Jordan Hoffman
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For 124 reviews, this critic has graded:
  • 55% higher than the average critic
  • 0% same as the average critic
  • 45% lower than the average critic
On average, this critic grades 4.2 points higher than other critics. (0-100 point scale)

Jordan Hoffman's Scores

  • Movies
  • TV
Average review score: 64
Highest review score: 100 Lore
Lowest review score: 0 Charlie Countryman
Score distribution:
  1. Positive: 73 out of 124
  2. Negative: 16 out of 124
124 movie reviews
    • 76 Metascore
    • 100 Jordan Hoffman
    Lore is a rare, wonderful film that works not just as surface entertainment, but has deeper historical meaning, as well as an even grander, more universal statement.
    • 88 Metascore
    • 96 Jordan Hoffman
    A damn near perfect film.
    • 82 Metascore
    • 95 Jordan Hoffman
    The emotions the Shinoharas’ story inspire are all over the road. It is at times triumphant and warm, then sad and even enraging.
    • 92 Metascore
    • 95 Jordan Hoffman
    It’s a character piece, and one of the best and most understated movies I’ve ever seen about the grieving process.
    • 77 Metascore
    • 92 Jordan Hoffman
    Only Lovers Left Alive is an exhibit A example of how to use style to enhance substance, not overwhelm it.
    • 75 Metascore
    • 91 Jordan Hoffman
    He’s taken what, on paper, boils down to an extra ridiculous episode of “Law and Order: Criminal Intent” and passes it off as high cinematic art.
    • 77 Metascore
    • 91 Jordan Hoffman
    At 76 minutes, Caesar Must Die is more of an art piece than a thick steak of a feature film, but it maintains a fascinating hum from start to finish.
    • 87 Metascore
    • 91 Jordan Hoffman
    Chandor delivers pure cinema. Thrilling and adventuresome, this is a career highlight from the uniquely sympathetic Robert Redford.
    • 76 Metascore
    • 91 Jordan Hoffman
    [A] blend of classic sci-fi fare and current pop-culture irony is what rockets “Guardians” into the stratosphere.
    • 65 Metascore
    • 90 Jordan Hoffman
    I spent the bulk of Paradise Love mimicking Edvard Munch’s “The Scream.” It’s been a long time since I’ve seen such a disturbing film.
    • 82 Metascore
    • 90 Jordan Hoffman
    The film is so engaging because it's so damn funny.
    • 58 Metascore
    • 90 Jordan Hoffman
    The Walt Disney World-set Escape From Tomorrow is both a great gimmick-dependent story and a remarkable piece of filmmaking. It is a radical, transgressive departure that exploits new technology in heretofore unseen ways.
    • 63 Metascore
    • 90 Jordan Hoffman
    Directors Katie Graham and Andrew Matthews create a great framework for the epic nemesis battle, but also know when to pull back to keep the movie grounded in reality.
    • 75 Metascore
    • 90 Jordan Hoffman
    The movie on its own is great, but with this music it's sublime.
    • 79 Metascore
    • 90 Jordan Hoffman
    Serkis’ Caesar gets more than his fair share of rip-snortin’ badass moments. He’s arguably the finest leader of men we’ve seen on screen since “Lincoln.”
    • 84 Metascore
    • 89 Jordan Hoffman
    Throughout the picture you understand the miracle and good fortune of finding love, and recognize the great changes in tolerance American society is currently (albeit slowly) undergoing.
    • 91 Metascore
    • 89 Jordan Hoffman
    Listen Up Philip is big, sprawling and tortured, if a little lacking in focus – while funny in parts, it isn’t really a comedy.
    • 91 Metascore
    • 88 Jordan Hoffman
    Nothing short of fascinating.
    • 67 Metascore
    • 87 Jordan Hoffman
    It is a shaggy dog road movie, and a drug-hazy one at that, but beneath the silliness and character-based gags, Crystal Fairy is, I feel, an unusually insightful look at self-imposed false identities and group dynamics.
