J. Hoberman Movie Reviews & Previews - Rotten Tomatoes

Movie Reviews Only

Rating T-Meter Title | Year Review
87% Where's My Roy Cohn? (2019) However overwrought, Tyrnauer's movie forcefully illustrates Cohn's once cozy relationship with New York's rich, powerful, and privileged, many of them liberals and/or members of the media...‐ Tablet
Read More | Posted Jun 22, 2020
74% Bully. Coward. Victim. The Story of Roy Cohn (2019) Raw, personal and compassionate...‐ Tablet
Read More | Posted Jun 22, 2020
100% Losing Ground (1982) Given its self-contained milieu, arty references and cerebral humor, "Losing Ground" is far closer to Eric Rohmer's or Woody Allen's contemporary brand of haute bourgeois comedy than to Spike Lee's confrontational social satire.‐ New York Times
Read More | Posted Jun 5, 2020
86% State Funeral (2019) As presented, State Funeral conjures a vision of gaslighting on an unimaginable scale-impossible to consign to history's dustbin.‐ Artforum
Read More | Posted May 1, 2020
83% The Whistlers (2020) Heralded by a blast of Iggy Pop's insouciant anthem and nearly three times as expensive as any previous Porumboiu film, The Whistlers suggests an updated, if still scaled down, version of glitzy mid-1960s international caper films...‐ Artforum
Read More | Posted Mar 5, 2020
68% Joker (2019) Not only an intelligent throwback to the feel-bad shock cinema of the 1970s, Joker is all but unique in its social realism...‐ Tablet
Read More | Posted Feb 6, 2020
94% Transit (2019) Inhabiting a realm between the past and present, Europe and America, and also cinema and literature, [Petzold's characters] are, in Hannah Arendt's phrase, "living ghosts among the ruins of our times."‐ The New York Review of Books
Read More | Posted Dec 19, 2019
87% Synonyms (Synonymes) (2019) ...at once an ambivalent love letter to Paris and a startling act of cinematic aggression. The camera moves are brusque.‐ The New York Review of Books
Read More | Posted Nov 1, 2019
85% Once Upon a Time In Hollywood (2019) [Tarantino's] most personal film, it is also the one he has hinted may be his last. If so, he will have quit while he's ahead.‐ The New York Review of Books
Read More | Posted Aug 23, 2019
60% Sunset (Napszállta) (2019) Sunset is suspenseful and absorbing, if also repetitive and, at 140 minutes, a bit overlong.‐ The New York Review of Books
Read More | Posted Mar 22, 2019
91% Pickup on South Street (1953) Insanely slangy, deliriously hard-boiled noir...‐ The New York Review of Books
Read More | Posted Mar 7, 2019
67% Spring Breakers (2013) Spring Breakers is a crowd-pleaser, although given its confounding creepiness, the crowd it pleases most is surely the forty-year-old filmmaker's intellectual fan base. ‐ The New York Review of Books
Read More | Posted Mar 7, 2019
74% Existenz (1999) It's striking that eXistenZ, a send-up of computer games that parodied The Matrix avant la lettre, and one of the great underappreciated movies of the late 1990s, yields the richest trove of relics.‐ The New York Review of Books
Read More | Posted Mar 7, 2019
72% American Sniper (2015) For many, I suspect, American Sniper may be weirdly liberating-gratifying a perhaps hitherto unsuspected desire to see their pessimism, hopeless and unchanging, projected on the screen.‐ The New York Review of Books
Read More | Posted Mar 7, 2019
91% Phantom Thread (2018) Anderson makes movies that may refuse to explain themselves but nevertheless manage to engage the viewer, in part because he tends to cut from confined spaces to open ones as if inviting us to enter them.‐ The New York Review of Books
Read More | Posted Mar 6, 2019
76% The Long Day Closes (1992) The Long Day Closes is essentially Davies's distilled recollection of himself at 11, a seemingly friendless child in a dismal working-class Liverpool, transfixed by his experience of the cinema.‐ The New York Review of Books
