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 Momma's Man
Lowest review score: 0 The Nutcracker
Score distribution:
  1. Negative: 75 out of 943
943 movie reviews
    • 71 Metascore
    • 80 J. Hoberman
    Like "Chuck & Buck," The Good Girl is a droll, well-acted, character-driven comedy with unexpected deposits of feeling.
    • 85 Metascore
    • 80 J. Hoberman
    One may not realize how truly sad this movie is until the forlorn final moments, when Payne resists an inspirational closer, and, with exquisite tact, averts his eyes.
    • 64 Metascore
    • 80 J. Hoberman
    When it comes to stoopid fun, X-Men could be the summer movie to beat.
    • 69 Metascore
    • 80 J. Hoberman
    Allen's funniest, least sour outing in nearly a decade is a small movie with a tidy payoff. The movie gives vulgarity a good name.
    • 65 Metascore
    • 80 J. Hoberman
    Bana, who appears in nearly every shot, talking all the while, gives a remarkably mercurial performance.
    • 81 Metascore
    • 80 J. Hoberman
    Paranoid, hysterical, and programmatically subjective, the movie is in every sense a psychological thriller. Although the payoff is ambiguous, the experience remains in the mind. It's an absolutely restrained and truly frightening movie.
    • 81 Metascore
    • 80 J. Hoberman
    If Hollywood were truly devoted to telling it like it is, Baker would win a special Oscar. To add to the creepiness, Solondz is (as he made clear in Dollhouse) an extremely sensitive director of kids.
    • 74 Metascore
    • 80 J. Hoberman
    A movie of long, expressive silences, Divine Intervention articulates things that have never been articulated, at least on the screen.
    • 91 Metascore
    • 80 J. Hoberman
    A work of leisurely development and tragic inevitability.
    • 75 Metascore
    • 80 J. Hoberman
    Bean has built a bonfire of contradictions and the ensuing conflagration illuminates a bit of the world.
    • 68 Metascore
    • 80 J. Hoberman
    Funny, reasonably crazy, and unpretentiously faithful to its source.
    • 64 Metascore
    • 80 J. Hoberman
    Gatlif's latest celebration of gypsy soul, sets a modest sliver of narrative in a fabulous widescreen landscape and surrounds it with a permanent party.
    • 77 Metascore
    • 80 J. Hoberman
    Highly audacious, hugely enjoyable, exceptionally well-written, brilliantly edited, and exuberantly actor-driven extravaganza.
    • 72 Metascore
    • 80 J. Hoberman
    I've never seen a movie that paid more heartfelt tribute to the power of artistic invention.
    • 92 Metascore
    • 80 J. Hoberman
    Jackson's adaptation is certainly successful on its own terms.
    • 71 Metascore
    • 80 J. Hoberman
    Skillfully directed and adroitly acted.
    • 76 Metascore
    • 80 J. Hoberman
    Complex, superbly rendered, and wildly eccentric anime-even by Miyazaki's own standards.
    • 82 Metascore
    • 80 J. Hoberman
    Forget "Irreversible," this is the season's most piercingly feel-bad movie.
    • 90 Metascore
    • 80 J. Hoberman
    The most offbeat studio comedy since "Rushmore."
    • 82 Metascore
    • 80 J. Hoberman
    Jack Black is consistently hilarious--and not just in his dreams of moshpit glory.
    • 59 Metascore
    • 80 J. Hoberman
    It can feel a bit slight and, given the epic sweep of its subject's life, somewhat underplotted. But there's no denying the incendiary power of Ramos's performance -- he's present in nearly every scene. The movie is as much the story of his transformation into Madame Satã as it is João Francisco's.
    • 81 Metascore
    • 80 J. Hoberman
    In addition to reporting a scoop, Bartley and O'Briain do an excellent job in deconstructing the Venezuelan TV news footage of blood, chaos, and rival crowds.
    • 66 Metascore
    • 80 J. Hoberman
    Basically an experimental psychodrama, Epidemic has a pleasingly slapdash, underground quality that recalls early Fassbinder and Wenders -- although, with its cynical premise and frequent infusions of Wagner, it exudes the prankster snarkiness characteristic of von Trier.
    • tbd Metascore
    • 80 J. Hoberman
    Contemporary audiences may not see why, even in its toned-down simplification of the novel, From Here to Eternity was the most daring movie of 1953, but it remains an acting bonanza.
    • 70 Metascore
    • 80 J. Hoberman
    A fascinating and painful account of an entertainer trapped not only by his Jewishness but by his overwhelming need to make theater.
    • 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.
    • 96 Metascore
    • 80 J. Hoberman
    Remains Chaplin's most sustained burlesque of authority.
    • 70 Metascore
    • 80 J. Hoberman
    Meta-documentary to the end, Empathy takes its leave by pretending to spy on one patient with his ear to the closed door, eavesdropping on another patient. How did watching the movie make me feel? Interested, amused, and um, empathetic.
    • tbd Metascore
    • 80 J. Hoberman
    Thanks to his mastery of montage, Buñuel naturalizes Dalí's images into a duplicitous rhythm of normality and outrage. The film suggests instances of sex and violence far more extreme than any actually represented while contriving effronteries so offhanded you can't believe you've actually seen them.
    • tbd Metascore
    • 80 J. Hoberman
    it may be the director's quintessential movie. It's an exercise in urban paranoia and mental disintegration that echoes or anticipates everything from "Repulsion" and "Rosemary's Baby" to "Bitter Moon" and "The Pianist."