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

J. Hoberman's Scores

  • Movies
Average review score: 65
Highest review score: 100 La Commune (Paris, 1871)
Lowest review score: 0 The Nutcracker
Score distribution:
  1. Negative: 75 out of 944
944 movie reviews
    • 82 Metascore
    • 80 J. Hoberman
    Call it the Passion of Jeanne: Accompanied for much of the movie by a single reverb-heavy guitar and a snare drum, Balibar demonstrates a carefully calibrated lack of affect and a voice as smoky as a carton of Gitanes.
    • 82 Metascore
    • 80 J. Hoberman
    It's at once brilliant and inept.
    • 81 Metascore
    • 80 J. Hoberman
    In addition to reporting a scoop, Bartley and O'Briain do an excellent job in deconstructing the Venezuelan TV news footage of blood, chaos, and rival crowds.
    • 81 Metascore
    • 90 J. Hoberman
    Cronenberg's movie manages to have its cake and eat it--impersonating an action flick in its staccato mayhem while questioning these violent attractions every step of the way.
    • 81 Metascore
    • 90 J. Hoberman
    Thrilling and ludicrous. The movie feels entirely instinctual. The rest is silencio.
    • 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
    • 70 J. Hoberman
    While never less than fascinating, Katyn alternates between scenes of tremendous power and sequences most kindly described as dutiful. It's as if the artist is never certain whether he is making this movie for himself, his father, or the entire nation.
    • 81 Metascore
    • 90 J. Hoberman
    Claire Denis's strongest movie in the decade since "Beau Travail," her tense, convulsive White Material is a portrait of change and a thing of terrible beauty.
    • 81 Metascore
    • 80 J. Hoberman
    If the carefully planted romantic intrigue is serenely slow to ripen, the process is never less than intriguing.
    • 81 Metascore
    • 70 J. Hoberman
    It's more conventionally romantic than wildly Romantic--but no less touching for that.
    • 81 Metascore
    • 80 J. Hoberman
    As dense and fluid as Martel's movie is, the viewer--like the protagonist--is compelled to live in the moment. And a rich moment it is.
    • 81 Metascore
    • 100 J. Hoberman
    Police, Adjective is a deadly serious as well as dryly humorous analysis of bureaucratic procedure and, particularly, the tyranny of language. Images may record reality, but words define it.
    • 81 Metascore
    • 80 J. Hoberman
    More impressionistic than analytical, A Grin Without a Cat is a grand immersion.
    • 81 Metascore
    • 80 J. Hoberman
    If Hollywood were truly devoted to telling it like it is, Baker would win a special Oscar. To add to the creepiness, Solondz is (as he made clear in Dollhouse) an extremely sensitive director of kids.
    • 81 Metascore
    • 80 J. Hoberman
    As usual, Jia's people tend toward the opaque--one of the movie's most enthusiastic conversations is conducted with ringtones. But his compositions have their own eloquence. Everything's despoiled and yet--as rendered in cinematographer Yu Lik-wai's rich, impossibly crisp HD images--everything is beautiful.
    • 81 Metascore
    • 70 J. Hoberman
    Present in every scene, if not each shot, Rourke gives a tremendously physical performance that The Wrestler essentially exists to document.
    • 81 Metascore
    • 50 J. Hoberman
    Terence Davies revisits his youth to decidedly mixed effect.
    • 81 Metascore
    • 80 J. Hoberman
    Boldly facetious and monstrously clever.
    • 81 Metascore
    • 80 J. Hoberman
    Paranoid, hysterical, and programmatically subjective, the movie is in every sense a psychological thriller. Although the payoff is ambiguous, the experience remains in the mind. It's an absolutely restrained and truly frightening movie.
    • 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.
    • 81 Metascore
    • 100 J. Hoberman
    Iranian director Jafar Panahi's Crimson Gold is an anti-blockbuster--a deceptively modest undertaking that brilliantly combines unpretentious humanism and impeccable formal values.
    • 81 Metascore
    • 80 J. Hoberman
    In every way a sunny film. Supremely affirmative, it ends with the funniest, sexiest close-up of the year.
    • 80 Metascore
    • 70 J. Hoberman
    Perhaps because Herzog is approaching old-master status, Encounters at the End of the World skews toward the observational. As in "Grizzly Man," his 2005 portrait of a deranged bear lover, Herzog seems at least as fascinated with other people's obsessions as his own.
    • 80 Metascore
    • 90 J. Hoberman
    Trembling throughout on the verge of a tearful breakdown, but far too dignified to allow her character to choke up, Williams delivers a sensationally nuanced performance that, were it not so resolutely undramatic, would constitute an aria of stoical misery.
    • 80 Metascore
    • 80 J. Hoberman
    Exquisitely understated.
    • 80 Metascore
    • 70 J. Hoberman
    My first impression of Three Times was that it was high middling Hou--conceptually bold but unevenly executed. The movie's implicit themes of time travel, eternal recurrence, and the transmigration of souls seemed as muddied by the director's devotion to Shu as they were dissipated in the confusion of the final present-day section. But Three Times improves on a second viewing.
    • 80 Metascore
    • 90 J. Hoberman
    Plenty of moments in Melancholia are painfully funny. Some moments are even painful to watch, but there was never a moment when I thought about the time or my next movie or did not care about the characters or had anything less than complete interest in what was happening on the screen.
    • 80 Metascore
    • 80 J. Hoberman
    The hyperbole can be predictable and the clichés earnest, but by and large, Charlie is a serious, often illuminating, and unavoidably entertaining account of the creature Downey calls "the most endearing superhero you might ever want to watch."
    • 80 Metascore
    • 80 J. Hoberman
    For the most part, the Coens' is a highly enjoyable yarn, stocked with pungent bushwa and a full panoply of frontier bozos.
    • 80 Metascore
    • 90 J. Hoberman
    A brilliant appreciation of the last great Soviet director, Andrei Tarkovsky.