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

J. Hoberman's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 Tulpan
Lowest review score: 0 A Hole in My Heart
Score distribution:
  1. Negative: 74 out of 944
944 movie reviews
    • 76 Metascore
    • 30 J. Hoberman
    The neophyte director has a tendency to pose his actors and musically overscore each new dramatic development. The combination can border on the ludicrous.
    • 71 Metascore
    • 30 J. Hoberman
    Bronson is essentially a faux-operatic, music hall turn--a larky, lumpen version of "Lola Mont├Ęs."
    • 68 Metascore
    • 30 J. Hoberman
    Were it not so soporific, Off the Map could easily drive you off your nut.
    • 65 Metascore
    • 20 J. Hoberman
    An insufferable exercise in cutie-pie modernism, painfully unfunny and precious to a fault.
    • 64 Metascore
    • 10 J. Hoberman
    The Pillow Book's pretentions are boundless, for all its desperate fashion and layered imagery, it's a staggering bore-as vacantly petulant as Kate Moss's stare. [10 Jun 1997]
    • Village Voice
    • 64 Metascore
    • 10 J. Hoberman
    For all the tumultuous entrances and flouncing exits, the eight principals manage maybe three laughs among them.
    • 64 Metascore
    • 20 J. Hoberman
    Blackboards is both shrill and soporific, and because everything is repeated five or six times, it can seem tiresomely simpleminded.
    • 64 Metascore
    • 30 J. Hoberman
    Pale by comparison to an action thriller like "Children of Men" or gross out eco-catastrophe like "Land of the Dead," squandering its ready-made zombie scenario.
    • 62 Metascore
    • 20 J. Hoberman
    See it if you must, but don't forget to pack the Air Wick. These breezy doings are mustier than a Glitter Gulch casino at 4 a.m.
    • 62 Metascore
    • 30 J. Hoberman
    A tediously childish exhibition.
    • 61 Metascore
    • 10 J. Hoberman
    This smoothly odious piece of work, written by Frank Cottrell Boyce and directed by Michael Winterbottom, posits the self-consciously repellent Plummer as a sort of Valerie Solanas-inflected version of the Florida serial killer Aileen Wournos. [7 May 1996]
    • Village Voice
    • 60 Metascore
    • 30 J. Hoberman
    A vaguely absurd epidemiological thriller filled with elaborately superfluous setups and shamelessly stale James Bond riffs.
    • 60 Metascore
    • 20 J. Hoberman
    Grim going.
    • 57 Metascore
    • 30 J. Hoberman
    A largely mind-numbing experience.
    • 56 Metascore
    • 30 J. Hoberman
    Exceedingly slow setup and even more tediously static sequence that effectively terminates the movie well before its official running time.
    • 56 Metascore
    • 20 J. Hoberman
    Less awful than inert, Claire Dolan comes across as a willfully bad movie.
    • 56 Metascore
    • 30 J. Hoberman
    Hereafter is not just a stretch for Eastwood, it's a contortion. The irrationality of the premise is exceeded only by the strategic irrationalities of the plot.
    • 56 Metascore
    • 30 J. Hoberman
    The Coens are uncharacteristically restrained. Indeed, given that the crime comedy is their preferred genre, The Ladykillers is remarkable mainly for its timidity.
    • 55 Metascore
    • 30 J. Hoberman
    The absurdity floods the banks of the filmmaker's intentions.
    • 55 Metascore
    • 30 J. Hoberman
    The least one can say for this costume action flick is that it hits bottom immediately.
    • 54 Metascore
    • 30 J. Hoberman
    An unappealing, conventional, and somnolent piece of work in which, as glumly directed from David Levien and Brian Koppelman's corny script, every scene feels like it's being played for the second time.
    • 54 Metascore
    • 30 J. Hoberman
    Has little to offer beyond muzzy kismet and generalized amnesia, a bit of National Geographic and a lot of cocktail jazz.
    • 53 Metascore
    • 30 J. Hoberman
    Overwrought and often hysterical, filled with distracting montages and portentous drumbeats, the documentary feels as cheesy as its subject.
    • 52 Metascore
    • 30 J. Hoberman
    A handheld and grainy exercise in cine-stupefaction...too spastic to connect...the movie just flails the air.
    • 52 Metascore
    • 30 J. Hoberman
    Like a visual concussion.
    • 51 Metascore
    • 20 J. Hoberman
    The Phantom Menace is simply a billboard for itself. Anyone who sees it will be experiencing it for the second time. The hype was not about the movie, the hype was the movie.
    • 51 Metascore
    • 10 J. Hoberman
    From the end to the beginning--or is it from the inadvertently ridiculous to the would-be sublime?--Noé's stunt is an exploitation movie with a gimmick, not to mention a vacuous philosophy.
    • 49 Metascore
    • 30 J. Hoberman
    Niccol has no gift for comedy. His ongoing exploration of modern celebrity results in an industry satire that's less funny than half-empty and hyper-designed.
    • 49 Metascore
    • 10 J. Hoberman
    The film seems dimly aware of its own ridiculousness, but it lacks the constitution for self-mockery.
    • 48 Metascore
    • 30 J. Hoberman
    Crudely remaking the 1932 Universal original.