Jonathan Rosenbaum
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For 1,493 reviews, this critic has graded:
  • 41% higher than the average critic
  • 2% same as the average critic
  • 57% lower than the average critic
On average, this critic grades 0.1 points higher than other critics. (0-100 point scale)

Jonathan Rosenbaum's Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 Pépé le Moko (re-release)
Lowest review score: 0 Showgirls
Score distribution:
1,493 movie reviews
    • 91 Metascore
    • 30 Jonathan Rosenbaum
    A very well-made genre exercise, but I can’t understand why it’s been accorded so much importance, unless it’s because it strokes some ideological impulse.
    • 37 Metascore
    • 30 Jonathan Rosenbaum
    Director F. Gary Gray doesn't have a clue about how to film this couple dancing, and Peter Steinfeld's crude script confuses character with shtick while racing us through a story where loyalties and motivations turn on a dime.
    • 54 Metascore
    • 30 Jonathan Rosenbaum
    This is mainly a narrative brain-teaser like "Memento" or "The Jacket"; merely keeping up with the game requires so much energy that the thinness of the material becomes fully apparent only toward the end.
    • 48 Metascore
    • 30 Jonathan Rosenbaum
    This interminable contest between two narcissists, stretched out over many miles and years, is supposed to have something to do with romance.
    • 31 Metascore
    • 30 Jonathan Rosenbaum
    To boost this movie's rating to "worth seeing" would make me feel like a publicist or simply a dope.
    • 55 Metascore
    • 30 Jonathan Rosenbaum
    A deeply stupid and offensive action comedy-romance.
    • 42 Metascore
    • 30 Jonathan Rosenbaum
    If old-fashioned jolts are what you're after, this nasty piece of merchandise delivers. But so does electroshock.
    • 67 Metascore
    • 30 Jonathan Rosenbaum
    A film about a junkie rock musician, played by Michael Pitt at his most narcissistic, doing nothing in particular for the better part of 97 minutes isn't my idea of either a good time or a serious endeavor.
    • 33 Metascore
    • 30 Jonathan Rosenbaum
    The protracted shoot-out at the end of Dear Wendy is even more pornographic than the moment when a female member of the Dandies exposes her breasts. The audience is clearly expected to enjoy the bloodbath even while it disapproves.
    • 58 Metascore
    • 30 Jonathan Rosenbaum
    Jarhead virtually begins with a rip-off of the basic-training sequence that opens Stanley Kubrick's "Full Metal Jacket."
    • 37 Metascore
    • 30 Jonathan Rosenbaum
    Arnold Schwarzenegger and Jamie Lee Curtis must have a soft spot for the disabled kids of billionaires, because both have cameos near the end of this vulgar and dreadfully dopey enterprise; more impressively savvy is director Penelope Spheeris, who plays herself directing the movie-within-a-movie and manages to seem superfluous in both roles.
    • 38 Metascore
    • 30 Jonathan Rosenbaum
    The mirthlessly sadistic gags tend to target people in wheelchairs or hospital beds and betray a mild if all-encompassing disgust for the source material and the audience.
    • 43 Metascore
    • 30 Jonathan Rosenbaum
    "Sorry, viewers" is more like it.
    • tbd Metascore
    • 30 Jonathan Rosenbaum
    Schwaba's uncertainty as a director is underlined by the almost arbitrary jump cuts, freeze-frames, and sped-up action.
    • 37 Metascore
    • 30 Jonathan Rosenbaum
    This 2005 farce about a hellish Passover seder panders to middle-class Jews as gleefully as Tyler Perry's movies pander to middle-class African-Americans, though there's less religiosity and a greater degree of self-hatred in the vulgar stereotypes.
    • 68 Metascore
    • 30 Jonathan Rosenbaum
    Torturously dull.
    • 48 Metascore
    • 30 Jonathan Rosenbaum
    Allen doesn't get us to care much about any of the characters here.
    • 61 Metascore
    • 30 Jonathan Rosenbaum
    13 (Tzameti) might seem allegorical, but it’s too cynically concerned with what works as entertainment to offer larger truths about human existence.
    • 62 Metascore
    • 30 Jonathan Rosenbaum
    Despite the resourcefulness of the two leads, the movie finally registers as much ado about very little.
