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 Mysteries of Lisbon
Lowest review score: 0 A Hole in My Heart
Score distribution:
  1. Negative: 74 out of 944
944 movie reviews
    • 50 Metascore
    • 40 J. Hoberman
    High-powered and gory.
    • 55 Metascore
    • 40 J. Hoberman
    A philosophical gross-out comedy rudely presented from the perspective of a sullen, sexually curious 14-year-old.
    • 65 Metascore
    • 40 J. Hoberman
    A ridiculous deus-ex-machina "wrong man" story.
    • 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."
    • 51 Metascore
    • 40 J. Hoberman
    At once chintzy and grandiose, awash in battlefield sentimentality and platoon clichés.
    • 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.
    • 49 Metascore
    • 40 J. Hoberman
    The irrepressible Walken smiles benignly down on his colleagues, secure in the knowledge that his antics have capsized sturdier vessels than this. Playing a supposed health-food nut, he enters the movie chewing and doesn't stop until he's devoured every scene down to the props.
    • 58 Metascore
    • 40 J. Hoberman
    The filmmakers don't even attempt to give Kaufman an inner life.
    • 74 Metascore
    • 40 J. Hoberman
    It's a Jerry Bruckheimer art film, perhaps the most extravagantly aestheticized combat movie ever made.
    • 54 Metascore
    • 40 J. Hoberman
    Exercise in existential tedium that it is, Gerry isn't without devotees.
    • 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.
    • 88 Metascore
    • 40 J. Hoberman
    A combination of "Barnyard Follies" and "Schindler's List."
    • 35 Metascore
    • 40 J. Hoberman
    Wit is in short supply -- although this journey to the end of the night derives a certain amount of punkish energy from its crude editing, cruddy-looking close-ups, strident soundtrack, and overall volatility.
    • 60 Metascore
    • 40 J. Hoberman
    Dull, if not devoid of wit, this shaggy dog longs to frisk through the back alleys of history, but scarcely manages more than a modest, snoozy charm.
    • 45 Metascore
    • 40 J. Hoberman
    Lovingly detailed but unaccountably clumsy, obviously ambitious, and unfortunately chintzy. It's also genuinely anachronistic.
    • 52 Metascore
    • 40 J. Hoberman
    Possession suffers from insufficient nastiness.
    • 57 Metascore
    • 40 J. Hoberman
    A nonstop carnival of murder, rape, and mutilation .
    • 68 Metascore
    • 40 J. Hoberman
    Feels like a rough draft at best.
    • 44 Metascore
    • 40 J. Hoberman
    The chaos is convincing, but, less ruthless than Steven Spielberg, Bay eschews D-day panic and mutilation.
    • 76 Metascore
    • 40 J. Hoberman
    Despite some deadpan, Jacques Tati-like orchestration and occasional sight gags, there's no real pleasure in the game -- Songs From the Second Floor is more absurd than funny.
    • 68 Metascore
    • 40 J. Hoberman
    Banal big-budget adaptation of Robert Ludlum's 1980 espionage thriller.
    • 86 Metascore
    • 40 J. Hoberman
    Initial strangeness inexorably gives way to rote sentimentality and mystical tenderness becomes narrative expedience.
    • 44 Metascore
    • 40 J. Hoberman
    Shows Rock suffering from premature Robin Williams syndrome. He's yet to express the full ferocity of his comic talent on the screen and he's already doing penance by going for the warm and fuzzy.
    • 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.
    • 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."
    • 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.
    • 66 Metascore
    • 40 J. Hoberman
    Given its boundless sarcasm, running-jumping- standing-still ambience and hyperbolic Guignol violence, Lock, Stock aspires to be something like the Beatles meet the "Wild Bunch." Too bad it doesn't have even a rubber soul.
    • 67 Metascore
    • 40 J. Hoberman
    Does attest to the once-upon-a-time existence of a Hollywood counterculture, but it's so reverentially heavy-handed in evoking the era that it can't help playing like "Forrest Gump" without Tom Hanks.
    • 40 Metascore
    • 40 J. Hoberman
    The Man Who Cried is like a Yiddish generational tearjerker told from the perspective of the lost child rather than that of the bereaved parent.
    • 57 Metascore
    • 40 J. Hoberman
    Playing the young Coleman with the requisite intelligence and ambiguity, Wentworth Miller contributes the sole viable characterization.

Top Trailers