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 *Corpus Callosum
Lowest review score: 0 The Nutcracker
Score distribution:
  1. Negative: 75 out of 943
943 movie reviews
    • 52 Metascore
    • 30 J. Hoberman
    Like a visual concussion.
    • 44 Metascore
    • 30 J. Hoberman
    A lackluster screwball comedy.
    • 55 Metascore
    • 30 J. Hoberman
    The least one can say for this costume action flick is that it hits bottom immediately.
    • 44 Metascore
    • 30 J. Hoberman
    An overtly saccharine fairy tale of abandonment that is subverted by its own comic brutality. It's oddly affecting...which is to say, sad in a way that its maker might not have intended.
    • 33 Metascore
    • 30 J. Hoberman
    Closer to Sturges than Capra, the movie means to satirize the TV-fueled carnivalesque nature of American electoral politics but only demonstrates the TV-fueled debasement of American commercial comedy.
    • 41 Metascore
    • 30 J. Hoberman
    The best one can say for Christopher Hampton's dispirited adaptation of Joseph Conrad's The Secret Agent is that this weirdly sentimental movie might direct new attention to Conrad's corrosive novela satire. [12 Nov 1996]
    • 40 Metascore
    • 30 J. Hoberman
    The self-conscious acting and use of direct address bespeak an aesthetic less orthodox Dogme than MTV's Real World, with a nod to Jerry Springer.
    • 46 Metascore
    • 30 J. Hoberman
    10 on Ten is less illuminating than pedantic, as well as tediously self-absorbed.
    • 56 Metascore
    • 30 J. Hoberman
    Hereafter is not just a stretch for Eastwood, it's a contortion. The irrationality of the premise is exceeded only by the strategic irrationalities of the plot.
    • 42 Metascore
    • 20 J. Hoberman
    In Jackson's hands, The Lovely Bones is doubly appalling. Part Disney's "Alice in Wonderland," part Fritz Lang's "M," the movie is horrific yet cloying, alternately distended and abrupt, sometimes poignant and often ridiculous.
    • 20 Metascore
    • 20 J. Hoberman
    A tale of absolute self-absorption and unconscious revelation.
    • 62 Metascore
    • 20 J. Hoberman
    See it if you must, but don't forget to pack the Air Wick. These breezy doings are mustier than a Glitter Gulch casino at 4 a.m.
    • 35 Metascore
    • 20 J. Hoberman
    Hamming shamelessly as Berowne, Branagh is overseasoned for his part ... he's as desperate as a veteran social director at a Catskills hotel about to fold.
    • 56 Metascore
    • 20 J. Hoberman
    Less awful than inert, Claire Dolan comes across as a willfully bad movie.
    • 45 Metascore
    • 20 J. Hoberman
    "Every work of art is an uncommitted crime," Theodor Adorno once wrote. This one is more of a botched misdemeanor.
    • 64 Metascore
    • 20 J. Hoberman
    Blackboards is both shrill and soporific, and because everything is repeated five or six times, it can seem tiresomely simpleminded.
    • 45 Metascore
    • 20 J. Hoberman
    The script is worse than slack, and despite its lurid premise, Bully doesn't have "Kids" tabloid immediacy.
    • 27 Metascore
    • 20 J. Hoberman
    A mishmash of life-insurance commercials and Ronald Reagan campaign spots, this sexless orgy of self-congratulation is designed to make you feel good about Hollywood, America, and Jim Carrey -- not to mention the nation's motion picture exhibitors, who are praised at one point as the antithesis of Soviet Communism.
    • 40 Metascore
    • 20 J. Hoberman
    Sodden mess, a mutation-invasion movie that passes "Attack of the Killer Tomatoes!" going south.
    • 41 Metascore
    • 20 J. Hoberman
    The Allen persona has always blurred the distinction between his art and his life. Still, one would scarcely expect Allen's attempt to satirize daily life in the National Entertainment State to be this tired, sour, and depressed.
    • 47 Metascore
    • 20 J. Hoberman
    Peaks with its opening scene.
    • 31 Metascore
    • 20 J. Hoberman
    Very Bad Things is a guy film, and, as such, it's a dog. The gross-out humor lacks edge, the guilt never kicks in, and the outrages are predictable. It's one flat brewski.
    • 51 Metascore
    • 20 J. Hoberman
    The Phantom Menace is simply a billboard for itself. Anyone who sees it will be experiencing it for the second time. The hype was not about the movie, the hype was the movie.
    • 60 Metascore
    • 20 J. Hoberman
    Grim going.
    • 9 Metascore
    • 20 J. Hoberman
    The movie's mode is brutal and excremental.
    • 40 Metascore
    • 20 J. Hoberman
    This modern-day vampire story is purposefully shocking in its eroticized gore, if unintentionally dull in its lack of poetic frissons.
    • 44 Metascore
    • 20 J. Hoberman
    Professional obligations required that I endure it, but there's no reason why you should.
    • 65 Metascore
    • 20 J. Hoberman
    An insufferable exercise in cutie-pie modernism, painfully unfunny and precious to a fault.
    • 32 Metascore
    • 10 J. Hoberman
    The grim finality of the ensuing pietĂ  suggests the last act of Hamlet or, rather, Hamlet 2--so embarrassing that, for the first time, I wanted to avert my eyes from the screen, although that might have also been because Repo! appears to have been shot with a cell phone.
    • 18 Metascore
    • 10 J. Hoberman
    Bracingly unfunny.
    • 26 Metascore
    • 10 J. Hoberman
    As overlong and undermotivated as it is absentmindedly incoherent.
    • 49 Metascore
    • 10 J. Hoberman
    The film seems dimly aware of its own ridiculousness, but it lacks the constitution for self-mockery.
    • 15 Metascore
    • 10 J. Hoberman
    Filled with all manner of tawdry tricks.
    • 28 Metascore
    • 10 J. Hoberman
    Even sillier than it is cynical, Drop Dead Gorgeous is a tiresome tale.
    • 64 Metascore
    • 10 J. Hoberman
    For all the tumultuous entrances and flouncing exits, the eight principals manage maybe three laughs among them.
    • 36 Metascore
    • 10 J. Hoberman
    At once simple-mindedly didactic and utterly chaotic, Steal This Movie! is interspersed with fake headlines and botched history.
    • 51 Metascore
    • 10 J. Hoberman
    From the end to the beginning--or is it from the inadvertently ridiculous to the would-be sublime?--Noé's stunt is an exploitation movie with a gimmick, not to mention a vacuous philosophy.
    • 61 Metascore
    • 10 J. Hoberman
    This smoothly odious piece of work, written by Frank Cottrell Boyce and directed by Michael Winterbottom, posits the self-consciously repellent Plummer as a sort of Valerie Solanas-inflected version of the Florida serial killer Aileen Wournos. [7 May 1996]
    • 64 Metascore
    • 10 J. Hoberman
    The Pillow Book's pretentions are boundless, for all its desperate fashion and layered imagery, it's a staggering bore-as vacantly petulant as Kate Moss's stare. [10 Jun 1997]
    • 32 Metascore
    • 0 J. Hoberman
    An unrelentingly crass and confrontational barf bomb that makes Lars von Trier's "The Idiots" look like the philosophical experiment that it is.
    • 18 Metascore
    • 0 J. Hoberman
    The wildest thing about this movie is its faith that what kids (and parents) really want for Christmas is a Nutcracker version of the Final Solution.