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

J. Hoberman's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 Mysteries of Lisbon
Lowest review score: 0 A Hole in My Heart
Score distribution:
  1. Negative: 74 out of 944
944 movie reviews
    • 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.
    • 90 Metascore
    • 100 J. Hoberman
    Watkins restages history in its own ruins, uses the media as a frame, and even so, manages to imbue his narrative with amazing presence. No less than the event it chronicles, La Commune is a triumph of spontaneous action.
    • 92 Metascore
    • 100 J. Hoberman
    This is truly a work of symphonic aspirations and masterful execution.
    • 98 Metascore
    • 100 J. Hoberman
    Literally and figuratively marvelous, a rich, daring mix of fantasy and politics.
    • 100 Metascore
    • 100 J. Hoberman
    To cut to the chase, Robert Bresson's heart-breaking and magnificent Au Hasard Balthazar (1966) -- the story of a donkey's life and death in rural France -- is the supreme masterpiece by one of the greatest of 20th-century filmmakers.
    • 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.
    • 82 Metascore
    • 100 J. Hoberman
    Detailed yet oblique, leisurely but compelling, perfectly cast and irreproachably acted, the movie has a seductively novelistic texture complete with a less-than-omniscient narrator.
    • 97 Metascore
    • 100 J. Hoberman
    Romanian writer-director Cristian Mungiu's brilliantly discomfiting second feature is one long premonition of disaster.
    • 76 Metascore
    • 100 J. Hoberman
    One of the richest films of the past decade.
    • 86 Metascore
    • 90 J. Hoberman
    Traffic is not just an ultra-procedural--it's the Big Picture, the Whole Enchilada, complete with a complicated war between two Mexican drug cartels.
    • 90 Metascore
    • 90 J. Hoberman
    Bloody Sunday doesn't surrender its grip on the viewer even after the action shifts from the streets of Bogside to a local hospital where the weeping masses are still under the guns of the war-painted British soldiers.
    • 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.
    • 61 Metascore
    • 90 J. Hoberman
    Unknown Pleasures suggests a coolly formalist reinvention of neorealism. The film is both distanced and immediate -- a fiction with the force of documentary.
    • 71 Metascore
    • 90 J. Hoberman
    Manages to turn a highly dubious concept into a subtle and deliciously mordant comedy.
    • 82 Metascore
    • 90 J. Hoberman
    This affecting eulogy underscores not only Demme's own tribute to Dominique but also the film's homage to radio. This is a motion picture that's in love with the magic of airborne speech.
    • 82 Metascore
    • 90 J. Hoberman
    Self-contained, enigmatic, illuminated from within, Huppert banks a performance that pays dividends throughout the film.
    • 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.
    • 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
    Guy and Madeline is at once self-conscious and breezy, clumsy and deft, diffident and sweet, annoying and ecstatic. It's amateurish in the best sense, and it radiates cinephilia. No movie I've seen this year has given me more joy.
    • 85 Metascore
    • 90 J. Hoberman
    From first shot to last, Dworkin's movie is a continuously absorbing, sometimes revelatory, frequently moving experience; as documentary filmmaking it's not only amazingly intimate but also characterized by an unexpected lyricism.
    • 80 Metascore
    • 90 J. Hoberman
    A brilliant appreciation of the last great Soviet director, Andrei Tarkovsky.
    • 86 Metascore
    • 90 J. Hoberman
    Ten
    Conceptually rigorous, splendidly economical, and radically Bazinian.
    • 86 Metascore
    • 90 J. Hoberman
    For all its quasi-documentary materialism, The Son is ultimately a Christian allegory of one man's inchoate desire to return good for evil. The movie requires a measure of faith, and like a job well done, it repays that trust.
    • 98 Metascore
    • 90 J. Hoberman
    The greatest of all pulp fantasies.
    • 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.
    • 75 Metascore
    • 90 J. Hoberman
    May not be the movie of the year, but it is a seasonal gift to us all. Sweet and funny, doggedly oddball if bordering precious.
    • 82 Metascore
    • 90 J. Hoberman
    A movie of elegant understatement and considerable formal intelligence.
    • 76 Metascore
    • 90 J. Hoberman
    Enriches a deceptively anecdotal plot with a combination of observational camerawork, strong narrative rhythms, and deft characterization.
    • 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.

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