    • 37 Metascore
    • 30 Jonathan Rosenbaum
    This interminable, poorly constructed drug thriller by writer-director Frank E. Flowers sat on the shelf for two years before winning a release.
    • 37 Metascore
    • 30 Jonathan Rosenbaum
    The unfocused story is so bereft of any clear sense of period or location that the political melodrama sometimes seems to be taking place inside a cigar box.
    • 39 Metascore
    • 30 Jonathan Rosenbaum
    Mainly it's a shambles, though for once Williams gets to do what he's best at (his stand-up shtick), and the absurd story, no matter how carelessly assembled, keeps moving.
    • 52 Metascore
    • 30 Jonathan Rosenbaum
    Murphy seems either incapable of or uninterested in creating a recognizable world, so local comic effects count for everything.
    • 28 Metascore
    • 30 Jonathan Rosenbaum
    The rationale behind this unattractive animated comedy, a U.S.-German coproduction, seems to be that since it can't create a fairy-tale world of its own, it might as well riffle through many of the more familiar ones, with particular emphasis on Cinderella's, pretending to deconstruct them with postmodernist glosses, adolescent wisecracks, and a few high-tech anachronisms.
    • 45 Metascore
    • 30 Jonathan Rosenbaum
    Based on this outing, writer-director Joe Carnahan (Narc) can't tell a story worth a damn--especially not a complicated mishmash like this one.
    • 70 Metascore
    • 30 Jonathan Rosenbaum
    It's pretty perverse for William Wheeler, who scripted this feature, to get most of the facts wrong, inflating details that don't need any spin. (As Irving himself remarked, "You could call it a hoax about a hoax.")
    • 54 Metascore
    • 30 Jonathan Rosenbaum
    80 minutes of formulaic unpleasantness isn't even close to my idea of a good time, and I doubt that Hitchcock himself could have done very much with Mark L. Smith's script.
    • 25 Metascore
    • 30 Jonathan Rosenbaum
    Director Ken Kwapis (The Sisterhood of the Traveling Pants) gives this script by many hands a certain gloss it doesn't deserve.
    • 50 Metascore
    • 30 Jonathan Rosenbaum
    I don't believe in fixing things that aren't broken. Sandra Nettelbeck's wholly accessible "Mostly Martha" (2001) is one of the most delightful comedies of recent years, so the idea of a remake with English instead of German dialogue is already pretty dubious, an insult to the capacities of both audiences and the original filmmakers.
    • 45 Metascore
    • 30 Jonathan Rosenbaum
    Unfortunately the movie's more interesting and challenging social aspects, which imply more than one "British-Chinese gay experience," are often overtaken by its smarminess--including an aggressively banal score and the way some actors have apparently been encouraged to overwork their eyebrows.
    • 44 Metascore
    • 30 Jonathan Rosenbaum
    You can't be both political and incoherent, and even though Kelly's models are "Kiss Me Deadly" and "Blade Runner," this vision of the near-future suggests a random blend of "Dr. No" and "Faster, Pussycat! Kill! Kill!"
    • 52 Metascore
    • 30 Jonathan Rosenbaum
    This anachronistic tale goes beyond Capracorn to evoke Depression-era fare like "One Hundred Men and a Girl" in which the charm is overtaken by mush. One wants to protect this, but it's hard not to gag on the cuteness.
    • 73 Metascore
    • 30 Jonathan Rosenbaum
    The concept was interesting and charming in "Love Letters," up to a point, but here it quickly becomes repetitive, obvious, and dull.
    • 38 Metascore
    • 30 Jonathan Rosenbaum
    I haven't seen the original, and this mishmash -- doesn't make me want to.
    • 49 Metascore
    • 30 Jonathan Rosenbaum
    This caper movie starts off as enjoyable guff before turning strictly formulaic and winding up as unenjoyable guff.
    • 28 Metascore
    • 30 Jonathan Rosenbaum
    Slick and effective escapism with a touch of poetry (a la "The Sixth Sense") that left me vaguely dissatisfied once the mystery was supposedly resolved.
    • 29 Metascore
    • 30 Jonathan Rosenbaum
    One very sick and messed-up movie.
    • 37 Metascore
    • 30 Jonathan Rosenbaum
    The script...and Rob Reiner's direction...bristle with phoniness.
