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 1.6 points lower than other critics. (0-100 point scale)

Jonathan Rosenbaum's Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 Dead Man
Lowest review score: 0 The Ladies Man
Score distribution:
1493 movie reviews
    • 77 Metascore
    • 60 Jonathan Rosenbaum
    This curious ecological parable was directed by George Miller (Babe: Pig in the City), who still has an eye and a sense of humor but on this particular outing can't get the script he wrote with three others to make much sense.
    • 71 Metascore
    • 60 Jonathan Rosenbaum
    Director Jonathan Demme's farcical and broad 1988 comedy, written by Barry Strugatz and Mark R. Burns, doesn't really work, but there are plenty of enjoyable compensations.
    • 63 Metascore
    • 60 Jonathan Rosenbaum
    There's some excellent comedy early on involving the mutual incomprehension of Africans and Americans, though this eventually gives way to solemn, ethnocentric mush about one African's reading of the story of Jesus, demonstrating as usual that sustained subtlety is hardly Spielberg's forte.
    • 79 Metascore
    • 60 Jonathan Rosenbaum
    Lacks the scariness, the mystery, and even much of the curiosity of Rivette's better work.
    • 64 Metascore
    • 60 Jonathan Rosenbaum
    The script by producer David Franzoni, John Logan, and William Nicholson is serviceable but not exactly inspired.
    • 68 Metascore
    • 60 Jonathan Rosenbaum
    Wears its art, as well as its heart, on its sleeve -- so much so that I feel guilty for not liking it more.
    • 67 Metascore
    • 60 Jonathan Rosenbaum
    Storper is pretty good at playing with and against certain western cliches in his treatment of the good guys (including Annette Bening's character), but resorts to pure cliche when it comes to the villians (e.g., Gambon and James Russo).
    • 61 Metascore
    • 60 Jonathan Rosenbaum
    A mainly routine Hong Kong action film from fleet and floppy-haired action hero Jackie Chan. It's light on plot and character, but the stunts are well staged.
    • 50 Metascore
    • 60 Jonathan Rosenbaum
    Foreigners who argue that Americans are Neanderthal savages can point to this movie as persuasive evidence.
    • 49 Metascore
    • 60 Jonathan Rosenbaum
    If the Disney animated original (1961) -- adapted from Dodie Smith's novel -- tried to approximate live action, this 1996 Disney live-action remake often tries to evoke cartoon.
    • 41 Metascore
    • 60 Jonathan Rosenbaum
    Formulaic but fairly well-done.
    • 33 Metascore
    • 60 Jonathan Rosenbaum
    Unafraid to look absurd but lacks the self-conviction needed to come off as camp.
    • 71 Metascore
    • 60 Jonathan Rosenbaum
    Enjoyable but thin.
    • 49 Metascore
    • 60 Jonathan Rosenbaum
    The eroticism is powerful, and the documentary candor and directness of the sex scenes make this well worth seeing.
    • 80 Metascore
    • 60 Jonathan Rosenbaum
    The efforts to plant this story in a contemporary vernacular are not always successful but the performances are uniformly fine in their adherence to the material, and consistently avoid any vulgarity or showboating.
    • 65 Metascore
    • 60 Jonathan Rosenbaum
    Carax has a wonderful cinematic eye and a personal feeling for editing rhythms, and his sense of overripeness and excess virtually defines him.
    • 86 Metascore
    • 60 Jonathan Rosenbaum
    I don't see this slightly better-than-average drug thriller, with slightly better-than-average direction by Steven Soderbergh, as anything more than a routine rubber-stamping of genre reflexes.
    • 71 Metascore
    • 60 Jonathan Rosenbaum
    This held me, but I was grateful when it released me.
    • 69 Metascore
    • 60 Jonathan Rosenbaum
    Ron Howard, an exemplar of honorable mediocrity, reunites with actor Russell Crowe and screenwriter Akiva Goldsman of "A Beautiful Mind" for this epic treatment of a seven-year stretch (1928-'35) in the career of New Jersey boxer James J. Braddock.
    • 76 Metascore
    • 60 Jonathan Rosenbaum
    Very slickly and glibly put together, with a sharp eye for yuppie decor and accoutrements; even Woody's habitual, fanciful vision of an all-white New York is respected.
    • 51 Metascore
    • 60 Jonathan Rosenbaum
    I guess one out of three ain't bad.
    • 65 Metascore
    • 60 Jonathan Rosenbaum
    If you're looking to be romantically captivated, this movie just might do the job.
    • 66 Metascore
    • 60 Jonathan Rosenbaum
    There are still plenty of laughs and some inventiveness along the way...although some of the gags and contrived plot moves stumble over their own cuteness.
