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 Harvard Beats Yale 29-29
Lowest review score: 0 A Hole in My Heart
Score distribution:
  1. Negative: 74 out of 944
944 movie reviews
    • 41 Metascore
    • 40 J. Hoberman
    The result is explicit, if less than hilarious. The Hebrew Hammer lacks the edge of Adam Sandler's "Chanukah Song," although as anti-seasonal fare, it would make a suitably unbearable double bill with Terry Zwigoff's "Bad Santa."
    • 41 Metascore
    • 30 J. Hoberman
    The best one can say for Christopher Hampton's dispirited adaptation of Joseph Conrad's The Secret Agent is that this weirdly sentimental movie might direct new attention to Conrad's corrosive novela satire. [12 Nov 1996]
    • Village Voice
    • 40 Metascore
    • 30 J. Hoberman
    The self-conscious acting and use of direct address bespeak an aesthetic less orthodox Dogme than MTV's Real World, with a nod to Jerry Springer.
    • 40 Metascore
    • 20 J. Hoberman
    Sodden mess, a mutation-invasion movie that passes "Attack of the Killer Tomatoes!" going south.
    • 40 Metascore
    • 40 J. Hoberman
    Much of the movie is dull, and as it has been dubbed into English, the blah-blah is impossible to ignore.
    • 40 Metascore
    • 20 J. Hoberman
    This modern-day vampire story is purposefully shocking in its eroticized gore, if unintentionally dull in its lack of poetic frissons.
    • 40 Metascore
    • 40 J. Hoberman
    The Man Who Cried is like a Yiddish generational tearjerker told from the perspective of the lost child rather than that of the bereaved parent.
    • 39 Metascore
    • 40 J. Hoberman
    The Green Hornet provides a half-hour's worth of mildly entertaining travesty before collapsing in a clamor of bombastic action sequences and lame wisecracks.
    • 39 Metascore
    • 50 J. Hoberman
    More wacky than wack.
    • 38 Metascore
    • 70 J. Hoberman
    Death to Smoochy is often very funny, but what's even more remarkable is the integrity of DeVito's misanthropic vision.
    • 38 Metascore
    • 60 J. Hoberman
    Certainly Sandler's most ambitious work. It's not just a bid for respectability but a genuine allegory.
    • 37 Metascore
    • 30 J. Hoberman
    None of the principals is remotely likable--although Kingsley does appear to enjoy swanning around the great Southwest like a low-rent Anthony Hopkins.
    • 37 Metascore
    • 30 J. Hoberman
    Gaudier than a Hindu-temple roof, louder than the Las Vegas night, Speed Racer is a cathedral of glitz.
    • 36 Metascore
    • 10 J. Hoberman
    At once simple-mindedly didactic and utterly chaotic, Steal This Movie! is interspersed with fake headlines and botched history.
    • 36 Metascore
    • 30 J. Hoberman
    Mesmerizingly bad filmmaking.
    • 35 Metascore
    • 20 J. Hoberman
    Hamming shamelessly as Berowne, Branagh is overseasoned for his part ... he's as desperate as a veteran social director at a Catskills hotel about to fold.
    • 35 Metascore
    • 50 J. Hoberman
    As this movie knows what it is, Scooby-Doo's a relatively painless 85 minutes.
    • 35 Metascore
    • 40 J. Hoberman
    Wit is in short supply -- although this journey to the end of the night derives a certain amount of punkish energy from its crude editing, cruddy-looking close-ups, strident soundtrack, and overall volatility.
    • 34 Metascore
    • 40 J. Hoberman
    Halfway through, De Palma literally explodes his narrative to orchestrate a superb deep-space float-opera replete with runaway modules, high-tech lassos, dramatic self-sacrifice, and, in the most surprising maneuver, a montage-driven modicum of actual suspense.
    • 34 Metascore
    • 40 J. Hoberman
    Aspires to be both stylish and coarse, camp and vulgar -- which is pretty much how Bette Midler plays it.