    • 62 Metascore
    • 87 Jordan Hoffman
    The first half of “The Congress,” while still fascinating, does suffer a bit from keeping its focus on the gripes and accusations between Hollywood actors and producers...Once the Philip K. Dick-meets-”Inception” second half kicks in, the implications grow more universal.
    • 65 Metascore
    • 87 Jordan Hoffman
    It transcends the usual biopic limitations to tell a specific story about some well-known people with larger, universal implications.
    • 85 Metascore
    • 86 Jordan Hoffman
    The Past is just about as good as a relationship drama is ever going to get. The plot is teased out with deliberate grace, the performances are sublime and the revelations, even the most melodramatic, feel right and true. It’s big canvas stuff painted by a new master.
    • 84 Metascore
    • 85 Jordan Hoffman
    It’s all about the performances. McConaughey and Leto don’t just give voice to the disenfranchised of the 1980s, but all people suddenly faced with impossible challenges.
    • 55 Metascore
    • 85 Jordan Hoffman
    There are countless clever dialogue parries as well as some quite outstanding rants. It definitely takes the movie outside of the world of pure realism, but the theatricality is well worth it.
    • 54 Metascore
    • 85 Jordan Hoffman
    Some Velvet Morning is a horror film with no blood, with words the only weapon for 98% of the picture.
    • 72 Metascore
    • 85 Jordan Hoffman
    The kid performances are impressive and the subtext of a region still shaking off the effects of a long-ended war gives seed to some much needed discussion.
    • 48 Metascore
    • 85 Jordan Hoffman
    Bonello's decision to show rather than tell keeps the audience on its toes.
    • 84 Metascore
    • 83 Jordan Hoffman
    It does a marvelous job at giving us an impressionistic taste of horrific circumstances without using them to beat us into submission.
    • 82 Metascore
    • 83 Jordan Hoffman
    From a distance The Spectacular Now is mere soap opera, but it is one of those films that grow more fascinating upon inspection.
    • 54 Metascore
    • 83 Jordan Hoffman
    This picture isn’t as showy or obvious as one of his (many) masterpieces, but it is quite good and deserves your time and respect.
    • 68 Metascore
    • 80 Jordan Hoffman
    This is a movie that proposes a genuine, intelligent solution, both for the main character and for us. It comes at you kinda quickly (and economically, in about three wordless shots), but it hit me like a bag of dumpster-dived apples to the gut.
    • 82 Metascore
    • 80 Jordan Hoffman
    A Hijacking isn’t boring, but it is not an adventure film – it is a frustratingly realistic take on the unfortunate modern threat of piracy, and a bit of an emotional workout.
    • 64 Metascore
    • 80 Jordan Hoffman
    It is one of the better dumbass sci-fi action movies to come down the pike in quite some time.
    • 74 Metascore
    • 80 Jordan Hoffman
    The point of this film is the spell it weaves and, by and large, it is successful. It’s the music, it’s the cinematography, it’s the score, it’s Casey Affleck’s hollow speaking voice — they all add up to something that resembles a fever dream facsimile of an eventful movie.
    • 73 Metascore
    • 80 Jordan Hoffman
    Joe
    Cage, not one known for subtlety of late, is truly great in this sad, funny and tender role.
    • 76 Metascore
    • 80 Jordan Hoffman
    Its final scenes and sublimely framed last, lingering shot are extraordinary.
    • 66 Metascore
    • 80 Jordan Hoffman
    Borgman‘s crafty, trickster-ish screenplay, always two steps ahead of you, keeps you rooting for clues, enough to put your ethics on temporary hold.
    • 87 Metascore
    • 80 Jordan Hoffman
    A gripping, fascinating and visually arresting memoir.
    • 61 Metascore
    • 80 Jordan Hoffman
    With Muppets Most Wanted, the vaudevillian pandaemonium is alive and well.