    • 58 Metascore
    • 30 Jonathan Rosenbaum
    One more sluggish, artfully framed thriller with Rembrandt lighting set in a New York borough--a kind of picture that's awfully hard to do in a fresh manner.
    • 38 Metascore
    • 30 Jonathan Rosenbaum
    Humorless, lugubrious, and interminable.
    • 44 Metascore
    • 30 Jonathan Rosenbaum
    Loaded with facile social themes, opaque characters, pointlessly intricate flashbacks, and inflated technique.
    • 70 Metascore
    • 30 Jonathan Rosenbaum
    Compels questions about Kinski's bravado and artistry, and suggests that it might not always be easy to distinguish his from Herzog's.
    • 34 Metascore
    • 30 Jonathan Rosenbaum
    I don't know the actual budget of this adventure yarn, but it feels like a middle-range effort whose heart is with the bargain-basement offerings of yesteryear.
    • 63 Metascore
    • 30 Jonathan Rosenbaum
    Thomas is a couch potato as well as a recluse, and a terminal bore to boot. The women, real and simulated, are only slightly more interesting, and then only when they talk back.
    • 85 Metascore
    • 30 Jonathan Rosenbaum
    Out of Sight engaged me less and less, until by the end I no longer cared which of the characters lived or died. Not even the engaging Jennifer Lopez, George Clooney, Albert Brooks, Don Cheadle, and Ving Rhames or the talented secondary cast can survive the abbreviations and last-minute shoehorning their characters receive.
    • 54 Metascore
    • 30 Jonathan Rosenbaum
    A tiresome 1998 rip-off of The Hustler, with poker (in a New York Russian Mafia milieu) taking the place of pool, Matt Damon taking over for Paul Newman, and John Malkovich's scenery chewing supplanting Jackie Gleason's self-effacement.
    • 54 Metascore
    • 30 Jonathan Rosenbaum
    Easy to take but even easier to leave alone.
    • 70 Metascore
    • 30 Jonathan Rosenbaum
    Despite a certain grace in the dialogue and casual plot construction, this is positively reeking of a desire to be cheerful in the face of adversity.
    • 53 Metascore
    • 30 Jonathan Rosenbaum
    Laughless, brainless, styleless, and clueless.
    • 27 Metascore
    • 30 Jonathan Rosenbaum
    When the cast is shown during the final credits repeatedly cracking up in blown takes, one would like to think they were laughing at some of the lines they were expected to deliver.
    • 39 Metascore
    • 30 Jonathan Rosenbaum
    Eugene Levy is the only actor who emerges relatively unscathed in such a fetid climate; as for Joan Plowright, I hope she took home a healthy check.
    • 62 Metascore
    • 30 Jonathan Rosenbaum
    I'm usually a sucker for courtroom dramas, but Rob Reiner's highly mechanical filming by numbers of Aaron Sorkin's adaptation of his own cliched and fatuous Broadway play kept putting me to sleep.
    • 50 Metascore
    • 30 Jonathan Rosenbaum
    As satire it's toothless and at times close to incoherent; its predictable swipes are aimed equally at conservative racists and bleeding-heart liberals.
    • 55 Metascore
    • 30 Jonathan Rosenbaum
    A horrendous effort all around.
    • 43 Metascore
    • 30 Jonathan Rosenbaum
    For the first 100 minutes or so I found this hokey but serviceable; after that my watch became more meaningful than anything I could locate on-screen.
    • 34 Metascore
    • 30 Jonathan Rosenbaum
    There are a few pretty good design effects en route, but not enough to compensate for all the embarrassments.
    • 83 Metascore
    • 30 Jonathan Rosenbaum
    This is no restoration but a revision...If there's a difference in overall quality, I'm unaware of it. Dave Kehr calls this 1979 feature "an empty-headed horror movie with nothing to recommend it beyond the disco-inspired art direction and some handsome if gimmicky cinematography.
    • 43 Metascore
    • 30 Jonathan Rosenbaum
    The film's hatred of Ricci and Channing and its affectionate tolerance of the hero's mousy hypocrisy and his mentor's negativity are familiar Allen motifs, but the faint echoes of his best work only make this one seem grimmer.
