Jordan Hoffman

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For 248 reviews, this critic has graded:
  • 50% higher than the average critic
  • 4% same as the average critic
  • 46% lower than the average critic
On average, this critic grades 0.9 points higher than other critics. (0-100 point scale)

Jordan Hoffman's Scores

  • Movies
  • TV
Average review score: 61
Highest review score: 100 Lore
Lowest review score: 0 Charlie Countryman
Score distribution:
  1. Negative: 29 out of 248
248 movie reviews
    • 64 Metascore
    • 60 Jordan Hoffman
    Cheadle’s got the cred, and the period evocation is tremendous. It’s just that I’m not sure he has all that much to say
    • 42 Metascore
    • 60 Jordan Hoffman
    This movie sure means well, and it’s just entertaining enough to (slightly) slip off the shackles of the great cultural conformity factory it ultimately represents.
    • 58 Metascore
    • 60 Jordan Hoffman
    Surprisingly, for a movie this ephemeral, the closing sequences, which consist of flashbacks and confrontations, are actually quite touching.
    • 82 Metascore
    • 60 Jordan Hoffman
    The script may feature numerous wobbly passages in which everyone eerily states precisely what they are thinking (an unfortunate tradition that runs throughout the series) but if anyone can sell it, it’s Stallone and Jordan.
    • 47 Metascore
    • 60 Jordan Hoffman
    Director Ron Howard does a solid job of getting the smell of salt off the page and into the picture. The first half works quite well simply as a procedural, but when the action comes we run into trouble. The well-earned seriousness is washed away as we’re broadsided by B-movie tropes.
    • tbd Metascore
    • 60 Jordan Hoffman
    What I like about Among the Believers, a portrait of radical Islam in Pakistan, is how the first two-thirds of the movie strives to remain as balanced as possible.
    • 33 Metascore
    • 60 Jordan Hoffman
    The Road Chip isn't exactly what I'd call a good film and has almost nothing going on in the visual department, but for those saddled with kids for an afternoon, you could do a lot worse.
    • 73 Metascore
    • 60 Jordan Hoffman
    The world needs people like Foley, and this film argues that cameras are every bit as important as firearms in the current struggle. This movie, despite its somewhat simplistic form, acts as a fine tribute to the man, his work and the bravery of others who are called to his field.
    • 73 Metascore
    • 60 Jordan Hoffman
    Southside With You uses our affection for the Obamas to add urgency in the otherwise simple script.
    • 53 Metascore
    • 60 Jordan Hoffman
    It’s coarse and it’s stupid, but it is, thanks mostly the two good performances and some stylish use of music and editing, a little bit moving.
    • 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.
    • 54 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.
    • 53 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.
    • 68 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.

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