    • 70 Metascore
    • 80 Jordan Hoffman
    The landscape is a definitive presence throughout the film, which has almost no music and very little dialogue. The film is short (approximately 80 minutes) and maintains a good sense of dread throughout.
    • 68 Metascore
    • 80 Jordan Hoffman
    You’ll laugh if you’re young, you’ll laugh if you’re old.
    • 71 Metascore
    • 80 Jordan Hoffman
    22 Jump Street is a success, as there is a little good ol’ fashioned “heart” beneath its post-modern veneer.
    • 83 Metascore
    • 80 Jordan Hoffman
    Teerink’s reserved, spare form mirrors LeWitt’s work, which gives it tremendous impact.
    • 83 Metascore
    • 80 Jordan Hoffman
    Burning Bush is a rare accomplishment. It’s a political film with clear heroes and villains, and true to its HBO roots, it works as a fleet-of-foot juicy plot-delivery system.
    • 72 Metascore
    • 78 Jordan Hoffman
    In the House is crafty and juicy and ought to delight anyone whose ever thumped their chest about being a storyteller. I must confess, however, that somewhere in the third act the air started to leak from the balloon.
    • 86 Metascore
    • 77 Jordan Hoffman
    Gambardella’s world-weary look back at his sweet life, eclipsed by his turning sixty-five, is a dizzying fantasia of flash and filigree, and what it lacks in direct narrative is well patched-over with frenetic and emotion-rich sequences. This movie is a sight and sound workout.
    • 44 Metascore
    • 75 Jordan Hoffman
    Raimi manages to keep things engaging, which is a very real act of wizardry in and of itself.
    • 78 Metascore
    • 75 Jordan Hoffman
    This tiny friends-and-family production has the vibe of a project done on weekends and after school. That’s no knock. It is vibrant and bubbly and just clever enough to engage people who wouldn’t normally watch a black-and-white micro-budget Shakespeare adaptation without any big movie stars.
    • 63 Metascore
    • 75 Jordan Hoffman
    The remarkable storytelling that eventually emerges in Eden is something you should see, providing you feel that you can stomach it.
    • 49 Metascore
    • 75 Jordan Hoffman
    S-VHS isn’t as pants-pooping scary as the first, but it is funnier, tighter and slicker.
    • 52 Metascore
    • 75 Jordan Hoffman
    Lengthy passages are unrelated to any discernible narrative, and seem to exist in that interzone your mind travels through just before it goes to sleep.
    • 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.
    • 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.
    • 70 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.
    • 60 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.
    • 73 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.
    • 39 Metascore
    • 60 Jordan Hoffman
    Despite the numerous patchy moments The Brass Teapot by and large squeaks by as an enjoyable entertainment.
    • 79 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.
    • 51 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.
    • 45 Metascore
    • 60 Jordan Hoffman
    It has a nose for what's cool, but is completely inept at execution.
    • 44 Metascore
    • 60 Jordan Hoffman
    Perfect Sisters may stand accused of being rife with tone-deaf stylistic choices, but the more positive spin is to call it a marginal film elevated, however inadvertently, by the strange specificity of its scenes.
    • 45 Metascore
    • 60 Jordan Hoffman
    This isn’t a movie so much as a fetishist’s fever dream—a fantasia of New York crime movies from the 1970s that places the specificity of its time and place at center stage more than any actual New York crime movie from the era.
    • 53 Metascore
    • 60 Jordan Hoffman
    Small Time is impressive, just slightly, because it’s the one thing used-car salesmen are rarely accused of being: honest.
    • 39 Metascore
    • 59 Jordan Hoffman
    Basically a drama-in-disguise. Unfortunately, it’s a formulaic and extremely uneven one, albeit with a number of sympathetic performances.
    • 51 Metascore
    • 58 Jordan Hoffman
    It is highly likely you’ll forget the movie by the time you go to bed.