    • 33 Metascore
    • 30 J. Hoberman
    Intermittently, in attempts to articulate a coherent argument, Collateral Damage shifts from pulse-pounding mode to something more migraine-conducive.
    • 33 Metascore
    • 30 J. Hoberman
    Closer to Sturges than Capra, the movie means to satirize the TV-fueled carnivalesque nature of American electoral politics but only demonstrates the TV-fueled debasement of American commercial comedy.
    • 33 Metascore
    • 50 J. Hoberman
    Trash Humpers projects a cranky resignation to the world as it is; still, it's picturesque.
    • 32 Metascore
    • 10 J. Hoberman
    The grim finality of the ensuing pietà suggests the last act of Hamlet or, rather, Hamlet 2--so embarrassing that, for the first time, I wanted to avert my eyes from the screen, although that might have also been because Repo! appears to have been shot with a cell phone.
    • 32 Metascore
    • 0 J. Hoberman
    An unrelentingly crass and confrontational barf bomb that makes Lars von Trier's "The Idiots" look like the philosophical experiment that it is.
    • 31 Metascore
    • 20 J. Hoberman
    Very Bad Things is a guy film, and, as such, it's a dog. The gross-out humor lacks edge, the guilt never kicks in, and the outrages are predictable. It's one flat brewski.
    • 31 Metascore
    • 40 J. Hoberman
    Ultimately more amusing than hilarious, and sometimes less than that.
    • 29 Metascore
    • 70 J. Hoberman
    Anatomy of Hell gives a feminist twist to a French literary tradition that goes back to the Marquis de Sade. It's also svelte, assured filmmaking.
    • 28 Metascore
    • 30 J. Hoberman
    Director Lee throws cold water on his own overheated fantasy scenario by having Mackie mope through every scene. What's fascinating is how She Hate Me perversely trumps its own perversity.
    • 28 Metascore
    • 10 J. Hoberman
    Even sillier than it is cynical, Drop Dead Gorgeous is a tiresome tale.
    • 27 Metascore
    • 20 J. Hoberman
    A mishmash of life-insurance commercials and Ronald Reagan campaign spots, this sexless orgy of self-congratulation is designed to make you feel good about Hollywood, America, and Jim Carrey -- not to mention the nation's motion picture exhibitors, who are praised at one point as the antithesis of Soviet Communism.
    • 26 Metascore
    • 10 J. Hoberman
    As overlong and undermotivated as it is absentmindedly incoherent.
    • 26 Metascore
    • 40 J. Hoberman
    Gilliam has suffered more than his share of butchered projects, but with this exercise in kamikaze auteurism, he appears to have made exactly the mess he wanted.
    • 25 Metascore
    • 40 J. Hoberman
    Shot in a style that might be termed Americana gravitas, September Dawn has the ham-fisted lyricism of political ads and pharmaceutical commercials. The schematic script is further burdened with heavy ironies and hackneyed dialogue.
    • 24 Metascore
    • 50 J. Hoberman
    Gleefully confrontational in its ludicrous, pulpy tawdriness.
    • 20 Metascore
    • 20 J. Hoberman
    A tale of absolute self-absorption and unconscious revelation.
    • tbd Metascore
    • 50 J. Hoberman
    Tightly framed and tightly wound, Mary is a claustrophobic, incandescent, nutty 83 minutes with everyone in the cast teetering on the ledge of madness.
    • 18 Metascore
    • 10 J. Hoberman
    Bracingly unfunny.
    • 18 Metascore
    • 0 J. Hoberman
    The wildest thing about this movie is its faith that what kids (and parents) really want for Christmas is a Nutcracker version of the Final Solution.
    • 15 Metascore
    • 10 J. Hoberman
    Filled with all manner of tawdry tricks.
    • 14 Metascore
    • 30 J. Hoberman
    That this mime show works better than it should is, in a sense, the ultimate dis.
    • 9 Metascore
    • 20 J. Hoberman
    The movie's mode is brutal and excremental.

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