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 I'm Not There.
Lowest review score: 0 A Hole in My Heart
Score distribution:
  1. Negative: 74 out of 944
944 movie reviews
    • 78 Metascore
    • 90 J. Hoberman
    Leisurely yet streamlined film, brilliantly adapted by British filmmaker Terence Davies from Edith Wharton's most powerful novel.
    • 78 Metascore
    • 80 J. Hoberman
    As crass as it is visionary, Godzilla belongs with--and might well trump--the art films "Hiroshima Mon Amour" and "Dr. Strangelove" as a daring attempt to fashion a terrible poetry from the mind-melting horror of atomic warfare.
    • 78 Metascore
    • 70 J. Hoberman
    Head-On loses its merry mojo once events turn irrevocable and the action switches from Hamburg to Istanbul.
    • 78 Metascore
    • 60 J. Hoberman
    A pleasant time-passer.
    • 78 Metascore
    • 90 J. Hoberman
    The movie is as eloquently uninflected and filled with quirks as its star.
    • 78 Metascore
    • 80 J. Hoberman
    The Soft Skin is a movie about the agony and ecstasy of an extramarital affair. Truffaut treats it like a crime film-low-key yet tense, filled with carefully planted potential "clues" and an undercurrent of anxiety.
    • 78 Metascore
    • 70 J. Hoberman
    It is, for the most part, witty and engrossing.
    • 78 Metascore
    • 70 J. Hoberman
    As cliché-rich as it is compelling.
    • 78 Metascore
    • 80 J. Hoberman
    Absorbing documentary portrait.
    • 78 Metascore
    • 90 J. Hoberman
    As mystical as it is gritty, as despairing as it is detached.
    • 78 Metascore
    • 50 J. Hoberman
    As elegantly crafted as it often is, Anderson's movie is essentially a one-trick pony that, hampered by an undeveloped script, ultimately pulls up lame.
    • 78 Metascore
    • 80 J. Hoberman
    The movie is an expert, sunlit chiller audaciously predicated on an unquiet historical memory: "What is a ghost?"
    • 78 Metascore
    • 60 J. Hoberman
    Single-minded, sometimes harrowing.
    • 78 Metascore
    • 90 J. Hoberman
    Blind Shaft means to leave the viewer dazed, and it does.
    • 78 Metascore
    • 70 J. Hoberman
    Up and Down is not exactly the toughest movie on the block, but especially compared to most American comedies, it conveys a sense of scrofulous rue.
    • 78 Metascore
    • 90 J. Hoberman
    A highly entertaining adaptation of French dandy Jules-Amédée Barbey d'Aurevilly's mid-19th-century novel Une vieille maîtresse.
    • 78 Metascore
    • 80 J. Hoberman
    Because everything is funny and nothing provides a punchline, audiences may be too shell-shocked to laugh--you know you're in Maddinville when individual cackles detonate at unexpected intervals.
    • 78 Metascore
    • 60 J. Hoberman
    Morris, who more or less invented the ironic documentary, seems to struggle here for an appropriate tone even as he allows Leuchter more than enough rope to hang himself.
    • 78 Metascore
    • 70 J. Hoberman
    More engrossing than convincing.
    • 78 Metascore
    • 90 J. Hoberman
    Genuinely unnerving movie.
    • 78 Metascore
    • 80 J. Hoberman
    The Power of Nightmares is essentially polemical. As partisan filmmaking it is often brilliant and sometimes hilarious-a superior version of "Syriana" (which also prudently subtracts Israel and the Palestinians from the Middle East equation).
    • 78 Metascore
    • 80 J. Hoberman
    Impressionistic and lyrical, as well as somber and gripping, The Betrayal conveys a ceaseless flow. It's as if the filmmaker has opened a window onto a parallel world traveling beside our own.
    • 78 Metascore
    • 80 J. Hoberman
    Chow manages to have his cake and eat it too: Kung Fu Hustle is a kung fu parody that's also a terrific kung fu movie.
    • 77 Metascore
    • 70 J. Hoberman
    Steeped in metaphor as it is, Panic offers a more naturalistic analysis of male midlife crisis than the grotesquely overpraised "American Beauty."
    • 77 Metascore
    • 70 J. Hoberman
    Deranging a venerable Hungarian tradition of "village sociology," Pálfi employs a bizarrely associative montage to fashion a portrait of a traditional peasant community -- just a midsummer Sunday on Mars.
    • 77 Metascore
    • 70 J. Hoberman
    Rescue Dawn is the closest thing to a "real" movie that Herzog has ever made. The lone conquistador has joined the club. Rescue Dawn is a Rambo movie without the Man (who, if I remember my Rambology, was himself of German descent).
    • 77 Metascore
    • 60 J. Hoberman
    One leaves with barely a clue as to how this group was able to orchestrate a successful string of terror bombings.
    • 77 Metascore
    • 60 J. Hoberman
    An enjoyably glib and refreshingly terse exercise in big beat and constant motion.
    • 77 Metascore
    • 80 J. Hoberman
    The movie's best moments evoke the thrill of doing something new. Pollock convincingly retails the beauty and originality of the painter's best work -- it may not be an intellectual adventure, but it does represent one.
    • 77 Metascore
    • 80 J. Hoberman
    Alamar provides a nearly hypnotic immersion in the brilliantly aqua, impossibly tranquil Caribbean--a Paradise Regained not just for Natan, but for everyone