    • 42 Metascore
    • 60 Jonathan Rosenbaum
    As old-fashioned movie fun, this isn't bad, even -- especially? -- when it skirts the edge of silliness, and it's better than the 1960 George Pal version.
    • 82 Metascore
    • 60 Jonathan Rosenbaum
    The result is grimly "effective," but it made me long for Hollywood junk.
    • 72 Metascore
    • 60 Jonathan Rosenbaum
    You won't be too bored.
    • 62 Metascore
    • 60 Jonathan Rosenbaum
    The movie is about the interactions between these characters, and though I'm still trying to figure out what all the pieces mean, there's no way I can shake off the experience.
    • 35 Metascore
    • 60 Jonathan Rosenbaum
    I found it more pleasurable as a time waster than either "Mission: Impossible."
    • 75 Metascore
    • 60 Jonathan Rosenbaum
    At some point in this endless thriller the suspense turns into an extremely unpleasant ordeal that Dahl doesn't know when to stop.
    • 47 Metascore
    • 60 Jonathan Rosenbaum
    Though its ending feels protracted--especially the climactic chase--it kept me reasonably distracted.
    • 52 Metascore
    • 60 Jonathan Rosenbaum
    On a mindless exploitation level this is pretty good, but on other levels it seems to make promises that it fails to deliver on; none of the deaths carries any moral weight, and the climactic special-effects free-for-all tends to drown out all other interests.
    • 52 Metascore
    • 60 Jonathan Rosenbaum
    For torture and violence freaks, every clank and thud is duly and hyperbolically registered.
    • 69 Metascore
    • 60 Jonathan Rosenbaum
    The main novelty of this conventional, slight, but charming youth picture is that it's English and therefore more class-conscious than most American equivalents.
    • 81 Metascore
    • 60 Jonathan Rosenbaum
    Half-funny mockumentary.
    • 55 Metascore
    • 60 Jonathan Rosenbaum
    If Wahlberg in a beret is your idea of fun, don't let me get in your way.
    • 57 Metascore
    • 60 Jonathan Rosenbaum
    I can't think of another film remotely like it.
    • 81 Metascore
    • 60 Jonathan Rosenbaum
    Remains mired in a smart-alecky film-school sensibility.
    • 45 Metascore
    • 60 Jonathan Rosenbaum
    It's full of pain and quirky characters standing at oblique angles to one another, and while it doesn't add up it held me throughout.
    • 77 Metascore
    • 60 Jonathan Rosenbaum
    This meticulous but ultimately rather pedestrian drama gradually won me over as a minor if watchable example of the "victory through defeat" brand of military heroism that John Ford specialized in.
    • 65 Metascore
    • 60 Jonathan Rosenbaum
    There are times when this leisurely movie seems so much in love with its own virtue and nobility that there's not much room left for the spectator.
    • 92 Metascore
    • 60 Jonathan Rosenbaum
    It's full of scenic splendors with a fine sense of scale, but its narrative thrust seems relatively pro forma, and I was bored by the battle scenes.
    • 72 Metascore
    • 60 Jonathan Rosenbaum
    The tragic and highly "symbolic" death toward the end, which is supposed to illustrate the sins of the parents being visited upon their children, barely resonates at all, because most of the insights are strictly incidental. The film elicits guilty, lascivious chuckles, not analysis.
    • 59 Metascore
    • 60 Jonathan Rosenbaum
    Its virtues are still genuine and durable enough to resist the blandishments of hype.
    • 77 Metascore
    • 60 Jonathan Rosenbaum
    I enjoyed the invented trailers the directors fold into the mix, but despite the jokey "missing reels," these two full-length features are each 20 minutes longer than they need to be, and neither one makes much sense as narrative.
    • 56 Metascore
    • 60 Jonathan Rosenbaum
    It has plenty of visual sweep, fine action sequences, and, thanks especially to Brad Pitt (as Achilles) and Peter O'Toole (as King Priam), a deeper sense of character than one might expect from a sword-and-sandal epic.
    • 65 Metascore
    • 60 Jonathan Rosenbaum
    Missing is most of Tarkovsky's contemplative and mystical poetry (which is why it's 90 minutes shorter), and added are some unfortunate Hollywood-style designer flashbacks -- The story is still strong and haunting, but I'd recommend seeing this, if at all, only after the Tarkovsky.
    • 74 Metascore
    • 60 Jonathan Rosenbaum
    The characters' behavior isn't always believable, and the jerky rhythm takes some getting used to (there may be more attitude here than observation). But the defiant absence of any conventional plot has a cumulative charm.