    • 66 Metascore
    • 58 Jordan Hoffman
    It isn’t just the bright colors and the costumes but every visual aspect of Byzantium that sings. Neil Jordan knows where to put the camera. It’s just a shame he wasn’t able to inject a little life inside that frame.
    • 49 Metascore
    • 58 Jordan Hoffman
    For a film that reminds use over and over that this is a whole new world, this movie feels awfully familiar.
    • 65 Metascore
    • 55 Jordan Hoffman
    This is design work of the highest caliber and it is impossible to not enjoy simply watching these little buggers run around. It is unfortunate, however, that the creativity, originality and propulsive storytelling found in the original “Monsters Inc.” just didn’t matriculate with them.
    • 60 Metascore
    • 55 Jordan Hoffman
    It's darker, stranger and pushes more buttons.
    • 52 Metascore
    • 50 Jordan Hoffman
    As a movie, quite frankly, it stinks. As an “entertainment object,” it will no doubt find its boosters.
    • 37 Metascore
    • 50 Jordan Hoffman
    There’s no way to overstate the gorgeous look of this film, but the mannered dialogue and deliberateness of pace becomes less of an homage to Asian revenge films than a parody.
    • 37 Metascore
    • 50 Jordan Hoffman
    Co-writers and stars June Diane Raphael (“Whitney,” “New Girl”) and Casey Wilson (“Happy Endings”) are genuine and true comic performers. Even though the story stunk, the set pieces were uninspired and the direction was downright wretched, when these two are “on” and doing schtick, they are absolutely fresh and hilarious.
    • 54 Metascore
    • 50 Jordan Hoffman
    There are tones of 1970s shaggy realism that are interrupted by moments of character-driven shtick. The wistful scenes aren’t rich enough to engross you and the comedy isn’t clever enough to make a difference.
    • 57 Metascore
    • 50 Jordan Hoffman
    For every poignant moment there’s a gaudy dream sequence, wretched internal monologue, ham-fisted zoom or an exchange of dialogue sorely lacking nuance.
    • 46 Metascore
    • 50 Jordan Hoffman
    Schreiber saves it to an extent with some unusual performance choices, but when you compare this ending to the emotional supernova of Danny Boyle’s “Sunshine” it comes way short.
    • 55 Metascore
    • 50 Jordan Hoffman
    Then Bill Nighy shows up and is awesome and punches you in the heart. It ultimately feels like a cheat, and while there won’t be a dry eye in the house, it won’t be earned.
    • 53 Metascore
    • 50 Jordan Hoffman
    An embarrassing gut-punch of unfiltered schmaltz, but its sympathy for the devil-style humanism is well-meaning.
    • 63 Metascore
    • 50 Jordan Hoffman
    Out of the Furnace is no disaster, but it doesn’t achieve what it hopes to achieve, and it has no one to blame but itself.
    • 76 Metascore
    • 50 Jordan Hoffman
    What's unfortunate is that Toothless is starring in a toothless story.
    • 69 Metascore
    • 50 Jordan Hoffman
    The Homesman certainly wins a few points for trying a different type of Western. There are no greedy land barons and no gunslingers drawin’ at high noon. But being unique isn’t enough if the story remains uneven and the characters don’t feel real.
    • 63 Metascore
    • 50 Jordan Hoffman
    In this 75-minute straight shot of Discovery Channel cinema, no emotional crests are peaked, but viewers will come away informed.
    • 64 Metascore
    • 46 Jordan Hoffman
    A dark, dreary and dull “Mad Max in Neutral” from director David Michôd (“Animal Kingdom”) that tries to pass off its blunt narrative and repetitiveness as some sort of style.
    • 39 Metascore
    • 45 Jordan Hoffman
    Only completists need check in with Homefront. The rest of us can just stay home.
    • 48 Metascore
    • 42 Jordan Hoffman
    Unfortunately the bulk of the picture is cut together like a beer commercial on poorly lit cheap video without much panache. Unless primary colors with a gauzy halo is panache.