    • 49 Metascore
    • 30 Jonathan Rosenbaum
    A lot of effort appears to have gone into the glitzy period re-creation, but this is mainly a tearjerker.
    • 51 Metascore
    • 30 Jonathan Rosenbaum
    Proves that the Disney people can sell just about anything--including a misogynistic celebration of big business and prostitution.
    • 38 Metascore
    • 30 Jonathan Rosenbaum
    This all-day sucker put me to sleep -- though it's possible I retreated out of self-defense.
    • 33 Metascore
    • 30 Jonathan Rosenbaum
    Suspense is fairly effective until it's stretched to the point of monotony.
    • 68 Metascore
    • 30 Jonathan Rosenbaum
    For me the film creates more embarrassment than sympathy, but at least it's a kind of embarrassment that's instructive.
    • 46 Metascore
    • 30 Jonathan Rosenbaum
    The tricky plot has an interesting payoff, but it's a slow and bumpy ride getting there, and Koepp fares better with special effects than with generating either suspense or interest in the characters.
    • 42 Metascore
    • 30 Jonathan Rosenbaum
    Poorly acted, over-the-top, and generally out-of-control bloodbath.
    • 26 Metascore
    • 30 Jonathan Rosenbaum
    Director Philip Kaufman's usual flair for erotic detail largely deserts him here, and this thriller seems most interested in lingering over battered and bloodied male faces.
    • 68 Metascore
    • 30 Jonathan Rosenbaum
    Its paper-thin characters turned into caricatures by egregious hamming, this 1996 Japanese comedy-drama about shy ballroom dancers is sentimental goo and downright interminable.
    • 40 Metascore
    • 30 Jonathan Rosenbaum
    The truth is that this programmatic Christian parable is pretty unbearable--glib, often myopic, and reeking with sentimentality and self-pity.
    • 36 Metascore
    • 30 Jonathan Rosenbaum
    Another virtual-reality SF movie -- and you're not likely to care.
    • 62 Metascore
    • 30 Jonathan Rosenbaum
    If you're an 11-year-old boy at heart, this is undoubtedly even better than the pile of dinosaur shit in Jurassic Park.
    • 47 Metascore
    • 30 Jonathan Rosenbaum
    This comedy is an ill-fated attempt to remake "Risky Business" (1983) for the 21st century, complete with a wind-chimey score, the hero posing in his underpants, and a cynical happy ending.
    • 71 Metascore
    • 30 Jonathan Rosenbaum
    May be amusing if you feel a pressing need to feel superior to somebody, but the aim is too broad and scattershot to add up to much beyond an acknowledgment of small-town desperation--something Sherwood Anderson and Sinclair Lewis did much better back in the 20s and 30s.
    • 56 Metascore
    • 30 Jonathan Rosenbaum
    This movie feels like it was made by a bank rather than a person.
    • 35 Metascore
    • 30 Jonathan Rosenbaum
    The film itself regresses, starting in the present and winding up with a cautionary ending that evokes the hokiest SF movies of the 50s.
    • 31 Metascore
    • 30 Jonathan Rosenbaum
    With so many dubious elements at play, even the half-good ideas get lost in the shuffle.
    • 32 Metascore
    • 30 Jonathan Rosenbaum
    The film is far too appreciative of its own jokes to let the audience discover anything on its own.
    • 39 Metascore
    • 30 Jonathan Rosenbaum
    Slapdash plot, paper-thin characters, misogynist undertones, and mechanical crosscutting are all soft-core standbys.
    • 57 Metascore
    • 30 Jonathan Rosenbaum
    It's an utter waste of Watts; there's not a trace here of the talent on display in Mulholland Drive, perhaps because the script doesn't bother to give her a character.
    • 73 Metascore
    • 30 Jonathan Rosenbaum
    Insofar as one can distinguish the investigative research from the career move, this Sundance prizewinner is effective muckraking, but it lacks much of a political program apart from the message that we're poisoning ourselves.
    • 28 Metascore
    • 30 Jonathan Rosenbaum
    It has its moments, but not many, and generally speaking it runs neck and neck with Dune as the least successful and least interesting Lynch feature.
    • 41 Metascore
    • 30 Jonathan Rosenbaum
    Part of the idea here was to play in the ambiguous zones where Las Vegas tackiness, LSD hallucinations, Gilliam beasties, and lots of vomit become difficult to separate.
