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 Mysteries of Lisbon
Lowest review score: 0 The Nutcracker
Score distribution:
  1. Negative: 75 out of 944
944 movie reviews
    • 87 Metascore
    • 80 J. Hoberman
    Above all, this is an action film--or, better, a transaction film. It's not just that the Dardennes orchestrate an exciting motor scooter purse-snatching and a prolonged hot pursuit. L'Enfant is an action film because every act that happens is shown to have a consequence.
    • 87 Metascore
    • 80 J. Hoberman
    This corrosive, slapdash, grimly exciting exposé of organized crime in and around Naples comes on like "Mean Streets" cubed.
    • 87 Metascore
    • 70 J. Hoberman
    Moving from cafés to poolrooms to movie theaters, it's the prototypical male ensemble film.
    • 87 Metascore
    • 90 J. Hoberman
    Fateless has a remarkable absence of sentimentality. The movie is obviously artistic, but there are no cheap or superfluous effects. It's almost mystically translucent.
    • 87 Metascore
    • 90 J. Hoberman
    No matter what your opinion of McNamara, The Fog of War is a chastening experience.
    • 87 Metascore
    • 90 J. Hoberman
    A work of unostentatious beauty and uncloying sweetness, at once sophisticated and artless, mysterious and matter-of-fact, cosmic and humble, it asks only a measure of Boonmeevian acceptance: The movie doesn't mean anything-it simply is.
    • 87 Metascore
    • 70 J. Hoberman
    The most straightforward love story--and in some ways the straightest--to come out of Hollywood, at least since "Titanic."
    • 87 Metascore
    • 100 J. Hoberman
    A tale of sadness and hysteria so raw that it bleeds.
    • 87 Metascore
    • 90 J. Hoberman
    As straightforward and plot-driven as any movie about life imitating art imitating life could possibly be.
    • 86 Metascore
    • 90 J. Hoberman
    This lusty, heartfelt movie has a near Brueghelian visual energy and a humanist passion as contagious as its music.
    • 86 Metascore
    • 80 J. Hoberman
    Dazzling dance to the music of time.
    • tbd Metascore
    • 90 J. Hoberman
    More concentrated and svelte than its precursor, Once Upon a Time II also has the benefit of fights staged by Master Yuen Wo-Ping that show Jet Li -- another camera-age hero -- to even greater advantage.
    • 86 Metascore
    • 100 J. Hoberman
    To my mind, the greatest film by Iranian master Abbas Kiarostami.
    • 86 Metascore
    • 70 J. Hoberman
    Sunny as The Straight Story appears, Lynch is still defamiliarizing the normal.
    • 86 Metascore
    • 90 J. Hoberman
    I can't remember a teenage romance this engagingly offbeat since "Lord Love a Duck."
    • 86 Metascore
    • 70 J. Hoberman
    Serious comedy, powered by an enthusiastic cast and full of good-natured innuendo, Lisa Cholodenko's The Kids Are All Right gives adolescent coming-of-age and the battle of the sexes a unique twist.
    • 86 Metascore
    • 90 J. Hoberman
    Scorches the screen like a prairie fire.
    • 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
    • 90 J. Hoberman
    Ten
    Conceptually rigorous, splendidly economical, and radically Bazinian.
    • 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
    • 70 J. Hoberman
    Restrained, precise, and unobtrusively wry.
    • 86 Metascore
    • 70 J. Hoberman
    Beauvois's film is cool while Denis's is hot-but the main difference is that where "White Material" is knowingly postcolonial, Of Gods and Men aspires to the timeless.
    • 86 Metascore
    • 80 J. Hoberman
    In a sense, Varda has done for herself what she did for Demy--creating a work, as charming as it is touching, that serves to explicate and enrich an entire oeuvre.
    • 86 Metascore
    • 80 J. Hoberman
    This is a movie of blunt juxtapositions-death accompanied by the sound of raucous street musicians-as well as awkward flashbacks. Still, the strategy works.
    • 86 Metascore
    • 90 J. Hoberman
    Traffic is not just an ultra-procedural--it's the Big Picture, the Whole Enchilada, complete with a complicated war between two Mexican drug cartels.
    • 86 Metascore
    • 40 J. Hoberman
    Initial strangeness inexorably gives way to rote sentimentality and mystical tenderness becomes narrative expedience.
    • 86 Metascore
    • 80 J. Hoberman
    It is an essay in film form with near-universal interest and a remarkable degree of synthesis.
    • 86 Metascore
    • 100 J. Hoberman
    Tian's movie seems to be among the finest expressions of the Chinese new wave.
    • 86 Metascore
    • 90 J. Hoberman
    For all its quasi-documentary materialism, The Son is ultimately a Christian allegory of one man's inchoate desire to return good for evil. The movie requires a measure of faith, and like a job well done, it repays that trust.
    • 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.