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

J. Hoberman's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 Solaris
Lowest review score: 0 The Nutcracker
Score distribution:
  1. Negative: 74 out of 944
944 movie reviews
    • 88 Metascore
    • 40 J. Hoberman
    A combination of "Barnyard Follies" and "Schindler's List."
    • 86 Metascore
    • 60 J. Hoberman
    For better or worse, the movie does for Chauvet what Baudrillard complained an on-site replica did for Lascaux-render the real thing false.
    • 86 Metascore
    • 50 J. Hoberman
    Increasingly unconvincing, In the Bedroom turns genteel rabble-rouser. Field's leisurely buildup forestalls but doesn't prevent his movie's mutation into a granola "Death Wish."
    • 86 Metascore
    • 40 J. Hoberman
    Initial strangeness inexorably gives way to rote sentimentality and mystical tenderness becomes narrative expedience.
    • 86 Metascore
    • 60 J. Hoberman
    Neither a debacle nor a bore, The Departed works but only up to a point, and never emotionally--even if the director does contrive to supply his version of a happy ending.
    • 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."
    • 84 Metascore
    • 60 J. Hoberman
    Elaborate exercise in frustration.
    • 84 Metascore
    • 50 J. Hoberman
    It left me cold. The pathos is as unearned as the protagonist's privilege.
    • 83 Metascore
    • 50 J. Hoberman
    Undeniably high-powered. At 153 minutes, it's also punishingly overlong.
    • 83 Metascore
    • 40 J. Hoberman
    As much as I enjoy Spidey's high-flying Cheez-Doodle swoops through the skyscraper canyons of a digitally rearranged midtown Manhattan, I get no kick from his angst, especially since in this incarnation, as opposed to the '60s comic book version, he's more innocuously depressed than defensively paranoid.
    • 83 Metascore
    • 50 J. Hoberman
    Up in the Air goes down like a sedative. This is a movie that's easy to like--and to dislike as well.
    • 82 Metascore
    • 50 J. Hoberman
    Downfall may be grimly self-important and inescapably trivializing. But we should be grateful that German cinema is more inclined to normalize the nation's history than rewrite it.
    • 82 Metascore
    • 50 J. Hoberman
    Increasingly muddled, cumulatively monotonous, would-be heartwarming, Three Kings becomes its own entertainment allegory -- searching, Hollywood style, for the point at which blatant self-interest can turn humanitarian, while still remaining profitable.
    • 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.
    • 81 Metascore
    • 60 J. Hoberman
    This is an exercise in civility -- a tasteful "Boy's Life" adventure with plenty of boys aboard to express their appreciation.
    • 81 Metascore
    • 50 J. Hoberman
    Terence Davies revisits his youth to decidedly mixed effect.
    • 81 Metascore
    • 60 J. Hoberman
    For King Kong is an accountant's movie at heart. Given the excessive length and bombastic F/X, there's too much action and precious little poetry.
    • 80 Metascore
    • 60 J. Hoberman
    Miscast, misguided, and often nonsensical, Minority Report is nevertheless the most entertaining, least pretentious genre movie Steven Spielberg has made in the decade since "Jurassic Park."
    • 79 Metascore
    • 50 J. Hoberman
    It plays as a "Rocky"-fied fairy tale for our time: Consigned to Palookaville, a sweet, unassuming boxer with more heart than brains steps up-all the way to the top of the world.
    • 78 Metascore
    • 60 J. Hoberman
    A pleasant time-passer.
    • 78 Metascore
    • 50 J. Hoberman
    As elegantly crafted as it often is, Anderson's movie is essentially a one-trick pony that, hampered by an undeveloped script, ultimately pulls up lame.
    • 78 Metascore
    • 60 J. Hoberman
    Single-minded, sometimes harrowing.
    • 78 Metascore
    • 60 J. Hoberman
    Morris, who more or less invented the ironic documentary, seems to struggle here for an appropriate tone even as he allows Leuchter more than enough rope to hang himself.
    • 77 Metascore
    • 60 J. Hoberman
    One leaves with barely a clue as to how this group was able to orchestrate a successful string of terror bombings.
    • 77 Metascore
    • 60 J. Hoberman
    An enjoyably glib and refreshingly terse exercise in big beat and constant motion.
    • 77 Metascore
    • 60 J. Hoberman
    Fond, funny documentary.
    • 77 Metascore
    • 60 J. Hoberman
    Certainly a testament to Fuller's tenacity, but recent raves notwithstanding, it's no masterpiece...The Big Red One isn't even Fuller's greatest war film. Of those, I'd rank it fourth -- but that's not half bad.
    • 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.
    • 76 Metascore
    • 60 J. Hoberman
    Austere, underlit, uncompromisingly lackadaisical at three hours, and anachronistic in a half dozen ways.
    • 76 Metascore
    • 50 J. Hoberman
    A ghost story that's shot as though it were a documentary -- and a documentary that feels like a dream. Almost too fashionable for its own good.

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