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 Dogville
Lowest review score: 0 A Hole in My Heart
Score distribution:
  1. Negative: 74 out of 944
944 movie reviews
    • 91 Metascore
    • 100 J. Hoberman
    A movie so tactile in its cinematography, inventive in its camera placement, and sensuous in its editing that the purposefully oblique and languid narrative is all but eclipsed.
    • 91 Metascore
    • 80 J. Hoberman
    Ari Folman's broodingly original Waltz With Bashir -- one of the highlights of the last New York Film Festival -- is a documentary that seems only possible, not to mention bearable, as an animated feature.
    • 90 Metascore
    • 80 J. Hoberman
    Nothing can redeem the movie's final 40 minutes. That may not be an ultimate horror, but it is a real one.
    • 90 Metascore
    • 90 J. Hoberman
    Bloody Sunday doesn't surrender its grip on the viewer even after the action shifts from the streets of Bogside to a local hospital where the weeping masses are still under the guns of the war-painted British soldiers.
    • 90 Metascore
    • 70 J. Hoberman
    The most pop film the great Russian filmmaker ever made.
    • 90 Metascore
    • 100 J. Hoberman
    Watkins restages history in its own ruins, uses the media as a frame, and even so, manages to imbue his narrative with amazing presence. No less than the event it chronicles, La Commune is a triumph of spontaneous action.
    • 90 Metascore
    • 90 J. Hoberman
    Not only Mike Leigh's strongest film since "Naked" but a true show-making epic.
    • 90 Metascore
    • 80 J. Hoberman
    The most offbeat studio comedy since "Rushmore."
    • 90 Metascore
    • 100 J. Hoberman
    Summer sequelitis is upon us, but the season is unlikely to bring anything more remarkable than Richard Linklater's sweet, smart, and deeply romantic Before Sunset.
    • 90 Metascore
    • 80 J. Hoberman
    Panoramic yet cozy, enthusiastically glib.
    • 90 Metascore
    • 90 J. Hoberman
    Clever, engaging, and cannily faux populist.
    • 90 Metascore
    • 80 J. Hoberman
    The Passenger is a relic of that moment in international co-production when famous European auteurs hitched their wagons to hip and eager Hollywood stars.
    • 89 Metascore
    • 90 J. Hoberman
    As bittersweet a brief encounter as any in American movies since Richard Linklater's equally romantic "Before Sunrise."
    • 89 Metascore
    • 70 J. Hoberman
    A compelling thriller but an unsatisfying character drama.
    • 89 Metascore
    • 90 J. Hoberman
    Indeed, the man who invented Borat is a masterful improviser, brilliant comedian, courageous political satirist, and genuinely experimental film artist. Borat makes you laugh but Baron Cohen forces you to think.
    • 89 Metascore
    • 90 J. Hoberman
    It's a baroque and intermittently brilliant brain twister so convoluted that it inevitably deposits the viewer in an alternate universe.
    • 89 Metascore
    • 90 J. Hoberman
    Wong is sensationally expressive and projects a modern, coolly appraising sexuality. Visually eloquent and often dazzling, the movie is no less terrific. Piccadilly is both evidence of silent cinema at its rudely aborted peak and Wong's frustrated potential to have been among its greatest stars.
    • 88 Metascore
    • 80 J. Hoberman
    Barnard makes the psychological mayhem Dunbar endured and inflicted tangible.
    • 88 Metascore
    • 90 J. Hoberman
    Keep your "Lara Croft" and your "Shrek": For me, the summer's reigning icons are Enid, Thora Birch's geek goddess in Ghost World, and her action-movie analogue.
    • 88 Metascore
    • 70 J. Hoberman
    It has the charm of the original American road movies, feasting on the gorgeous, ramshackle landscape of the filmmaker's motherland.
    • 88 Metascore
    • 70 J. Hoberman
    In the bell jar that is Capote, Hoffman bogarts the oxygen; everyone else asphyxiates.
    • 88 Metascore
    • 100 J. Hoberman
    In every respect, this unclassifiable movie is an amazing accomplishment.
    • 88 Metascore
    • 80 J. Hoberman
    Like many cult films, it is also less than the sum of its parts.
    • 88 Metascore
    • 80 J. Hoberman
    Alberto Lattuada's tricky-to-parse Mafioso dates from 1962 but, with its abrupt tonal shifts and disturbing existential premise, this nearly forgotten dark comedy could be the most modern (or at least modernist) movie in town.
    • 88 Metascore
    • 90 J. Hoberman
    The Fallen Idol has been overshadowed by the noir comedy, giddy style, and Cold War thematics of Reed and Greene's subsequent sensation "The Third Man," but (in similarly dealing with the nature of betrayal) The Fallen Idol is actually a superior psychological drama.
    • 88 Metascore
    • 80 J. Hoberman
    There's not much sense that the system can be voted out-not least because Barack Obama, shown campaigning on the crisis and elected in part to change the game, recruited his economic advisers from those who enabled the disaster.
    • 88 Metascore
    • 70 J. Hoberman
    Jackson's movie is one portentous happening after another -- not unreasonable in that his source, J.R.R. Tolkien's trilogy, is basically the fantasyland equivalent of a world war against absolute evil.
    • 88 Metascore
    • 40 J. Hoberman
    A combination of "Barnyard Follies" and "Schindler's List."
    • 88 Metascore
    • 80 J. Hoberman
    A well-wrought, enjoyably amusing inspirational drama that successfully humanizes, even as it pokes fun at, the House of Windsor.

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