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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    • 70 Metascore
    • 80 Jordan Hoffman
    The King
    Jarecki uses Elvis Presley’s career and influence to help us make sense of fame, power, corruption, self-destructive behaviour and pretty much all the other ills of the world.
    • 94 Metascore
    • 100 Jordan Hoffman
    Faces Places
    If there’s a message in Visages, Villages (both to us, and from Varda to her young friend) is that one does not need to be a tortured and nasty person to make great art. She is living and still-working proof.
    • 53 Metascore
    • 40 Jordan Hoffman
    The Merciless
    By the end of this relentless, sprawling and bloody crime opera it may be you who is on your knees, begging for the damn movie to just hurry up and end it.
    • 74 Metascore
    • 80 Jordan Hoffman
    The Women's Balcony
    This light and predictable movie, with its overwhelming box office success, still offers tremendous insight into day-to-day Israeli society.
    • 72 Metascore
    • 80 Jordan Hoffman
    Blade of the Immortal
    If you are going to see one outlandish and occasionally nauseating bloodbath samurai pic this year, this is the one.
    • 92 Metascore
    • 100 Jordan Hoffman
    The Florida Project
    While minimal on plot, the film digs in its nails on the day-to-day struggles of poor people in America.
    • 72 Metascore
    • 80 Jordan Hoffman
    Burden
    If Burden has any fault, it’s that it is overly straight, but perhaps for a subject with which it is so difficult to relate, that is necessary.
    • 40 Metascore
    • 60 Jordan Hoffman
    Sandy Wexler
    There is something so authentic in this film that once you get past the annoying voice and some of the dreadfully unfunny side characters, it is disarmingly sweet and even occasionally clever.
    • 68 Metascore
    • 40 Jordan Hoffman
    The Blackcoat's Daughter
    The frozen landscapes are undeniably gorgeous and the empty school halls are chilling. There are crafty moments here and there, glimpses of the midnight movie that could have been. February’s big villain is precisely what the film is lacking: a devilish spirit.
    • 61 Metascore
    • 60 Jordan Hoffman
    In Search of Israeli Cuisine
    History and politics are present in this film, but over at the kids table.
    • 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.
    • 50 Metascore
    • 80 Jordan Hoffman
    Burn Your Maps
    We can debate if Burn Your Maps merely fetishises a different culture or holds it in true reverence, but I’d like to give it the benefit of the doubt. If nothing else, the performances are terrific all around.
    • 55 Metascore
    • 80 Jordan Hoffman
    Song to Song
    Song to Song is, once you root around for a story, the best of a recent trilogy.
    • 40 Metascore
    • 20 Jordan Hoffman
    Table 19
    After the unnatural way it plops this gruesome group in their social Siberia, it goes from (alleged) comedy to serious drama with all the subtlety of a 10-year-old playing Mario Kart.
    • 85 Metascore
    • 80 Jordan Hoffman
    Get Out
    It's very funny at times, but it isn't a comedy. It is that very rare of beasts: a new and original motion picture.
    • 50 Metascore
    • 40 Jordan Hoffman
    Newness
    Surely there is a good movie to be made about caring polyamorous relationships, but as with any romantic story the audience needs to fall in love with the idea of these characters being in love.
    • 65 Metascore
    • 60 Jordan Hoffman
    The Polka King
    What’s key is that even though this is a movie about a scoundrel, it’s all very optimistic. Forbes and Wolodarsky keep the frame bright and the filmmaking calls attention to itself only when necessary.
    • 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.
    • 79 Metascore
    • 100 Jordan Hoffman
    Whose Streets?
    Directors and activists Sabaah Folayan and Damon Davis’s outstanding and incendiary documentary about Ferguson does a tremendous end run around mainstream news outlets and the agenda-driven narratives that emerge, particularly on television.
    • 49 Metascore
    • 40 Jordan Hoffman
    Wilson
    As things go bad for Wilson, the movie, unfortunately, loses a considerable amount of steam as well.
    • 85 Metascore
    • 100 Jordan Hoffman
    Mudbound
    A hundred well-placed plot breadcrumbs lead us to our perfect ending, but apart from scriptwriting craft Rees gets in some bravura scenes of high tension.
    • 94 Metascore
    • 100 Jordan Hoffman
    Call Me by Your Name
    Call Me By Your Name is a masterful work because of the specificity of its details.
    • 84 Metascore
    • 80 Jordan Hoffman
    A Ghost Story
    Not all is explained in A Ghost Story, but enough is there for vibrant discussion to break out the minute the credits rolled.
    • 66 Metascore
    • 60 Jordan Hoffman
    Landline
    The movie itself is a retread of indie story beats we’ve all seen time and again. Slate’s tornado of a central character doesn’t quite overcome the rote aspects of this production.
    • 54 Metascore
    • 40 Jordan Hoffman
    The Discovery
    The final act is a pineal flooding of baffling explanations and twists. What’s worse is that there is very little drama underpinning it; by this late stage the collected characters are still stuck dredging up their backstories, doing little to propel the narrative forward.
    • 68 Metascore
    • 40 Jordan Hoffman
    An Inconvenient Sequel: Truth to Power
    An Inconvenient Sequel is more a portrait of Gore than a call to arms. It ends with a sort of forced positivity, much of which is recycled directly from the first movie: political change is hard, but we can do it, morality demands it.
    • 78 Metascore
    • 80 Jordan Hoffman
    Bright Lights: Starring Carrie Fisher and Debbie Reynolds
    These were two women who reached a state of balance thanks to an almost aggressive honesty.
    • 49 Metascore
    • 40 Jordan Hoffman
    Gold
    There’s not much that glitters in Gold, a lackluster caper that proves that even the priciest ore can bore.
    • 60 Metascore
    • 60 Jordan Hoffman
    Rules Don't Apply
    It doesn’t make sense as a comedy, it doesn’t quite work as a drama, and it doesn’t follow the typical roadmap of a biopic, but Rules Don’t Apply is strangely compelling nonetheless.
    • 72 Metascore
    • 80 Jordan Hoffman
    The Eagle Huntress
    Even if Aisholpan’s training – which includes hoodwinking, responding to calls, dragging dead foxes and other hallmarks of falconry – is for the camera, it doesn’t make it any less extraordinary. Especially in this remarkable environment, captured in breathtakingly crisp digital video.
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