For 943 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 5.7 points higher than other critics. (0-100 point scale)

J. Hoberman's Scores

  • Movies
Average review score: 65
Highest review score: 100 Solaris
Lowest review score: 0 A Hole in My Heart
Score distribution:
  1. Negative: 75 out of 943
943 movie reviews
    • 90 Metascore
    • 100 J. Hoberman
    Summer sequelitis is upon us, but the season is unlikely to bring anything more remarkable than Richard Linklater's sweet, smart, and deeply romantic Before Sunset.
    • 66 Metascore
    • 100 J. Hoberman
    You can call me fanboy, but this is the best anime I've ever seen.
    • 83 Metascore
    • 100 J. Hoberman
    Vera Drake puts the passion in compassion. Building up to a shattering conclusion, Leigh's movie is both outrageously schematic and powerfully humanist.
    • 73 Metascore
    • 100 J. Hoberman
    The Canadian painter-photographer-filmmaker-musician gives full vent to his genius in this exhilarating perceptual vaudeville, titled for the "central region" of tissue that acts as a conduit between the brain's two hemispheres.
    • 84 Metascore
    • 100 J. Hoberman
    One of the sweetest, saddest stories Franz Kafka never wrote.
    • 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.
    • 85 Metascore
    • 100 J. Hoberman
    Not just the year's most impressive first feature but also the strongest new movie of any kind I've seen in 2010.
    • 76 Metascore
    • 100 J. Hoberman
    Cronenberg's film is at once a lucid movie of ideas, a compelling narrative, and a splendidly acted love story.
    • 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.
    • 82 Metascore
    • 100 J. Hoberman
    Leisurely and digressive, this generally exhilarating saga ("a storm of misadventures" per Ruiz) variously suggests Victor Hugo, Stendhal, and (thanks in part to the unnatural, emphatic yet uninflected, acting) Mexican telenovelas. The score is richly romantic; the period locations are impeccable.
    • 69 Metascore
    • 90 J. Hoberman
    Energetic, inventive, swaggering fun, Quentin Tarantino's Inglourious Basterds is a consummate Hollywood entertainment--rich in fantasy and blithely amoral.
    • 94 Metascore
    • 90 J. Hoberman
    Jack and Miles are male archetypes, as well as the two most fully realized comic creations in recent American movies.
    • 84 Metascore
    • 90 J. Hoberman
    It's a measure of Cuarón's directorial chops that Children of Men functions equally well as fantasy and thriller. Like Spielberg's "War of the Worlds" and the Wachowski Brothers' "V for Vendetta" (and more consistently than either), the movie attempts to fuse contemporary life with pulp mythology.
    • 77 Metascore
    • 90 J. Hoberman
    As fascinating as it is discomfiting and as intelligent as it is primal. From first shot to last, France's foremost bad girl has made an extremely good movie -- and maybe even a great one.
    • 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.
    • 84 Metascore
    • 90 J. Hoberman
    This extravagant family melodrama, one of the highlights of last year's New York Film Festival, runs two and a half hours and never lags, so moment-to-moment enthralling are Desplechin's narrative gambits, as well as his reckless eccentricity.
    • 75 Metascore
    • 90 J. Hoberman
    Robust, engrossing, and surprisingly restrained in saving most of its effects for the grand finale, the first Chronicles of Narnia installment eschews Harry Potter's satanic subtext and "The Lord of the Rings'" Wagnerian cosmology. It may be as close to adult-friendly kid fare as Hollywood will ever get.
    • 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.
    • 88 Metascore
    • 90 J. Hoberman
    The Fallen Idol has been overshadowed by the noir comedy, giddy style, and Cold War thematics of Reed and Greene's subsequent sensation "The Third Man," but (in similarly dealing with the nature of betrayal) The Fallen Idol is actually a superior psychological drama.
    • 84 Metascore
    • 90 J. Hoberman
    An explicit ode to mortality, not without a certain grim humor.
    • 99 Metascore
    • 90 J. Hoberman
    It's here that Melville fully achieved his notion of the sublime, applying "Le Samouraï's" "empty" compositions and near theatrical blocking, as well as its methodical suspense, cosmic fatalism, and sense of grim solitude, to a subject far closer to his heart, namely his own World War II experiences.
    • 89 Metascore
    • 90 J. Hoberman
    Indeed, the man who invented Borat is a masterful improviser, brilliant comedian, courageous political satirist, and genuinely experimental film artist. Borat makes you laugh but Baron Cohen forces you to think.
    • 85 Metascore
    • 90 J. Hoberman
    Offside is blatantly metaphoric and powerfully concrete, deceptively simple and highly sophisticated in its formal intelligence.
    • 82 Metascore
    • 90 J. Hoberman
    A rhapsodic movie directed with considerable formal intelligence and brooding power from an original screenplay by Steve Knight, Eastern Promises is very much a companion to "A History of Violence."
    • 84 Metascore
    • 90 J. Hoberman
    A heady plum pudding of a movie--studded with outsized performances and drenched in cinematic brio. The concoction is over-rich, yet irresistible.
    • 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.
    • 79 Metascore
    • 90 J. Hoberman
    The results are extraordinary. As understated as it is, the movie is both deeply absurd and powerfully affecting.
    • 76 Metascore
    • 90 J. Hoberman
    Serbis may be a raunch-fest, but it's also a mind-trip--a raunch-fest with ideas.
    • 75 Metascore
    • 90 J. Hoberman
    Treeless Mountain is skillfully unsentimental--because of, but also despite, the presence of two irresistible, unself-conscious performers in virtually every scene.
    • 85 Metascore
    • 90 J. Hoberman
    Though he successfully humanizes Hirohito, who is shown happily shedding his divinity, Sokurov doesn't entirely exonerate him. He contrives a shock ending that, as measured as everything else in this engrossing, supremely assured movie, acknowledges one last blood sacrifice on the emperor's altar.