    • 49 Metascore
    • 30 Jonathan Rosenbaum
    More concerned with attitude than character and too moralistic to be much fun.
    • 33 Metascore
    • 30 Jonathan Rosenbaum
    Frantic and unfunny.
    • 56 Metascore
    • 30 Jonathan Rosenbaum
    The result is a dull and campy 97-minute bloodbath offering little distinction between good guys and bad.
    • 59 Metascore
    • 30 Jonathan Rosenbaum
    Bored me for most of its 178 minutes and then infuriated me with its cheap cynicism once it belatedly became interesting--which may be a tribute to writer-director Lars von Trier's gifts as a provocateur.
    • 47 Metascore
    • 30 Jonathan Rosenbaum
    An exceptionally stupid movie.
    • 47 Metascore
    • 30 Jonathan Rosenbaum
    If Sayles had persuaded me he knew anything about Bush, his background, or his entourage that isn't already well-known, I might have felt more like laughing.
    • 65 Metascore
    • 30 Jonathan Rosenbaum
    Awkward storytelling and spotty exposition reduce it to a string of rude shocks--not even the eventual denouement provides a lucid enough account of where this is all coming from.
    • 64 Metascore
    • 30 Jonathan Rosenbaum
    Payne is just as guilty of using her (Ruth) as a figurehead for his ideas--most of them about the stupidity and futility of politics--as are the targets of his satirical abuse.
    • 60 Metascore
    • 30 Jonathan Rosenbaum
    Every effect is so calculated that only the conscious minds of filmmakers and viewers are engaged--and not by very much or for very long.
    • 41 Metascore
    • 30 Jonathan Rosenbaum
    I don't doubt the noble motives behind this Disney parable, but the attempts at amiable, laid-back dialogue (script by Gerald DiPego) are painful, the pacing is sluggish, and the confused story's poorly focused.
    • 53 Metascore
    • 30 Jonathan Rosenbaum
    Now that Robin Williams has been emasculated--dangerously schizoid comic turned into nice-guy movie star--it isn't too surprising that a commercial hack like Chris Columbus would use him the way he does in this cutesy 1993 comedy: cutting between Williams trying on different voices rather than holding the camera on him as he lurches between these voices without notice.
    • 35 Metascore
    • 30 Jonathan Rosenbaum
    Translating Woolrich's pulpy obsessiveness and crazy contrivances into the stuff of light comedy is no easy matter, and the movie gets as far as it does mainly with the help of Lake and Shirley MacLaine.
    • 61 Metascore
    • 30 Jonathan Rosenbaum
    [An] unsatisfying mess.
    • 58 Metascore
    • 30 Jonathan Rosenbaum
    As effective as MacDowell was in sex, lies, and videotape, she's clearly no match for the talented Depardieu; perhaps she'd seem less out of her depth if the script wasn't so implausible and threadbare.
    • 47 Metascore
    • 30 Jonathan Rosenbaum
    Running beyond three hours, the movie more than overstays its welcome, and despite some vague genuflections in the general direction of The Godfather regarding family ties and revenge, there are simply too many years and locations covered, too many crane shots and rainstorms.
    • 77 Metascore
    • 30 Jonathan Rosenbaum
    Misogynistic claptrap about a divorced husband (Dustin Hoffman) fighting for the custody of and learning to cope with his little boy (Justin Henry) - a movie whose classy trimmings (including Nestor Almendros's cinematography) persuaded audiences to regard writer-director Robert Benton as a subtle art-house director.
    • 53 Metascore
    • 30 Jonathan Rosenbaum
    If you can swallow one more amnesia plot and one more recycling of favorite bits from Godard's Bande a part, pressed to serve yet another postmodernist antithriller about redemption, this has its compensations.
    • 36 Metascore
    • 30 Jonathan Rosenbaum
    More of the same, though a lot coarser than its immediate predecessor, and the characters and situations have now calcified to the point where they're simply sitcom staples.
    • 66 Metascore
    • 30 Jonathan Rosenbaum
    There are no characters to care about or remember afterward - just a lot of flashy technique involving decor, some glib allegorical flourishes, and the obligatory studied film-school weirdness.