    • 31 Metascore
    • 60 Jonathan Rosenbaum
    On the very edge of coherence -- but I find its decadent erotic poetry irresistible.
    • 56 Metascore
    • 60 Jonathan Rosenbaum
    Maybe I've seen too many James Bond movies by now, or maybe the trouble with this 20th installment is that the filmmakers are trying too hard to top the excesses of the predecessors.
    • 46 Metascore
    • 60 Jonathan Rosenbaum
    Takes a while to arrive at what it has to say, but some of the performances kept me occupied in the meantime.
    • 67 Metascore
    • 60 Jonathan Rosenbaum
    The film asks us to embrace not only the death of beauty but the beauty of death.
    • 60 Metascore
    • 60 Jonathan Rosenbaum
    The charm of the three leads makes it a movie worth seeing.
    • 62 Metascore
    • 60 Jonathan Rosenbaum
    Watchable if far-fetched movie is seriously marred by its three leads; only Garrel manages to suggest a person rather than a fashion model dutifully following instructions.
    • 71 Metascore
    • 60 Jonathan Rosenbaum
    While its slender plot (stripper Karina wants a baby and turns to Belmondo when her boyfriend Brialy won't oblige her) can irritate in spots, the film's high spirits may still win you over.
    • 49 Metascore
    • 60 Jonathan Rosenbaum
    Sam Raimi tries to do a Sergio Leone, and though this 1995 feature is highly enjoyable in spots, it doesn't come across as very convincing, perhaps because nothing can turn Sharon Stone into Charles Bronson.
    • 66 Metascore
    • 60 Jonathan Rosenbaum
    An Austin Powers movie for grown-ups.
    • 48 Metascore
    • 60 Jonathan Rosenbaum
    This is mainly the girl's story, though the numerous southern archetypes out of Tennessee Williams and Carson McCullers (who's explicitly referenced) keep threatening to overwhelm her.
    • 82 Metascore
    • 60 Jonathan Rosenbaum
    I seem to be in a distinct minority in finding the satire toothless, obvious, and insufferably glib -- Still, I found genuine pleasure in watching Catherine Zeta-Jones, Renee Zellweger, Richard Gere, and John C. Reilly try their hands at singing and dancing.
    • 65 Metascore
    • 60 Jonathan Rosenbaum
    The actors are brilliant, the dialogue extremely clever, and the direction assured. But by the end I couldn't have cared less about any of the characters.
    • 71 Metascore
    • 60 Jonathan Rosenbaum
    This one's slightly better than average these days, which means slightly diverting.
    • 64 Metascore
    • 60 Jonathan Rosenbaum
    A pretty good chronicle of a certain phase of French working-class life.
    • 48 Metascore
    • 60 Jonathan Rosenbaum
    Falk throws himself into the part and almost single-handedly enables this comedy drama to transcend some of its sitcom limitations.
    • 43 Metascore
    • 60 Jonathan Rosenbaum
    A seemingly mad dog periodically turns into a well-trained pet.
    • 49 Metascore
    • 60 Jonathan Rosenbaum
    Like "The Hustler," this absorbing Las Vegas story about a professional poker player (Eric Bana) uses gambling to tell a tale of moral regeneration. But Bana can't carry a picture like Paul Newman, and poker proves less photogenic than pool.
    • 50 Metascore
    • 60 Jonathan Rosenbaum
    This arty and moody account of her formation as an artist, as its subtitle declares, is basically invented. Its nerviness only pays off in a few details and in Nicole Kidman's resourcefulness.
    • 56 Metascore
    • 60 Jonathan Rosenbaum
    The results are easy to watch, though awfully familiar and simpleminded.
    • 19 Metascore
    • 60 Jonathan Rosenbaum
    8MM
    I can't say I warmed to the results, but I was solidly held for the film's two hours.
    • 70 Metascore
    • 60 Jonathan Rosenbaum
    If, like the filmmakers, you're willing to settle for a myth that flatters your sensibilities and shortchanges the past, you're likely to find some agreeable kicks here.
    • 71 Metascore
    • 60 Jonathan Rosenbaum
    The performances are strong, but the spectator often feels adrift in an overly busy intrigue.
    • 79 Metascore
    • 60 Jonathan Rosenbaum
    If you like being shaken up and don't care too much why or how, this is probably for you; Huppert gives her all to the part, and you won't be bored.
    • 46 Metascore
    • 60 Jonathan Rosenbaum
    Alas, most of the surprise and the wit to be found here ends with the title.
