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 Before the Devil Knows You're Dead
Lowest review score: 0 A Hole in My Heart
Score distribution:
  1. Negative: 74 out of 944
944 movie reviews
    • 80 Metascore
    • 80 J. Hoberman
    This is not so much a love story (and even less a story about love) than it is a movie of passionate loveliness.
    • 80 Metascore
    • 70 J. Hoberman
    Annotating excerpts from the movies with oral history, Kudlacek's film is a well-wrought introduction not just to Deren but an under-leveraged chunk of the art world.
    • 80 Metascore
    • 70 J. Hoberman
    For all the on-set antics, appropriated Fellini music, and throwaway gags, the movie is most successful when Coogan is pulling faces for the mirror, aimlessly trading Pacino imitations with his sidekick Brydon, or riffing on the color of the latter's teeth.
    • 80 Metascore
    • 90 J. Hoberman
    The video stores are filled with examples of retro-noir and neo-noir, but Christopher Nolan's audacious timebender is something else. Call it meta-noir.
    • 80 Metascore
    • 100 J. Hoberman
    Grave, beautiful, austerely comic, and casually metempsychotic, Michelangelo Frammartino's Le Quattro Volte is one of the wiggiest nature documentaries-or almost-documentaries-ever made.
    • 80 Metascore
    • 70 J. Hoberman
    Pawlikowski, whose background is in documentary film, has an eye for the menacingly forlorn and elegantly bleak. Last Resort, which was shot without a script and developed largely in collaboration with the actors, is a kind of verité fantasy.
    • 80 Metascore
    • 80 J. Hoberman
    The movie is a superb riff with a boffo finale, a terrific, cynical punch line, and a crazy closing image of Bob's Plymouth on an empty beach.
    • tbd Metascore
    • 80 J. Hoberman
    The Last Bolshevik, considered by some to be Marker's masterpiece.
    • 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."
    • 80 Metascore
    • 80 J. Hoberman
    Frost/Nixon's main attraction is neither its topicality nor its historical value, but Langella's re-creation of his Tony-winning performance.
    • tbd Metascore
    • 80 J. Hoberman
    Visionaries' heedless montage brought back the sense of crazy possibility that excited me when, as a teenage kid from Queens, I first encountered Mekas's world.
    • 79 Metascore
    • 80 J. Hoberman
    Nelson has fashioned a compelling movie around an unfathomable mystery. To see Jones's face, eyes hidden behind trademark aviator shades, is to experience the last shock in Psycho. His is the blank stare of living death.
    • 79 Metascore
    • 90 J. Hoberman
    A fairy tale that presents love as a case of mutual enchantment, Two Family House is not only uniformly well acted, superbly designed, lovingly lit, and sensitively scored, it's as romantic as it is funny.
    • 79 Metascore
    • 70 J. Hoberman
    For all the frenzied activity, Joan Rivers is less informative dish than infomercializing cliché.
    • 79 Metascore
    • 70 J. Hoberman
    Opening too late for the election but still one the year's most politically relevant movies, Condon's earnestly middlebrow biopic is an argument for tolerance and diversity.
    • 79 Metascore
    • 100 J. Hoberman
    This may or may not be the greatest instance of college football ever played, but "Brian's Song," J"erry Maguire," and "The Longest Yard" notwithstanding, Rafferty's no-frills annotated replay is the best football movie I've ever seen: A particular day in history becomes a moment out of time.
    • 79 Metascore
    • 80 J. Hoberman
    Filled with purposeful, if absurd, activity rendered gravely hilarious through Tsai's deadpan, distanced representation of extreme behavior.
    • 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.
    • 79 Metascore
    • 70 J. Hoberman
    An unclassifiable film-school exercise--one part documentary, one part psychodrama, and one part mock manifesto--The Five Obstructions mainly serves to illuminate the game-like nature of Lars von Trier's aesthetic project.
    • 79 Metascore
    • 70 J. Hoberman
    For all its jarring sound design and herky-jerky pacing, founded on sudden incidents or shocking accidents, Mother is deftly plotted, applying Hitchcockian suspense with a Hitchcockian sense of fair play.
    • 79 Metascore
    • 80 J. Hoberman
    This absorbing, significant, and shamelessly entertaining movie not only goes through the looking glass but, no less significantly, turns the mirror back on us.
    • 79 Metascore
    • 90 J. Hoberman
    The results are extraordinary. As understated as it is, the movie is both deeply absurd and powerfully affecting.
    • 79 Metascore
    • 80 J. Hoberman
    Projects a confessional frankness about human relationships that has the messy feel of truth.
    • 79 Metascore
    • 90 J. Hoberman
    As chilly a spectacle as you're likely to see. It's like watching a comeback in an empty stadium.
    • 79 Metascore
    • 70 J. Hoberman
    The Piano Teacher's study in lurid sexual pathology occasions a tour de force by Isabelle Huppert as the title character.
    • 79 Metascore
    • 70 J. Hoberman
    That unexpected rage is the movie's most powerful emotional truth.
    • 79 Metascore
    • 70 J. Hoberman
    Approaching 85, cine-essayist Chris Marker remains as lively, engaged, and provocative as ever--and no less fond of indirection.
    • 79 Metascore
    • 90 J. Hoberman
    Va Savoir has its own unhurried pace and unpredictable humor. This is the sort of comedy Robert Altman could only dream about.
    • 79 Metascore
    • 80 J. Hoberman
    A near-irresistible exercise in bravura absurdity, Darren Aronofsky's Black Swan deserves to become a minor classic of heterosexual camp-at the very least, it's the most risible and riotous backstage movie since "Showgirls."
    • 78 Metascore
    • 70 J. Hoberman
    Basically, Drive is a song of courtly love and devotion among the automatons. It's a machine, but it works.