Boyd van Hoeij

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For 323 reviews, this critic has graded:
  • 43% higher than the average critic
  • 5% same as the average critic
  • 52% lower than the average critic
On average, this critic grades 2.7 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 Fool
Lowest review score: 0 Mektoub, My Love: Intermezzo
Score distribution:
  1. Negative: 9 out of 323
323 movie reviews
    • 80 Metascore
    • 90 Boyd van Hoeij
    Lifshitz never demonizes those that don’t understand or oppose Sasha’s desire to be who she really is and they remain almost entirely offscreen. Instead, the director chronicles, with immense warmth and generosity, the toll this outside opposition takes on Sasha and her loved ones and how much love, care and attention is needed to compensate for the fact she’s not simply accepted like all her peers.
    • 70 Metascore
    • 70 Boyd van Hoeij
    Overall, Saint-Narcisse is a wild ride that’s enjoyable in all its B-movie glory — the production design that’s just a little too kitschy, the dialogue that’s just a tad too ripe — while also titillating the intellect.
    • 55 Metascore
    • 50 Boyd van Hoeij
    There’s no doubt Mirica can film the hell out of a location or a character’s face, but as for telling a fully gripping and involving story? The jury’s still out on that one.
    • 81 Metascore
    • 80 Boyd van Hoeij
    The hushed closing reels are unusual in Noé’s oeuvre in that they generate straightforward empathy and emotion without falling back on gimmicks, trickery or shock tactics.
    • 40 Metascore
    • 40 Boyd van Hoeij
    The lack of light irony, refined humor and spontaneity and freshness in the dialogue makes the film feel much more heavy-handed than a tale like this should be. For most of the nearly three-hour running time, it all plays as droningly serious, which makes the already long film feel much longer.
    • 78 Metascore
    • 70 Boyd van Hoeij
    This relaxed sense of naturalism also extends to the film’s numerous sex scenes, which can be sensuous but also funny or awkward, depending on the circumstances.
    • 51 Metascore
    • 40 Boyd van Hoeij
    Perhaps it is precisely Dumont’s point that satire and the real world have been converging for a long time, but this alone is not enough insight to sustain a movie that’s over two hours long and contains a protagonist few will warm to. for such a high-powered auteur/leading-lady collaboration, France feels decidedly unspectacular.
    • 74 Metascore
    • 90 Boyd van Hoeij
    While Titane wants to shock and surprise — two things a lot of contemporary films seem to have forgotten how to do — it also wants to tell the strangely affecting story of two royally f***ed up human beings who, despite all the odds, and lack of shared DNA, share a father-son like bond.
    • tbd Metascore
    • 40 Boyd van Hoeij
    One in a Thousand’s lack of narrative focus and conflict results in a drawn-out, almost non-rhythm that at least mirrors the lazy summer days it depicts.
    • 65 Metascore
    • 60 Boyd van Hoeij
    The acting from the central four actors is quite soulful, but we don’t get enough access to these characters’ inner conflicts. Too often, the narrative’s configuration feels like an intriguing second draft instead of a ready-to-shoot script, something that someone with an external eye might help finesse into something truly captivating.
    • 64 Metascore
    • 70 Boyd van Hoeij
    Though the final product isn’t quite a home run, it is nonetheless a very intriguing work that again suggests Ben Hania is a talent to watch.
    • 84 Metascore
    • 100 Boyd van Hoeij
    The camera often seems to capture seemingly quotidian moments, but Koberidze’s painterly eye elevates them to intimate flashes of poetry and delight.
    • 73 Metascore
    • 70 Boyd van Hoeij
    By concentrating too much on the physical hammer’s adventures in the closing reels, Mielants loses sight of the might of the hammer as a metaphor.
    • 69 Metascore
    • 80 Boyd van Hoeij
    As he did in Lilting, Khaou in Monsoon finely sketches the complex inner lives and identities of a small group of characters and plugs them into a narrative that unfolds gradually but precisely, so audiences have the time to consider the work's larger thematic concerns.
    • 75 Metascore
    • 70 Boyd van Hoeij
    This eye-catching and sadly topical . . . film features a fearless performance from nonprofessional actress Vicky Knight in the central role.
    • 60 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.
    • 82 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.
    • 65 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.
    • 62 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.
    • 75 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.
    • 81 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.
    • 50 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.

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