J. Hoberman

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The New York Times, Variety, Village Voice
For 976 reviews, this critic has graded:
  • 39% higher than the average critic
  • 3% same as the average critic
  • 58% lower than the average critic
On average, this critic grades 0.3 points higher than other critics. (0-100 point scale)

J. Hoberman's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 Alphaville
Lowest review score: 0 A Hole in My Heart
Score distribution:
  1. Positive: 590 out of 976
  2. Mixed: 312 out of 976
  3. Negative: 74 out of 976
976 movie reviews
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    • 69 Metascore
    • 30 J. Hoberman
    Performance
    Performance seems more like eye candy than castor oil in the brave new world of "Freddy Got Fingered."
    • 46 Metascore
    • 30 J. Hoberman
    10 on Ten
    10 on Ten is less illuminating than pedantic, as well as tediously self-absorbed.
    • 41 Metascore
    • 30 J. Hoberman
    The Secret Agent
    The best one can say for Christopher Hampton's dispirited adaptation of Joseph Conrad's The Secret Agent is that this weirdly sentimental movie might direct new attention to Conrad's corrosive novela satire. [12 Nov 1996]
    • Village Voice
    • 44 Metascore
    • 30 J. Hoberman
    America's Sweethearts
    A lackluster screwball comedy.
    • 30 Metascore
    • 30 J. Hoberman
    She Hate Me
    Director Lee throws cold water on his own overheated fantasy scenario by having Mackie mope through every scene. What's fascinating is how She Hate Me perversely trumps its own perversity.
    • 47 Metascore
    • 30 J. Hoberman
    Hollywood Homicide
    Hollywood Homicide knows it's a dog, and it ain't too proud to beg.
    • 64 Metascore
    • 30 J. Hoberman
    The Road
    Pale by comparison to an action thriller like "Children of Men" or gross out eco-catastrophe like "Land of the Dead," squandering its ready-made zombie scenario.
    • 36 Metascore
    • 30 J. Hoberman
    Kedma
    Mesmerizingly bad filmmaking.
    • 56 Metascore
    • 30 J. Hoberman
    The Ladykillers
    The Coens are uncharacteristically restrained. Indeed, given that the crime comedy is their preferred genre, The Ladykillers is remarkable mainly for its timidity.
    • 52 Metascore
    • 30 J. Hoberman
    Any Given Sunday
    Like a visual concussion.
    • 33 Metascore
    • 30 J. Hoberman
    Collateral Damage
    Intermittently, in attempts to articulate a coherent argument, Collateral Damage shifts from pulse-pounding mode to something more migraine-conducive.
    • 53 Metascore
    • 30 J. Hoberman
    Rounders
    An unappealing, conventional, and somnolent piece of work in which, as glumly directed from David Levien and Brian Koppelman's corny script, every scene feels like it's being played for the second time.
    • 45 Metascore
    • 30 J. Hoberman
    Proof of Life
    It's Rambo with a split hero -- Morse absorbing punishment and Crowe wreaking vengeance.
    • 43 Metascore
    • 30 J. Hoberman
    The Mexican
    Intermittently appealing, fundamentally dysfunctional action-comedy.
    • 46 Metascore
    • 30 J. Hoberman
    Esther Kahn
    This is a movie about the nature of acting -- or, more specifically, the nature that creates an actress -- centered on what appears to be a spectacularly unconvincing title-role performance.
    • 43 Metascore
    • 30 J. Hoberman
    Meet Joe Black
    This ponderous, didactic weepie aspires to "Titanic" stature even if the only ship it sinks is itself.
    • 14 Metascore
    • 30 J. Hoberman
    I Woke Up Early the Day I Died
    That this mime show works better than it should is, in a sense, the ultimate dis.
    • 55 Metascore
    • 30 J. Hoberman
    He liu
    The absurdity floods the banks of the filmmaker's intentions.
    • 54 Metascore
    • 30 J. Hoberman
    Julien Donkey-Boy
    A handheld and grainy exercise in cine-stupefaction...too spastic to connect...the movie just flails the air.
    • 33 Metascore
    • 30 J. Hoberman
    Welcome to Mooseport
    Closer to Sturges than Capra, the movie means to satirize the TV-fueled carnivalesque nature of American electoral politics but only demonstrates the TV-fueled debasement of American commercial comedy.
    • 46 Metascore
    • 30 J. Hoberman
    Manderlay
    All of this plays out as flat, didactic, and lazy.
    • 43 Metascore
    • 30 J. Hoberman
    Home Room
    Home Room is badly acted and, running well over two hours, often mind-numbingly ponderous. Depressed rather than hysterical, it's in every way less clever and more literal-minded than "Zero Day."
    • 76 Metascore
    • 30 J. Hoberman
    La grande strada azzurra
    The neophyte director has a tendency to pose his actors and musically overscore each new dramatic development. The combination can border on the ludicrous.
    • 44 Metascore
    • 30 J. Hoberman
    The Ninth Gate
    Never quite becomes unwatchable.
    • 56 Metascore
    • 30 J. Hoberman
    Non-Stop
    Exceedingly slow setup and even more tediously static sequence that effectively terminates the movie well before its official running time.
    • 57 Metascore
    • 30 J. Hoberman
    Harold & Kumar Escape from Guantanamo Bay
    A largely mind-numbing experience.
    • 54 Metascore
    • 30 J. Hoberman
    And Now... Ladies and Gentlemen...
    Has little to offer beyond muzzy kismet and generalized amnesia, a bit of National Geographic and a lot of cocktail jazz.
    • 43 Metascore
    • 30 J. Hoberman
    For Love of the Game
    Costner himself is the doggedly humorless heart and soul (and brains?) of this monumentally maudlin picture.
    • 56 Metascore
    • 30 J. Hoberman
    Hereafter
    Hereafter is not just a stretch for Eastwood, it's a contortion. The irrationality of the premise is exceeded only by the strategic irrationalities of the plot.
    • 49 Metascore
    • 30 J. Hoberman
    S1m0ne
    Niccol has no gift for comedy. His ongoing exploration of modern celebrity results in an industry satire that's less funny than half-empty and hyper-designed.
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