberman
    An abundance of dull exposition building up to the son's attempt to cap his father's whoppers climaxes with a tedious flurry of Fellini-esque endings and Spielbergian fillips. The magic doesn't work twice -- or even once.
    • 86 Metascore
    • 40 J. Hoberman
    Bland and nasty, American Beauty has the slightly stale feel of a family sitcom conceived under the spell of "Married . . . With Children."
    • 58 Metascore
    • 40 J. Hoberman
    Demme's documentary portrait, Jimmy Carter: Man From Plains, has no surfeit of good intentions. In fact, running over two hours, they're nearly suffocating.
    • 39 Metascore
    • 40 J. Hoberman
    The Green Hornet provides a half-hour's worth of mildly entertaining travesty before collapsing in a clamor of bombastic action sequences and lame wisecracks.
    • 48 Metascore
    • 40 J. Hoberman
    Although largely devoid of dramatic interest, Journeys With George does convincingly document the horror of life within the campaign "bubble."
    • 49 Metascore
    • 40 J. Hoberman
    Antichrist, which, above all, wants to make pain visceral, is less successful at projecting authentic experience--the shock tactics are ultimately numbing.
    • 47 Metascore
    • 40 J. Hoberman
    The response for anyone familiar with the original Psycho is likely to be restricted to a narrow range between briefly enjoyable déjà vu and mild disappointment. The movie lacks the chutzpah to even be a travesty.
    • 65 Metascore
    • 40 J. Hoberman
    Like the shelter for which it is named, Panic Room is an efficiently tooled construction (albeit one whose success is overly predicated on its villains' single-minded idiocy). But unlike the eponymous treasure trove, there's nothing inside.
    • 66 Metascore
    • 40 J. Hoberman
    A voracious vacuum cleaner of a movie --hoovering up a hundred years' worth of junk with the same monotonously unmodulated hum.

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