Read More | Posted Mar 6, 2019
95% The Connection (1961) The Connection is not a great movie but it is a singular and multi-faceted historical artifact. ‐ The New York Review of Books
Read More | Posted Mar 6, 2019
26% 2016: Obama's America (2012) D'Souza is loath to give offense to what he seemingly regards as America's dominant culture. Indeed, one might just as easily interpret the entirety of 2016 as evidence of D'Souza over-compensation with regards to his feeling of post-colonial...‐ The New York Review of Books
Read More | Posted Mar 6, 2019
84% The Hunger Games (2012) The Hunger Games is undeniably progressive in making its protagonist so plucky, independent, and self-actualizing a young woman. ‐ ARTINFO.com
Read More | Posted Feb 25, 2019
84% Bonsái (2012) Chilean director Cristián Jiménez's "Bonsái" is the essence of cosmopolitan provincialism. A superbly grounded, programmatically small, meta-literary tragicomedy of student-boho life.‐ ARTINFO.com
Read More | Posted Feb 25, 2019
75% Damsels in Distress (2012) [Damsels in Distress] is genteel lowbrow farce, with musical comedy aspirations.‐ ARTINFO.com
Read More | Posted Feb 25, 2019
87% The Dark Knight Rises (2012) The Dark Knight Rises not only celebrates a caped Übermensch but is itself, as a commercial enterprise, something beyond good and evil.‐ ARTINFO.com
Read More | Posted Feb 25, 2019
52% John Carter (2012) For the most part, the first "live action" feature by Andrew Stanton, is graphically splendiferous and enjoyably nonsensical.‐ ARTINFO.com
Read More | Posted Feb 25, 2019
88% Post Mortem (2012) Building in intensity, this is a movie that's both elusive and visceral in its metaphors. The perverse anti-virtuosity of the filmmaking heightens the sense of pervasive shabbiness and ineptitude. It's a new and original vision of political terror.‐ ARTINFO.com
Read More | Posted Feb 25, 2019
80% Artificial Paradises (2012) Paraisos Artificiales is an exemplary situation documentary that employs one professional actor, Luisa Pardo, and a single location, Playa Jicacal, as the basis for an 83-minute movie that's as much reverie as narrative.‐ ARTINFO.com
Read More | Posted Feb 25, 2019
89% Keep the Lights On (2012) The movie's elaborately failed closure only makes sense once you understand that the filmmaker's all-too-human desire for self-justification apparently trumped the ruthless self-control required to make a work of art.‐ ARTINFO.com
Read More | Posted Feb 25, 2019
67% Cloud Atlas (2012) I wouldn't call The Cloud Atlas pure cinema, but... the mix and mash trumps the balderdash. ‐ ARTINFO.com
Read More | Posted Feb 25, 2019
85% The Master (2012) The main thing is that The Master is so unlike anything else in its seriousness and so admirable in its vitality that one has to support it.‐ ARTINFO.com
Read More | Posted Feb 25, 2019
98% Let The Fire Burn (2013) The violent clash between constitutional freedoms and social society, not to mention the racial conflict, make for a very American story.‐ ARTINFO.com
Read More | Posted Feb 25, 2019
88% Stand Clear Of The Closing Doors (2014) The sub working-class, Latino milieu shades more exotic than authentic, but the cast is terrific, the movie is extremely well-shot up close and personal. ‐ ARTINFO.com
Read More | Posted Feb 25, 2019
78% The Grandmaster (2013) The Grandmaster strikes me as Wong's strongest film since In the Mood for Love and surprisingly credible as an exercise in kung fu stylistics as well as temps perdu.‐ ARTINFO.com
Read More | Posted Feb 25, 2019
96% Burning Bush (2014) The opening is sensational and, as if the narrative weren't compelling enough, [Agnieszka] Holland keeps trying to top it for the rest of the movie with a hectic, hyper dramatic camera style. ‐ ARTINFO.com
