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

J. Hoberman's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 I'm Not There.
Lowest review score: 0 A Hole in My Heart
Score distribution:
  1. Negative: 74 out of 944
944 movie reviews
    • 100 Metascore
    • 100 J. Hoberman
    To cut to the chase, Robert Bresson's heart-breaking and magnificent Au Hasard Balthazar (1966) -- the story of a donkey's life and death in rural France -- is the supreme masterpiece by one of the greatest of 20th-century filmmakers.
    • 100 Metascore
    • 100 J. Hoberman
    The Leopard is the greatest film of its kind made since World War II—its only rivals are Kubrick's "Barry Lyndon" and Visconti's own "Senso."
    • 99 Metascore
    • 90 J. Hoberman
    Rich in detail, vivid in characterization, leisurely in exposition, this 207-minute epic is bravura filmmaking -- a brilliant yet facile synthesis of Hollywood pictorialism, Soviet montage, and Japanese theatricality that could be a B western transposed to Mars.
    • Village Voice
    • 99 Metascore
    • 90 J. Hoberman
    It's here that Melville fully achieved his notion of the sublime, applying "Le Samouraï's" "empty" compositions and near theatrical blocking, as well as its methodical suspense, cosmic fatalism, and sense of grim solitude, to a subject far closer to his heart, namely his own World War II experiences.
    • 98 Metascore
    • 80 J. Hoberman
    Casually racist and inordinately sexist, Pépé le Moko is best enjoyed for its offhand surrealism.
    • 98 Metascore
    • 100 J. Hoberman
    Literally and figuratively marvelous, a rich, daring mix of fantasy and politics.
    • 98 Metascore
    • 90 J. Hoberman
    The greatest of all pulp fantasies.
    • 97 Metascore
    • 90 J. Hoberman
    A vivid exercise in hokum that more or less invented the idea of French film noir...and not just for Americans.
    • 97 Metascore
    • 100 J. Hoberman
    Romanian writer-director Cristian Mungiu's brilliantly discomfiting second feature is one long premonition of disaster.
    • 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.
    • Village Voice
    • 96 Metascore
    • 70 J. Hoberman
    No previous rocksploitation film had ever done so splendid a job of selling its performers.
    • 96 Metascore
    • 80 J. Hoberman
    Remains Chaplin's most sustained burlesque of authority.
    • 95 Metascore
    • 70 J. Hoberman
    Corny as that is, the film's nadir comes when Zuckerberg's pretty young lawyer comforts him (or us) with the mealy-mouthed observation, "You're not an asshole, Mark. You're just trying so hard to be one."
    • 95 Metascore
    • 80 J. Hoberman
    What's fascinating is how the various issues - religious or practical - are played out in these two quite different families, yet always come down to irreconcilable differences between rebellious women and their stiff-necked, controlling men.
    • 94 Metascore
    • 90 J. Hoberman
    A very nutty fruitcake, Spirited Away is characterized by wonderfully detailed animation, packed with incident and populated by all manner of comic creatures.
    • 94 Metascore
    • 100 J. Hoberman
    Killer of Sheep is an urban pastoral--an episodic series of scenes that are sweet, sardonic, deeply sad, and very funny.
    • tbd Metascore
    • 80 J. Hoberman
    Contemporary audiences may not see why, even in its toned-down simplification of the novel, From Here to Eternity was the most daring movie of 1953, but it remains an acting bonanza.
    • 94 Metascore
    • 90 J. Hoberman
    Jack and Miles are male archetypes, as well as the two most fully realized comic creations in recent American movies.
    • 94 Metascore
    • 80 J. Hoberman
    In short, this Krakatoa is at once exhausting and riveting. It's a technological marvel, and for those not with the program, a bit of a bore.
    • 93 Metascore
    • 90 J. Hoberman
    One of the best titles in movie history and a cast to match.
    • 92 Metascore
    • 90 J. Hoberman
    Although dense with incident and motif, the movie has an effortless flow.
    • 92 Metascore
    • 100 J. Hoberman
    Directed by anyone else, Masculine Feminine--one of three movies that Godard made in his peak year, 1966--would be a masterpiece. For the young JLG it's business as usual.
    • 92 Metascore
    • 100 J. Hoberman
    This is truly a work of symphonic aspirations and masterful execution.
    • 92 Metascore
    • 80 J. Hoberman
    Jackson's adaptation is certainly successful on its own terms.
    • 92 Metascore
    • 80 J. Hoberman
    A work of bravura filmmaking.
    • 91 Metascore
    • 90 J. Hoberman
    This has to be the most richly entertaining movie anyone has ever made on the subject of female genital mutilation.
    • 91 Metascore
    • 100 J. Hoberman
    So elemental in its means yet so cosmic in its drama, it could herald a rebirth of cinema.
    • 91 Metascore
    • 100 J. Hoberman
    The year's most ingenious and original animated feature.
    • 91 Metascore
    • 80 J. Hoberman
    A work of leisurely development and tragic inevitability.
    • 91 Metascore
    • 80 J. Hoberman
    More fun than any movie about the violent death of a 36-year-old woman has a right to be. It's also as exotic an English-language picture as the season is likely to bring.

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