Boyd van Hoeij

Boyd van Hoeij
Tomatometer-approved critic
Biography:
Boyd van Hoeij is a freelance film writer based in Paris and Luxembourg. As a critic, he has covered the main film festivals (Sundance, Berlin, Cannes, Venice...) and the major European releases for industry magazine <em>The Hollywood Reporter</em> since 2013. Before that, he was a contributing critic at <em>Variety</em>. Boyd is also the film editor of <em>Winq</em> magazine (Netherlands) and a regular contributor to <em>Indiewire</em> (U.S.) and <em>Filmkrant</em> (Netherlands). His book 10/10, about contemporary Francophone Belgian cinema, came out in September 2010. He's taught film criticism short courses and dissected classic movies frame-by-frame across the globe, including in such far-flung places as Lithuania, Luxembourg, Macedonia, Portugal, Ireland and Palm Springs, Calif. He's been a panelist or moderator at festivals including Berlin, Cannes and Sydney and served on the Cannes Critics' Week jury in 2015.
Favorites:
If I told you that, I'd be out of work.
Critics' Group: Online Film Critics Society
Official Websites: twitter.com/filmboyd

movie Reviews Only

T-Meter Title | Year Review
No Score Yet Wùlu (2017) The film's foretold but very understated ending, which keeps a key moment offscreen to devastating effect, again confirms that Coulibaly is a talent to watch. - Hollywood Reporter EDIT
Read More | Posted Feb 20, 2019
No Score Yet Normal (2019) By avoiding any kind of overt editorializing beyond choosing what to film and how to edit the material, Tulli allows audiences to draw their own conclusions. The way the pic plays could differ greatly from person to person. - Hollywood Reporter EDIT
Read More | Posted Feb 20, 2019
No Score Yet Greta (2019) This is a thematically ambitious but narratively very intimate and compassionate story of human relationships. - Hollywood Reporter EDIT
Read More | Posted Feb 20, 2019
No Score Yet Selfie (2019) The reason that Selfie makes such an impression... is that it doesn't only focus on all the bad or hopeless things that surround the boys. - Hollywood Reporter EDIT
Read More | Posted Feb 11, 2019
100% The Ground Beneath My Feet (Der Boden unter den Füssen) (2019) An impressively controlled feature about the messy nature of contemporary life. - Hollywood Reporter EDIT
Read More | Posted Feb 11, 2019
86% Merata: How Mum Decolonised the Screen (2018) A portrait of an icon of Indigenous cinema as directed by her son. - Hollywood Reporter EDIT
Read More | Posted Feb 11, 2019
80% The Magic Life of V (2019) There's a sense throughout that the filmmakers don't quite know how to handle the line between fact and fiction, between prodding and simply observing. - Hollywood Reporter EDIT
Read More | Posted Jan 30, 2019
100% Divine Love (2019) It may be sensual to watch but its goals are anything but sexy. What's more, it might not even be really necessary. - Hollywood Reporter EDIT
Read More | Posted Jan 27, 2019
No Score Yet Edmond (2018) Generally, Michalik manages to advance the various story strands persuasively, and with a lot of energy. - Hollywood Reporter EDIT
Read More | Posted Jan 25, 2019
83% Dirty God (2019) Knight's Jade feels authentic in her mood swings, from frustrated to questioning, from hopeful to devastated and back, sometimes within a single scene. - Hollywood Reporter EDIT
Read More | Posted Jan 24, 2019
No Score Yet In Your Hands (Au bout des doigts) (2018) Like the film's formulaic plot outline, the veterans' performances are peppered with unexpected little moments, turning what could have easily been almost too familiar into a slightly more textured work. - Hollywood Reporter EDIT
Read More | Posted Jan 9, 2019
83% Winter Flies (Vsechno bude) (2018) 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. - Hollywood Reporter EDIT
Read More | Posted Oct 24, 2018
No Score Yet The Freshmen (Première année) (2018) A rambling and semi-impressionistic account of two medical students in their first year that feels like an exercise in nostalgia... - Hollywood Reporter EDIT
