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

J. Hoberman's Scores

  • Movies
Average review score: 65
Highest review score: 100 The Four Times (Le Quattro Volte)
Lowest review score: 0 A Hole in My Heart
Score distribution:
  1. Negative: 75 out of 943
943 movie reviews
    • 70 Metascore
    • 80 J. Hoberman
    A fascinatingly mean-spirited erotic comedy.
    • 81 Metascore
    • 80 J. Hoberman
    In every way a sunny film. Supremely affirmative, it ends with the funniest, sexiest close-up of the year.
    • 82 Metascore
    • 80 J. Hoberman
    It's at once brilliant and inept.
    • 85 Metascore
    • 80 J. Hoberman
    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.
    • 85 Metascore
    • 80 J. Hoberman
    Remarkably unassuming, genuinely playful, and superbly executed, The Iron Giant towers over the cartoon landscape.
    • 88 Metascore
    • 80 J. Hoberman
    Like many cult films, it is also less than the sum of its parts.
    • 77 Metascore
    • 80 J. Hoberman
    Highly audacious, hugely enjoyable, exceptionally well-written, brilliantly edited, and exuberantly actor-driven extravaganza.
    • 76 Metascore
    • 80 J. Hoberman
    A notably confident and achieved debut.
    • 82 Metascore
    • 80 J. Hoberman
    Forget "Irreversible," this is the season's most piercingly feel-bad movie.
    • 74 Metascore
    • 80 J. Hoberman
    A satisfyingly well-wrought, old-school thriller: Character drives the plot, literally.
    • 75 Metascore
    • 80 J. Hoberman
    Elizabeth's most triumphant aspect is Blanchett's transformation from saucy, spirited toe-tapper to iconic Virgin Queen.
    • 70 Metascore
    • 80 J. Hoberman
    Cure has a generic resemblance to "Seven," but it's far more oblique, and that much more troubling.
    • 69 Metascore
    • 80 J. Hoberman
    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.
    • 64 Metascore
    • 80 J. Hoberman
    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.
    • 76 Metascore
    • 80 J. Hoberman
    Complex, superbly rendered, and wildly eccentric anime-even by Miyazaki's own standards.
    • 70 Metascore
    • 80 J. Hoberman
    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.
    • 78 Metascore
    • 80 J. Hoberman
    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.
    • 90 Metascore
    • 80 J. Hoberman
    Panoramic yet cozy, enthusiastically glib.
    • 79 Metascore
    • 80 J. Hoberman
    This absorbing, significant, and shamelessly entertaining movie not only goes through the looking glass but, no less significantly, turns the mirror back on us.
    • 65 Metascore
    • 80 J. Hoberman
    There isn't a bankable Hollywood director with a flintier sense of aesthetic integrity.
    • 96 Metascore
    • 80 J. Hoberman
    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.
    • 81 Metascore
    • 80 J. Hoberman
    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.
    • 73 Metascore
    • 80 J. Hoberman
    An entertainingly raffish action-comedy.
    • 64 Metascore
    • 80 J. Hoberman
    A bracingly no-nonsense, highly professional policier—as proudly old-fashioned as its curmudgeon hero.
    • 47 Metascore
    • 80 J. Hoberman
    If nothing else, Brother confirms Kitano's stature as the most original purveyor of on-screen mayhem since Sam Peckinpah.
    • 77 Metascore
    • 80 J. Hoberman
    Too touchy-feely for some hardcore Godardians, Notre Musique is the most lucid of the master's recent films.
    • 76 Metascore
    • 80 J. Hoberman
    Both resonant and skillfully devious.
    • 90 Metascore
    • 80 J. Hoberman
    The most offbeat studio comedy since "Rushmore."
    • 75 Metascore
    • 80 J. Hoberman
    Accurate enough as history to provide a potent reminder that black independent cinema did not end with Oscar Micheaux or begin with Spike Lee.
    • 79 Metascore
    • 80 J. Hoberman
    Projects a confessional frankness about human relationships that has the messy feel of truth.