Boyd van Hoeij

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For 308 reviews, this critic has graded:
  • 43% higher than the average critic
  • 6% same as the average critic
  • 51% lower than the average critic
On average, this critic grades 3 points higher than other critics. (0-100 point scale)

Boyd van Hoeij's Scores

  • Movies
  • TV
Average review score: 67
Highest review score: 100 The Second Mother
Lowest review score: 0 Mektoub, My Love: Intermezzo
Score distribution:
  1. Negative: 9 out of 308
308 movie reviews
    • 61 Metascore
    • 80 Boyd van Hoeij
    This is a deliciously entertaining and perceptive take on Cardin’s life and how he shaped both the silhouette of fashion and branding in the fashion world and beyond.
    • 83 Metascore
    • 90 Boyd van Hoeij
    This captivating hybrid of a movie mixes fairy-tale and storytelling elements with a vividly drawn backdrop of heightened realism — no one would mistake this prison for a luxury resort — and relies on images and sounds as much as the human voice to tell its multiple stories.
    • 39 Metascore
    • 40 Boyd van Hoeij
    Ava
    Chastain is utterly convincing in another tough-as-nails role. If audiences stick with the movie, it's largely thanks to her movie-star charisma, which almost compensates for the increasingly ridiculous plot. Malkovich and Farrell seem to understand they are A-list talent in B-movie roles, and relish the opportunity.
    • 91 Metascore
    • 100 Boyd van Hoeij
    A delicate miniature that’s magnificently humanist, occasionally amusing and shot in a palette of rich, saturated nighttime hues, this is the kind of really small movie that is actually really great.
    • 83 Metascore
    • 80 Boyd van Hoeij
    This is an exciting new direction for Runarsson, who proves that making a film about Iceland today doesn’t necessarily require a three-act narrative structure and characters with carefully calibrated needs and desires and neatly constructed backstories.
    • 70 Metascore
    • 80 Boyd van Hoeij
    Here, the story and the characters' supposed naiveté and the almost-too-obvious stylistic flourishes aren't just nods to his younger, less-refined m.o. They are actually part of a master storyteller's tools to seduce a grown-up audience into considering how youngsters not only experience their own lives but also how they process and talk about them.
    • 58 Metascore
    • 50 Boyd van Hoeij
    Intended as a 90-minute nail-biter, the movie starts off strong but loses steam about halfway through and never quite recovers.
    • 68 Metascore
    • 50 Boyd van Hoeij
    Very knowing about female friendships and the different possible reactions to forced social change, this is a lovingly acted film that, unfortunately, derails in the third act; the calamitous events depicted work fine as a blunt metaphor for where the country found itself or was headed, but doesn't convince on a narrative level or in terms of its psychological impact on the characters.
    • 59 Metascore
    • 40 Boyd van Hoeij
    Clearly Diaz wanted to make a sotto-voce exploration of a difficult and heavy topic — instead of a histrionic melodrama — but in trying to rein in the emotions, he seems to have practically scrubbed them out completely. The screenplay, also by Diaz, is so predictable that most of the characters simply seem to be going through the motions, with audiences remaining at an arm’s length even during the supposedly cathartic final moments.
    • 79 Metascore
    • 80 Boyd van Hoeij
    Observant and wise about boys in puberty yet impish and carefree when necessary and never idealizing the cold and dreary countryside they travel through, Winter Flies is a lovely little film that’s as comfortable as an old sweater and almost as warm.
    • 57 Metascore
    • 70 Boyd van Hoeij
    There’s an element of light comedy — rather than the more familiar irony — that feels fresh and invigorating, even if Garrel doesn’t quite stick the landing.
    • 70 Metascore
    • 80 Boyd van Hoeij
    Beer and Rogowski are so good, and have such amazing chemistry, that it’s hard to look away or not root for them to be together.
    • 78 Metascore
    • 80 Boyd van Hoeij
    Hong, who handled screenplay as well as directorial, editing and scoring duties, is in fine form here.
    • 75 Metascore
    • 70 Boyd van Hoeij
    A sterling cast makes up for screenplay weaknesses.
    • 51 Metascore
    • 40 Boyd van Hoeij
    It is uncompromising filmmaking, certainly, but also insular filmmaking that will make a tiny little circle of intellectual cinephiles very happy while leaving everyone else — this critic included — completely cold.