Read More | Posted Oct 23, 2018
No Score Yet Take It or Leave It (2018) A realistically told drama about one blue-collar man's struggle with keeping his head above water as he has to try and juggle life's curveballs. - Hollywood Reporter EDIT
Read More | Posted Oct 22, 2018
No Score Yet Screwdriver (Mafak) (2018) Jarbawi, who penned the script as well, also struggles to balance his various story threads, skipping from one subplot to another in a manner that never feels fully organic. - Hollywood Reporter EDIT
Read More | Posted Oct 5, 2018
No Score Yet I Feel Good (2018) A delight. - Hollywood Reporter EDIT
Read More | Posted Oct 5, 2018
60% Consequences (Posledice) (2018) Sharp performances and direction help make up for a spotty screenplay. - Hollywood Reporter EDIT
Read More | Posted Oct 1, 2018
67% The Day I Lost My Shadow (Yom Adaatou Zouli) (2018) A flawed but interesting fiction debut. - Hollywood Reporter EDIT
Read More | Posted Oct 1, 2018
25% The Innocent (Der Unschuldige) (2018) Though certainly ambitious and well-performed across the board, this has to be considered a bit of letdown from the clearly talented Swiss-German writer-director Simon Jaquemet. - Hollywood Reporter EDIT
Read More | Posted Sep 27, 2018
67% Cinderella The Cat (Gatta Cenerentola) (2017) The classic fairytale gets an unexpectedly dark and adult update in Cinderella the Cat (Gatta cenerentola), a strikingly animated tale. - Hollywood Reporter EDIT
Read More | Posted Sep 26, 2018
No Score Yet Living the Light (2018) A sort of scrapbook narrative, composed of little moments and small insights that together create a kind of mosaic view of a complex man and artist. - Hollywood Reporter EDIT
Read More | Posted Sep 25, 2018
71% Heartbound (2018) Heartbound is a frustrating work to watch about a potentially fascinating subject. It raises more questions than it answers, with one of the main questions being what it is the filmmakers really wanted to show and explore. - Hollywood Reporter EDIT
Read More | Posted Sep 14, 2018
80% Roads in February (2018) A promising debut feature from Canadian director Katherine Jerkovic. - Hollywood Reporter EDIT
Read More | Posted Sep 14, 2018
80% The Good Girls (Las niñas bien) (2018) The Good Girls is more like an intentionally overdressed drama than a satirical comedy, while the clearly foretold ending robs the proceedings of any suspense. - Hollywood Reporter EDIT
Read More | Posted Sep 13, 2018
86% Cities of Last Things (2018) Though it takes a little while for the film to find its footing, this is an ambitious and, finally, also touching new work from Pinoy Sunday director Ho Wi Ding. - Hollywood Reporter EDIT
Read More | Posted Sep 13, 2018
100% Rojo (2018) Its accessibility... could turn this into Naishtat's most widely seen work to date and help consolidate his reputation as an exciting new voice in Argentinean cinema. - Hollywood Reporter EDIT
Read More | Posted Sep 12, 2018
90% Giant Little Ones (2019) The film belongs to Wiggins, who brings an openness and sincerity to Franky's struggles that help suggest to what extent his character's specific story has elements that everybody will be able to relate to. - Hollywood Reporter EDIT
Read More | Posted Sep 11, 2018
60% The Hummingbird Project (2019) Though this intriguing genre-hybrid might be just a little too odd for more mainstream success, this is a promising step in the right direction for Nguyen. - Hollywood Reporter EDIT
Read More | Posted Sep 10, 2018
33% One Nation, One King (Un peuple et son roi) (2018) A wannabe epic about the French Revolution that's so bad it almost makes you wish France were still a kingdom. - Hollywood Reporter EDIT
Read More | Posted Sep 10, 2018
No Score Yet The Lost Caravaggio (Una storia senza nome) (2018) Seems so enamored with the idea of layering different stories on top of one another like some kind of narrative lasagna that it finally becomes unclear what it is the film is really trying to say. - Hollywood Reporter EDIT
