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 5.8 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
    • tbd Metascore
    • 90 J. Hoberman
    Excavated from the deep '50s, Michelangelo Antonioni's Le amiche (known in English as "The Girlfriends") is an unexpected treasure.
    • 81 Metascore
    • 90 J. Hoberman
    Claire Denis's strongest movie in the decade since "Beau Travail," her tense, convulsive White Material is a portrait of change and a thing of terrible beauty.
    • 83 Metascore
    • 90 J. Hoberman
    Boxing Gym is a companion piece of sorts to "La Danse: The Paris Opera Ballet," Wiseman's previous doc that played Film Forum last fall. It's not simply that boxing and ballet are understood as kindred activities. Boxing Gym is itself a dance movie-which is to say, a highly formalized exercise in choreographed activity.
    • 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.
    • 74 Metascore
    • 90 J. Hoberman
    Ultimately, The Woodmans is a haunting study in family dynamics.
    • 80 Metascore
    • 90 J. Hoberman
    Plenty of moments in Melancholia are painfully funny. Some moments are even painful to watch, but there was never a moment when I thought about the time or my next movie or did not care about the characters or had anything less than complete interest in what was happening on the screen.
    • 82 Metascore
    • 90 J. Hoberman
    Abbas Kiarostami's Certified Copy is exactly that: The Iranian modernist's first feature to be shot in the West is a flawless riff on our indigenous art cinema.
    • 87 Metascore
    • 90 J. Hoberman
    A work of unostentatious beauty and uncloying sweetness, at once sophisticated and artless, mysterious and matter-of-fact, cosmic and humble, it asks only a measure of Boonmeevian acceptance: The movie doesn't mean anything-it simply is.
    • 86 Metascore
    • 80 J. Hoberman
    In a sense, Varda has done for herself what she did for Demy--creating a work, as charming as it is touching, that serves to explicate and enrich an entire oeuvre.
    • 87 Metascore
    • 80 J. Hoberman
    This corrosive, slapdash, grimly exciting exposé of organized crime in and around Naples comes on like "Mean Streets" cubed.
    • 92 Metascore
    • 80 J. Hoberman
    A work of bravura filmmaking.
    • 91 Metascore
    • 80 J. Hoberman
    Ari Folman's broodingly original Waltz With Bashir -- one of the highlights of the last New York Film Festival -- is a documentary that seems only possible, not to mention bearable, as an animated feature.
    • 81 Metascore
    • 80 J. Hoberman
    As dense and fluid as Martel's movie is, the viewer--like the protagonist--is compelled to live in the moment. And a rich moment it is.
    • 91 Metascore
    • 80 J. Hoberman
    More fun than any movie about the violent death of a 36-year-old woman has a right to be. It's also as exotic an English-language picture as the season is likely to bring.
    • 94 Metascore
    • 80 J. Hoberman
    In short, this Krakatoa is at once exhausting and riveting. It's a technological marvel, and for those not with the program, a bit of a bore.
    • 41 Metascore
    • 80 J. Hoberman
    Like everything Jarmusch, The Limits of Control is calibrated for cool.
    • 64 Metascore
    • 80 J. Hoberman
    Che
    Every Bolivian sequence has its Cuban parallel, which is why Che's two parts are best seen together. Guerrilla may be the more realized of the two--and could certainly stand on its own--but it is only comprehensible in the light of The Argentine. Elevating Guerrilla to tragedy, The Argentine puts some hope in hopelessness--and even in history.
    • 54 Metascore
    • 80 J. Hoberman
    Funny as it is, Brüno could not be as shockingly uproarious as "Borat." No matter how well retold, a joke necessarily loses explosive force the second time around. But a great gag is a thing of beauty forever--so, too, a comic performance.
    • 71 Metascore
    • 80 J. Hoberman
    Made with considerable wit and style, Horn's thoughtful celebration of the era and its most uncanny diva could function as the show's ("East Village USA") supplement.
    • 66 Metascore
    • 80 J. Hoberman
    Steamboy doesn't have the deep melancholia or the visionary élan of last year's Ghost in the Shell 2: Innocence. Consistent in its graphic invention from first to last, however, it's a sensationally designed piece of work. (The retro stylistics are comparable to Brazil, David Lynch's Dune, and The Iron Giant.)
    • 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.
    • 82 Metascore
    • 80 J. Hoberman
    Soberly entertaining documentary.
    • 75 Metascore
    • 80 J. Hoberman
    Not the least remarkable thing about this deadpan, deceptively haphazard ensemble comedy, a movie as much choreographed as directed, is the way that--at the final moment--the mist simply evaporates.
    • 80 Metascore
    • 80 J. Hoberman
    Exquisitely understated.
    • 82 Metascore
    • 80 J. Hoberman
    Tender, cruel, and very funny, Baumbach's fourth feature turns family history into a sort of urban myth.
    • 90 Metascore
    • 80 J. Hoberman
    The Passenger is a relic of that moment in international co-production when famous European auteurs hitched their wagons to hip and eager Hollywood stars.
    • 62 Metascore
    • 80 J. Hoberman
    From the cast and location to the attitude and premise, many things in The Ice Harvest are inescapably reminiscent of the Coen brothers. But as a director, Ramis is far less flashy and not nearly as pleased with himself. This is one of the most sustained movies of the year, as classic in its structure as "Double Indemnity" or "No Exit."
    • 76 Metascore
    • 80 J. Hoberman
    Given the large cast, the international hopscotch, and the tantalizing illusion of depth, the movie's tone is "Frontline" meets John le Carré. Compared to the complacence of something like "The Interpreter," it's a regular brain tickler.
    • 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).
    • 69 Metascore
    • 80 J. Hoberman
    Our Brand Is Crisis manages to be remarkably suspenseful.