Read More | Posted Feb 25, 2019
93% Le Joli Mai (1963) What is astonishing about the movie, even today, is the joie de vivre, cinematic and otherwise, with which it levels its critique.‐ ARTINFO.com
Read More | Posted Feb 25, 2019
No Score Yet La Beauté du Diable (Beauty and the Devil) (1950) However fusty and old-fashioned, La Beauté du Diable burnished my appreciation for Michel Simon's comic gifts.‐ ARTINFO.com
Read More | Posted Feb 25, 2019
No Score Yet Four Bags Full (La Traversée de Paris) (1957) In essence, A Pig Across Paris plays the German occupation for slapstick comedy. ‐ ARTINFO.com
Read More | Posted Feb 25, 2019
96% Céline et Julie Vont en Bateau (Celine and Julie Go Boating) (1974) Celine and Julie is verdant, airy, and playful.‐ ARTINFO.com
Read More | Posted Feb 25, 2019
36% Dark Shadows (2012) Sad to report, the [Tim] Burton opus is an unnecessarily complicated tale involving too many characters, not to mention an unresolved moral conundrum that has us happily rooting for an unapologetic mass serial killer.‐ ARTINFO.com
Read More | Posted Feb 25, 2019
94% Elena (2012) Andrey Zvyagintsev is the most internationally-acclaimed Russian filmmaker to emerge during the Putin era, and his expertly directed third feature Elena is, albeit oblique, the most vivid evocation I've seen of Moscow's contemporary society.‐ ARTINFO.com
Read More | Posted Feb 25, 2019
88% Bernie (2012) Bernie lacks the edge of malice one might reasonably expect from so nasty a tale.‐ ARTINFO.com
Read More | Posted Feb 22, 2019
87% Beasts of the Southern Wild (2012) The movie's mad gusto is truly infectious.‐ ARTINFO.com
Read More | Posted Feb 22, 2019
66% 2 Days in New York (2012) 2 Days in New York is initially quite pleasing in its chaotic near slapstick but the non-stop manic insouciance grows wearisome and ultimately self-indulgent.‐ ARTINFO.com
Read More | Posted Feb 22, 2019
86% Almayer's Folly (2012) Almayer's Folly, is a brilliant, wayward mash-up suggesting European colonialism as a madman's fantasy. ‐ ARTINFO.com
Read More | Posted Feb 22, 2019
65% Cosmopolis (2012) Cosmopolis is as an exercise in outlandish dialogue and bone-dry humor, a contemporary allegory that is also a sustained riff on the idea of a virtual world.‐ ARTINFO.com
Read More | Posted Feb 22, 2019
67% Lawless (2012) Lawless wants to be something larger than life, but it's too joyless to be a tall tale and too self-satisfied for tragedy.‐ ARTINFO.com
Read More | Posted Feb 22, 2019
94% The Gatekeepers (2013) Six smart, tough guys, tightly framed and talking to the camera: Israeli filmmaker Dror Moreh's compelling Oscar-nominated doc The Gatekeepers gives the voice of experience a human face.‐ ARTINFO.com
Read More | Posted Feb 22, 2019
92% Caesar Must Die (2013) Despite its lean and hungry look, the Taviani Brothers' Caesar Must Die may be the most effectively gimmicked version of Shakespeare's Julius Caesar in the 75 years since Orson Welles's modern-dress, anti-fascist staging.‐ ARTINFO.com
Read More | Posted Feb 22, 2019
82% Side Effects (2013) Side Effects showcases much of what the just 50-year-old filmmaker does best.‐ ARTINFO.com
Read More | Posted Feb 22, 2019
100% Le Pont du Nord (1981) What the Surrealists found in Louis Feuillade's World War I serials, we can find here. [Jacques] Rivette too renders the ordinary dreamlike by filming his fantasy-driven actors in the midst of life.‐ ARTINFO.com
Read More | Posted Feb 22, 2019
95% Blancanieves (2013) Filmed in glamorous black and white, all dialogue furnished via intertitles, the movie is less a pastiche than The Artist and, at least initially, it's not as precious. ‐ ARTINFO.com
Read More | Posted Feb 22, 2019
46% To The Wonder (2013) Where The Tree of Life was sanctimonious, To the Wonder is about the failure of sanctimony.‐ ARTINFO.com
Read More | Posted Feb 22, 2019