    • 48 Metascore
    • 40 Boyd van Hoeij
    The result feels like a dry and endless lecture more than an involving human story about serious issues. It’s a movie that’s all subtext and no text — and even the subtext struggles to make a point that’s more complex than a blunt truth.
    • 44 Metascore
    • 50 Boyd van Hoeij
    The main issue with the film's screenplay, written by the director, is that it is trying to cover too much ground and yet be tonally light on its feet.
    • 65 Metascore
    • 70 Boyd van Hoeij
    This is an intriguing if austere art house item that should please lovers of slow cinema with a more mystical edge.
    • 68 Metascore
    • 50 Boyd van Hoeij
    No good performance can hide the fact that what happens during roughly the first hour is perhaps beautifully laid out and told but also extremely familiar. There is an expectation that Akin, also credited with the screenplay, will somehow step it up in the second half with a new twist or unexpected insight. But quite the opposite happens, as the narrative becomes both more melodramatic and erratic.
    • 55 Metascore
    • 70 Boyd van Hoeij
    Sharp performances and direction help make up for a spotty screenplay.
    • 77 Metascore
    • 70 Boyd van Hoeij
    De Pencier’s cinematography has a good eye for the beauty and horror of man-made or -altered landscapes, and it is hard to deny that the film benefits from being seen on as large a screen as possible, as impressive crane or drone shots fill the screen. But like with Burtynsky’s photographs, it is also hard to deny that the beauty of these shots stands in stark contrast to their purported message.
    • 52 Metascore
    • 60 Boyd van Hoeij
    The critique of those in power and their need to put down others — preferably foreign or different-looking people — in order to stay on top is as relevant in 2019 as it was in 1980, when the novel was first published. But like its noncommittal production design, which combines various North African, Middle Eastern and Asian influences for the locals and locales, the critique itself remains finally quite dull and dispersed because it's so broad and unspecific.
    • 51 Metascore
    • 60 Boyd van Hoeij
    This moody, black-and-white period piece always intrigues, even if it only intermittently catches fire.
    • 57 Metascore
    • 70 Boyd van Hoeij
    The screenplay and the actors ooze charm as well as intelligence early on but the second half is more like a sleek thriller, something that's efficient but less jocular and surprising.
    • 73 Metascore
    • 50 Boyd van Hoeij
    Marcello never quite manages to shoehorn in both more than a century’s worth of European struggles and sociopolitical thinking and the full story of Eden’s downfall after he’s finally become successful. Indeed, these weighty concerns capsize the entire enterprise in the final stretch, where the story runs aground on an iceberg of undigested ideas, barely developed themes and bad hair choices.
    • 55 Metascore
    • 60 Boyd van Hoeij
    If the pic is ultimately an entertaining ride, it is because Sudeikis takes the audience by the hand through this very unlikely story that was inspired by true events.
    • 87 Metascore
    • 90 Boyd van Hoeij
    Even though the movie barely provides any backstory or other details, the characters’ emotions are always immediately accessible in this vivid depiction of the all-consuming nature of nascent amour, as well as the pain, heartbreak and confusion that come with trying to channel all these pure emotions into something as structured as your daily life.
    • 66 Metascore
    • 80 Boyd van Hoeij
    Though it takes a little while for the film to find its footing, this is an ambitious and, finally, also touching new work from Pinoy Sunday director Ho Wi Ding.
    • 76 Metascore
    • 70 Boyd van Hoeij
    Grandinetti, with a bushy 1970s mustache, has the thankless job of carrying a film in which he plays a morally compromised character, which doesn’t directly warm him to the audience. But he does so with his trademark intelligence and grace, turning Claudio into a generally decent man who makes a few very bad choices.
    • 83 Metascore
    • 80 Boyd van Hoeij
    This is at once an accessible art house drama about Lola’s emotionally frayed sisterly and amorous ties and a clinically observed portrait of a 21st-century woman trying to stay afloat in a ruthlessly profit-oriented economy where feelings are the enemy of efficiency.

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