    • 60 Metascore
    • 40 Jordan Hoffman
    He spent 28 years in prison and this is what he gets?
    • 54 Metascore
    • 40 Jordan Hoffman
    Eastwood, who once upon a time was a flavorful director, is working in movie-of-the-week mode here. Cheesy, direct, bland.
    • 66 Metascore
    • 40 Jordan Hoffman
    All the pieces are in place for a gripping indie horror flick, but this pointless, motivation-free film just goes around in circles.
    • 58 Metascore
    • 40 Jordan Hoffman
    The connection that these two are allegedly making must be taken on faith. Little is shown or spoken to sell it.
    • 44 Metascore
    • 40 Jordan Hoffman
    In the spaces between the hackneyed dialogue, ham-handed score, and poor acting, Walking With The Enemy eventually wins its sole victory: a desire to look the story up on Wikipedia later that day. That may be a small triumph, but it’s hardly the mark of fine cinema.
    • 62 Metascore
    • 40 Jordan Hoffman
    The specifics of the journey get all the attention, while the fundamental conflicts remain not just unoriginal, but alarmingly nonexistent.
    • 37 Metascore
    • 35 Jordan Hoffman
    Hollow, uninteresting and false.
    • 39 Metascore
    • 35 Jordan Hoffman
    The first sixty minutes of Pompeii are awful, bordering on unwatchable... The final forty-five minutes of the movie however are, by sheer force of will, irrefutably entertaining. At least there’s raining death in the form of fireballs smashing up the place.
    • 66 Metascore
    • 30 Jordan Hoffman
    The prolific 76-year-old British creator of character-rich, social dramas steeped in natural realism (usually) has whiffed it and whiffed it hard with this one. It’s not that it’s just “lesser Loach.” It is, in my opinion at least, humiliating.
    • 51 Metascore
    • 30 Jordan Hoffman
    The whole picture is lifeless and without consequence.
    • 58 Metascore
    • 30 Jordan Hoffman
    It’s just boring – and boring in a way that apparently has no endgame.
    • 64 Metascore
    • 30 Jordan Hoffman
    Nymphomaniac Vol. 1 is the worst thing Lars Von Trier has ever associated himself with.
    • 35 Metascore
    • 30 Jordan Hoffman
    Cripplingly lifeless.
    • 34 Metascore
    • 27 Jordan Hoffman
    The Lifeguard is a painfully dull (alleged) drama utterly lacking in originality or self-awareness.
    • 42 Metascore
    • 20 Jordan Hoffman
    Despite a lead performance by the always welcome Julianne Moore it is rudderless in its presentation and outright stupid in its central conceits.
    • 58 Metascore
    • 20 Jordan Hoffman
    Fading Gigolo wants to be some sort of sunny tapestry about New York’s social groups, but it’s impossible to see past its absurd premise.
    • 37 Metascore
    • 20 Jordan Hoffman
    For a movie with the ostensible mission of spreading the Gospel, it does a poor job of speaking to anyone except the faithful.
    • 51 Metascore
    • 15 Jordan Hoffman
    Ti West’s pointless new film The Sacrament, an exercise in talking loud and saying nothing, isn’t just bad, it’s infuriating.
    • 42 Metascore
    • 10 Jordan Hoffman
    Does this mean that Sabotage is a rich, morally complex story about the gray zone between good and evil? Hell, no. It just means it is a bungle.
    • 26 Metascore
    • 10 Jordan Hoffman
    It’s a wafer-thin, poorly plotted, insufferable comedy about a jerky guy who’s swapped actual human interaction for Facebook likes. People like this exist, and their stories should be told, but it would be wise to scroll past this version.
    • 20 Metascore
    • 0 Jordan Hoffman
    A Haunted House, its despicable bigotry aside, is also a not-very-good comedy.
    • 31 Metascore
    • 0 Jordan Hoffman
    A pastiche of bad film cliches and scenes devoid of any real conflict or character development.