Read More | Posted Sep 10, 2018
75% Mademoiselle de Joncquières (2018) A pleasurable way indeed to pass two hours at the cinema. - Hollywood Reporter EDIT
Read More | Posted Sep 10, 2018
No Score Yet Jinpa (Zhuang si le yi zhi yang) (2018) An intriguing if austere arthouse item that should please lovers of slow cinema with a more mystical edge. - Hollywood Reporter EDIT
Read More | Posted Sep 10, 2018
88% Driven (2018) If the film's finally an entertaining ride, it is because Sudeikis takes the audience by the hand through this very unlikely story that was inspired by true events. - Hollywood Reporter EDIT
Read More | Posted Sep 9, 2018
No Score Yet Ville Neuve (2018) There's enough talent on display to make one wonder what the director will do next. - Hollywood Reporter EDIT
Read More | Posted Sep 7, 2018
91% Shadow (2019) This is probably the most stunningly beautiful Zhang has made to date. - Hollywood Reporter EDIT
Read More | Posted Sep 6, 2018
No Score Yet The Summer House (Les estivants) (2018) Fans of Bruni Tedeschi's previous films, It's Easier for a Camel, Actresses and A Castle in Italy, will appreciate this, too. - Hollywood Reporter EDIT
Read More | Posted Sep 6, 2018
78% Never Look Away (2019) Admirably restrained, this is nonetheless a historical drama on an expansive canvas that, even though it runs over three hours, is always engaging. - Hollywood Reporter EDIT
Read More | Posted Sep 4, 2018
91% The Accused (Acusada) (2018) Beyond showing that an entire country will have an opinion on a court case they vaguely follow in papers and on TV, The Accused offers surprisingly little in terms of analysis, insight or even irony. - Hollywood Reporter EDIT
Read More | Posted Sep 4, 2018
No Score Yet Nice Girls Don't Stay for Breakfast (2018) A warm, jazzy homage to a much-celebrated but also very complicated man whose complexity nonetheless remains forever just out of reach. - Hollywood Reporter EDIT
Read More | Posted Sep 4, 2018
No Score Yet Domingo (2018) Domingo is... shambolic, a story full of loose ends. This finally feels very appropriate for a film set at a key moment in Brazilian history that, at least at the time, felt hugely uncertain and disruptive. - Hollywood Reporter EDIT
Read More | Posted Sep 3, 2018
No Score Yet Adam & Evelyn (Adam und Evelyn) (2018) The film's first two acts are too emotionally uninvolving and detached to turn this into a feature with possible crossover appeal... - Hollywood Reporter EDIT
Read More | Posted Sep 3, 2018
50% Close Enemies (Freres Ennemis) (2018) A top-tier genre yarn. - Hollywood Reporter EDIT
Read More | Posted Sep 3, 2018
100% School's Out (L'heure de la sortie) (2018) Plenty creepy but psychologically lacking. - Hollywood Reporter EDIT
Read More | Posted Sep 3, 2018
100% Anons (2018) Playing like an unholy mix of bone-dry comedy and a deadly serious meditation on the transience of those in power, this is a precision-tooled little gem... - Hollywood Reporter EDIT
Read More | Posted Sep 3, 2018
86% Mi obra maestra (2018) Not a work of art...but still entertaining. - Hollywood Reporter EDIT
Read More | Posted Aug 30, 2018
No Score Yet Truk (L'enkas) (2018) Solid performances enhance a mediocre story. - Hollywood Reporter EDIT
Read More | Posted Aug 30, 2018
No Score Yet Real Love (C'est ça l'amour) (2018) Familiar but moving. - Hollywood Reporter EDIT
Read More | Posted Aug 30, 2018
No Score Yet M (2018) Problematic yet fascinating. - Hollywood Reporter EDIT
Read More | Posted Aug 30, 2018
100% All Good (Alles gut) (2018) Though only East Berlin-born director Eva Trobisch's feature debut, this is already a mature, fully realized film that is markedly better than the work of a lot of more seasoned directors... - Hollywood Reporter EDIT
Read More | Posted Aug 28, 2018
60% Genèse (2018) Exciting and heartbreaking, like a true first love. - Hollywood Reporter EDIT
Read More | Posted Aug 28, 2018