J. Hoberman, Village Voice
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For 943 reviews, this critic has graded:
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38% higher than the average critic
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3% same as the average critic
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59% lower than the average critic
On average, this critic grades 5.5 points higher than other critics.
(0-100 point scale)
J. Hoberman's Scores
- Movies
| Average review score: | 65 |
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| Highest review score: |
Critic Score
100
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| Lowest review score: |
Critic Score
0
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Score distribution:
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Positive: 559 out of 943
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Mixed: 309 out of 943
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Negative: 75 out of 943
943
movie reviews
- By critic score
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J. Hoberman 80
In every way a sunny film. Supremely affirmative, it ends with the funniest, sexiest close-up of the year. -
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J. Hoberman 80
One may not realize how truly sad this movie is until the forlorn final moments, when Payne resists an inspirational closer, and, with exquisite tact, averts his eyes. -
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J. Hoberman 80
Remarkably unassuming, genuinely playful, and superbly executed, The Iron Giant towers over the cartoon landscape. -
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J. Hoberman 80
Like many cult films, it is also less than the sum of its parts. -
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J. Hoberman 80
Highly audacious, hugely enjoyable, exceptionally well-written, brilliantly edited, and exuberantly actor-driven extravaganza. -
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J. Hoberman 80
Forget "Irreversible," this is the season's most piercingly feel-bad movie. -
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J. Hoberman 80
A satisfyingly well-wrought, old-school thriller: Character drives the plot, literally. -
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J. Hoberman 80
Elizabeth's most triumphant aspect is Blanchett's transformation from saucy, spirited toe-tapper to iconic Virgin Queen. -
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J. Hoberman 80
Cure has a generic resemblance to "Seven," but it's far more oblique, and that much more troubling. -
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J. Hoberman 80
Has marked affinities to "Ghost World" and "Donnie Darko." It's more amorphous and less sharply drawn than either but has an acute sense of guilty secrets and secret places. -
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J. Hoberman 80
Gatlif's latest celebration of gypsy soul, sets a modest sliver of narrative in a fabulous widescreen landscape and surrounds it with a permanent party. -
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J. Hoberman 80
Complex, superbly rendered, and wildly eccentric anime-even by Miyazaki's own standards. -
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J. Hoberman 80
A near-irresistible button-pusher that's agile enough to hold a mirror to its own aspirations: The Sundance prize-winning filmmaker and her prize discovery, Michelle Rodriguez, merge in the image of a self-invented amateur boxer. -
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J. Hoberman 80
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. -
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J. Hoberman 80
This absorbing, significant, and shamelessly entertaining movie not only goes through the looking glass but, no less significantly, turns the mirror back on us. -
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J. Hoberman 80
There isn't a bankable Hollywood director with a flintier sense of aesthetic integrity. -
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J. Hoberman 80
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. -
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J. Hoberman 80
Paranoid, hysterical, and programmatically subjective, the movie is in every sense a psychological thriller. Although the payoff is ambiguous, the experience remains in the mind. It's an absolutely restrained and truly frightening movie. -
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J. Hoberman 80
A bracingly no-nonsense, highly professional policier—as proudly old-fashioned as its curmudgeon hero. -
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J. Hoberman 80
If nothing else, Brother confirms Kitano's stature as the most original purveyor of on-screen mayhem since Sam Peckinpah. -
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J. Hoberman 80
Too touchy-feely for some hardcore Godardians, Notre Musique is the most lucid of the master's recent films. -
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J. Hoberman 80
Both resonant and skillfully devious. -
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J. Hoberman 80
Accurate enough as history to provide a potent reminder that black independent cinema did not end with Oscar Micheaux or begin with Spike Lee. -
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J. Hoberman 80
Projects a confessional frankness about human relationships that has the messy feel of truth. -
