Jordan Hoffman

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Entertainment Weekly, Film.com, IGN, New York Daily News, The A.V. Club, The Daily Beast, The Dissolve, The Guardian, Vanity Fair, Village Voice
For 487 reviews, this critic has graded:
  • 52% higher than the average critic
  • 2% same as the average critic
  • 46% lower than the average critic
On average, this critic grades 1.8 points lower than other critics. (0-100 point scale)

Jordan Hoffman's Scores

  • Movies
  • TV
Average review score: 64
Highest review score: 100 Summer of Soul (...Or, When the Revolution Could Not Be Televised)
Lowest review score: 0 Charlie Countryman
Score distribution:
  1. Positive: 248 out of 487
  2. Mixed: 191 out of 487
  3. Negative: 48 out of 487
487 movie reviews
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    • 58 Metascore
    • 60 Jordan Hoffman
    Uncle Frank
    It is a frustrating filmgoing experience, but still one worthy of your time for the acting alone.
    • 58 Metascore
    • 80 Jordan Hoffman
    Creative Control
    When something is this engaging (and funny, did I mention funny?) it ceases to merely be about ideas and becomes, even in this borderline sci-fi context, a thoughtful movie about people.
    • 58 Metascore
    • 40 Jordan Hoffman
    Lights Out
    Lights Out is yet another half-baked, PG-13 scare-em snoozer centered on an underdeveloped supernatural concept that won’t even give kids a good nightmare.
    • 58 Metascore
    • 30 Jordan Hoffman
    Jimmy P.
    It’s just boring – and boring in a way that apparently has no endgame.
    • 58 Metascore
    • 60 Jordan Hoffman
    The Seagull
    Mayer’s The Seagull is not a masterpiece, but it is impressive, and for those who agree that it is important to check back in with the classics, the whole company deserves its huzzahs.
    • 58 Metascore
    • 60 Jordan Hoffman
    The Night Before
    Surprisingly, for a movie this ephemeral, the closing sequences, which consist of flashbacks and confrontations, are actually quite touching.
    • 58 Metascore
    • 20 Jordan Hoffman
    Fading Gigolo
    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.
    • 58 Metascore
    • 90 Jordan Hoffman
    Escape from Tomorrow
    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.
    • 57 Metascore
    • 60 Jordan Hoffman
    The Zookeeper's Wife
    All told The Zookeeper’s Wife is a story worth telling, even if there are a good number of not-so-hot spots along the way.
    • 57 Metascore
    • 80 Jordan Hoffman
    Whiskey Tango Foxtrot
    Ficara and Requa have an irreverent streak, one that even might strike some as a little flippant against the gravity of the war.
    • 57 Metascore
    • 50 Jordan Hoffman
    How I Live Now
    For every poignant moment there’s a gaudy dream sequence, wretched internal monologue, ham-fisted zoom or an exchange of dialogue sorely lacking nuance.
    • 57 Metascore
    • 68 Jordan Hoffman
    Bad Words
    While Bad Words is a little too dopey to take seriously, this is compensated for with a handful of truly amusing sequences.
    • 57 Metascore
    • 80 Jordan Hoffman
    Miss Peregrine's Home for Peculiar Children
    We get the playfulness of seeing quirky magic powers mixed with the familiarity of how a time loop plays out. Add in Burton’s authorial visual stamp and what we’ve got is an extremely pleasing formula. It gels as Tim Burton’s best (non-musical) live-action movie for 20 years.
    • 57 Metascore
    • 40 Jordan Hoffman
    The Maze Runner
    The Maze Runner is not a good movie, but it wins points for omitting much of what makes typical teen films excruciating.
    • 57 Metascore
    • 60 Jordan Hoffman
    Strange Weather
    Katherine Diekmann’s Strange Weather is a fairly simple melodrama, and one that could use a few reminders that it is better to show not tell. But as a showcase it’s a role that would fuel actors’ dreams.
    • 57 Metascore
    • 60 Jordan Hoffman
    Klown Forever
    Klown Forever has even less of a plot than the first film, which is a bit of a problem.
    • 57 Metascore
    • 58 Jordan Hoffman
    Significant Other
    At the halfway mark, a little spice gets shaken into the otherwise thin soup. It’s still far from a must-see, but there are rewards for those who stick to the end.
    • 57 Metascore
    • 40 Jordan Hoffman
    Burden
    This movie is about as subtle as a sledgehammer, with no shortage of cringeworthy moments and an uninteresting lead performance.
    • 56 Metascore
    • 80 Jordan Hoffman
    Adrift
    Adrift doesn’t have quite the existential gut-punch of JC Chandor’s similar All Is Lost or the recent Cannes debut , but what it lacks in the department of pure howling cinema, it makes up for with the emotion of its central relationship.
    • 56 Metascore
    • 75 Jordan Hoffman
    Straw
    Straw is not exactly subtle, but the emotions are so raw and the performances are so earnest that you’ve really got to have a heart of stone not to care for these people.
    • 56 Metascore
    • 83 Jordan Hoffman
    Nonnas
    Formulaic, dare-I-say-sappy movies, when done right, can be really good, and Nonnas is one such example.
    • 56 Metascore
    • 42 Jordan Hoffman
    Deadpool & Wolverine
    The movie is two hours of cheap jokes, culminating in the world’s biggest Family Guy episode. It tries so hard to be clever, it just ends up being cringe.
    • 56 Metascore
    • 60 Jordan Hoffman
    Paper Towns
    The best parts of Paper Towns are also the best part of being young – just hanging out doing nothing with friends who know you too well to allow for any lies.
    • 56 Metascore
    • 60 Jordan Hoffman
    Antibirth
    Perez’ style is like a less-serious David Lynch, which is a nice comparison for a first-timer. Not all of his scenes nail that eerie surrealism, but he’s got a knack for a well-placed prop and the right timing for a dopey gag to come in and pop the balloon of suspense.
    • 56 Metascore
    • 80 Jordan Hoffman
    The DUFF
    What’s terrific about The Duff is that Casey and Jessica may not have intentionally befriended the less attractive Bianca as a way to make themselves look better, but they don’t exactly deny that she serves that purpose.
    • 56 Metascore
    • 60 Jordan Hoffman
    The Yellow Birds
    Yellow Birds goes heavy on the brooding, and even though a lot of it looks gorgeous and carries the whiff of great importance it is ultimately stunted by a central event that isn’t worth the mystery that surrounds it.
    • 55 Metascore
    • 85 Jordan Hoffman
    Dom Hemingway
    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.
    • 55 Metascore
    • 69 Jordan Hoffman
    I'm So Excited
    First and foremost I’m So Excited! is late night cabaret – funny, filthy and more than a little bit sloshed.
    • 55 Metascore
    • 90 Jordan Hoffman
    Old
    Shyamalan teases out new information in just the right doses, remembering all the while that this is, at its core, a B-picture. It isn’t gory, but it’s gross, and the camera knows just how much to show to keep us dialed in.
    • 81 Metascore
    • 91 Jordan Hoffman
    Everything Everywhere All at Once
    The film, which uses the gimmick of jumping between parallel universes to explore, essentially, how to be your best self, is awash in zany sci fi culs-du-sac, sly movie references, and a deranged high fructose attitude that scoffs at the idea of everything but the kitchen sink. The Daniels want infinite kitchen sinks.
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