Jordan Hoffman
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For 157 reviews, this critic has graded:
  • 54% higher than the average critic
  • 1% same as the average critic
  • 45% lower than the average critic
On average, this critic grades 2.6 points higher than other critics. (0-100 point scale)

Jordan Hoffman's Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 100 Lore
Lowest review score: 0 Charlie Countryman
Score distribution:
  1. Positive: 83 out of 157
  2. Negative: 22 out of 157
157 movie reviews
    • 25 Metascore
    • 75 Jordan Hoffman
    Far-fetched, absurd and hopelessly schticky, but if you can get past its boring initial set-up, it’s actually quite funny.
    • 54 Metascore
    • 75 Jordan Hoffman
    Despite being clever and crafty it can’t break out of the curiosity shop. It’s the finest diorama in there, but something to admire, linger over then move past.
    • 67 Metascore
    • 75 Jordan Hoffman
    It is a rather sly affair, slipping in some genuine food for thought amongst its snickering.
    • 79 Metascore
    • 74 Jordan Hoffman
    It never quite elevates itself above something like a really well produced behind-the-scenes featurette on a high end Blu-ray. But if you’ve got that Jodorowsky T-shirt aping the Judas Priest logo, you may as well start lining up now.
    • 83 Metascore
    • 70 Jordan Hoffman
    It’s unlikely anyone who sees Blackfish will be trekking to Shamu Stadium this summer.
    • 69 Metascore
    • 70 Jordan Hoffman
    Despite being very much a “filmed play” it doesn’t come across as too theatrical. Polanski uses plenty of close-ups and keeps the action moving.
    • 72 Metascore
    • 70 Jordan Hoffman
    Cronenberg’s map doesn’t lead to a satisfying destination in a typical story sense, but it is a remarkable quest. For a movie that has so many problems, it is one of the more watchable ones.
    • 51 Metascore
    • 70 Jordan Hoffman
    his bleak and somewhat sadistic picture is the type of movie that unfolds like a slow car wreck. You know something bad is going to happen, you just aren’t sure what, or how, and when it eventually happens it is repulsive and yet you still can’t turn away.
    • 61 Metascore
    • 70 Jordan Hoffman
    For a tone poem on loneliness, fluid identity, and photogenic apartments, Enemy is the best entry in the genre since Roman Polanski’s The Tenant. And the last five minutes are just as unpredictable.
    • 55 Metascore
    • 69 Jordan Hoffman
    First and foremost I’m So Excited! is late night cabaret – funny, filthy and more than a little bit sloshed.
    • 86 Metascore
    • 69 Jordan Hoffman
    There are some laughs – and a few moments worthy of tears – but there’s a breaking point of believability in here somewhere that keeps Nebraska merely good as opposed to great.
    • 35 Metascore
    • 69 Jordan Hoffman
    Ryan Gosling wanted to make an art film and, despite some dull patches, pretty much succeeded.
    • 57 Metascore
    • 68 Jordan Hoffman
    While Bad Words is a little too dopey to take seriously, this is compensated for with a handful of truly amusing sequences.
    • 28 Metascore
    • 67 Jordan Hoffman
    As the anticipated follow-up to Roman Coppola’s marvelous 2001 film “CQ,” this is something of a letdown, but as a breezy romp it could be far, far worse.
    • 58 Metascore
    • 67 Jordan Hoffman
    To the Wonder is distinctly lacking in oomph and, without an emotional connection, without anything interesting happening on the screen, the beauty can only take you so far before the endeavor falls like a house of cards.
    • 63 Metascore
    • 67 Jordan Hoffman
    It’s shallow, it’s boring, it’s poignant, it’s clever, it’s poorly acted, it’s intentionally poorly acted, it has no story, it has marvelous scenes, it is artful, it is hallucinatory, it is shoddily put together. All response is valid.
    • 41 Metascore
    • 67 Jordan Hoffman
    The action is the real star here, and it’s all good enough. It isn’t great – the aerial special effects are distractingly cheap – but at least there’s lots of it on display.
    • 72 Metascore
    • 67 Jordan Hoffman
    Pussy Riot: A Punk’s Prayer is about an interesting topic, but the film itself is not quite up to snuff.
    • 79 Metascore
    • 65 Jordan Hoffman
    Fill the Void is, in the worst sense of the word, a “women’s picture,” in which people wring their hands and worry, wail and weep over marriage and maintaining the status quo.
    • 86 Metascore
    • 63 Jordan Hoffman
    Drug War is by no means a bad film, but it doesn’t do much to push the needle of originality, and doesn’t glide enough to represent perfection of the genre.
    • 66 Metascore
    • 62 Jordan Hoffman
    Not many side-splitting jokes, but a goofy glee is smeared across it all.
    • 54 Metascore
    • 61 Jordan Hoffman
    While Draft Day is a very agreeable and predictable movie, it is also very timely.
    • 32 Metascore
    • 61 Jordan Hoffman
    Either I’m getting dumber or the “Transformers” sequels are getting more coherent.
    • 43 Metascore
    • 60 Jordan Hoffman
    Despite the numerous patchy moments The Brass Teapot by and large squeaks by as an enjoyable entertainment.
    • 78 Metascore
    • 60 Jordan Hoffman
    While there are some okay side stories (stuff with the daughters and daughters’ friends) it kinda feels like attending a dinner party and checking in on the first world problems of a friend you kinda like, but don’t like enough to ask any follow up questions.
    • 59 Metascore
    • 60 Jordan Hoffman
    Go For Sisters is something of a frustration. It’s the least interesting crime caper ever, and there are fascinating characters forced to go through the motions as if any of us could possibly care.
    • 49 Metascore
    • 60 Jordan Hoffman
    There’s just too much good stuff to dismiss White Bird in a Blizzard out of hand, even if it does have a somewhat dull and desultory plot.
    • 46 Metascore
    • 60 Jordan Hoffman
    It has a nose for what's cool, but is completely inept at execution.
    • 53 Metascore
    • 60 Jordan Hoffman
    Da Sweet Blood of Jesus isn't entirely successful – and certainly offers few new insights into the nature of addiction – but it remains a welcome change of pace.
    • 61 Metascore
    • 60 Jordan Hoffman
    The end of the movie goes completely off the rails, but in a way that is charming in its stupidity.

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