    • 33 Metascore
    • 60 Jonathan Rosenbaum
    As soon as it became clear that this remake has nothing to do with real Georgia moonshiners and everything to do with car chases, smashups, and explosions, I could sit back and enjoy it as good, stupid fun.
    • 73 Metascore
    • 60 Jonathan Rosenbaum
    Griffith's talent, energy, and sexiness give it some drive and punch.
    • 64 Metascore
    • 60 Jonathan Rosenbaum
    Like Fellini's "I vitelloni," this Spanish-French-Italian coproduction is a bittersweet epic about frustration and relative inertia, though with a somewhat older and wiser group of layabouts.
    • 61 Metascore
    • 60 Jonathan Rosenbaum
    My only reason to recommend this movie is that there's nothing quite like it.
    • 44 Metascore
    • 60 Jonathan Rosenbaum
    The performances of both Schwarzenegger and O'Brien are labored, the pacing uneven, and maybe only half the gags work, but there's a certain amount of creative energy and audacity mixed in with all the confusion.
    • 62 Metascore
    • 60 Jonathan Rosenbaum
    This is fairly efficient if you can square efficiency with being twice as long as necessary and overly familiar to boot; at least Jackson and Spacey keep it afloat.
    • 67 Metascore
    • 60 Jonathan Rosenbaum
    A pleasant, inoffensive, and (quite properly) mindless diversion.
    • 50 Metascore
    • 60 Jonathan Rosenbaum
    George Lucas produced and Jim Henson (of Muppets fame) directed this heftily budgeted 1986 fantasy, which seems to be a conscious attempt to play on the female coming-of-age themes of classic fairy tales.
    • 45 Metascore
    • 60 Jonathan Rosenbaum
    Friedkin does a superb job of serving up the well-appointed script by James Webb and Stephen Gaghan.
    • 65 Metascore
    • 60 Jonathan Rosenbaum
    Ali
    What's lacking here is a sustained thematic focus -- at least five people worked on the script, including Mann, which may account for the absence of a clear through line -- though the spectacle and characters keep one absorbed.
    • 68 Metascore
    • 60 Jonathan Rosenbaum
    This has its moments, but don't expect many fresh insights.
    • 59 Metascore
    • 60 Jonathan Rosenbaum
    This is brisk and fun to watch, thanks to the actors...But once you catch the main drift of the plot, it becomes awfully ho-hum.
    • 66 Metascore
    • 60 Jonathan Rosenbaum
    Diverting, energetic, and even reasonably satisfying, so long as you aren't looking for a real musical to take its place.
    • 71 Metascore
    • 60 Jonathan Rosenbaum
    The Coens do an efficient job of stamping their signature grotesquerie on sumptuous Beverly Hills and Las Vegas settings and ladling on gallows humor and malice, sometimes with the verve of early Robert Zemeckis.
    • 82 Metascore
    • 60 Jonathan Rosenbaum
    The overall feel is phantasmagoric--pitched, like most of Maddin's work, in the style of a half-remembered late silent feature or early talkie.
    • 72 Metascore
    • 60 Jonathan Rosenbaum
    Sincere, capable, at times moving, but overextended, this picture is seriously hampered by its tendency to linger over everything--especially landscapes with silhouetted figures, and not excluding its own good intentions.
    • 51 Metascore
    • 60 Jonathan Rosenbaum
    Not at all bad for a toy commercial.
    • 76 Metascore
    • 60 Jonathan Rosenbaum
    Individually these elements are powerful, but they fail to mesh or collide with one another in any satisfying way, and the movie's score only exacerbates the problem.
    • 68 Metascore
    • 60 Jonathan Rosenbaum
    I can't yet decide whether the film works or not, but it certainly held me for its full two hours.
    • 32 Metascore
    • 60 Jonathan Rosenbaum
    It's slight but likable, and diverting enough as light entertainment.
    • 56 Metascore
    • 60 Jonathan Rosenbaum
    To call this "Farrelly brothers lite" may be a little redundant, but aside from the odd vomit gag, it goes relatively easy on their usual working-class taboo busting.
    • 68 Metascore
    • 60 Jonathan Rosenbaum
    Writer-director Alan Rudolph has been remaking his own romantic comedy-dramas for so long now that even when he gives us two couples instead of one or substitutes Montreal for Seattle--both of which he does here--the film still comes out feeling the same.
    • 64 Metascore
    • 60 Jonathan Rosenbaum
    If one discounts the facile and unconvincing ending, this first feature by Guka Omarova, offers a convincingly bleak view of how a 15-year-old boy could get ahead in rural Kazakhstan in the early 90s.
    • 71 Metascore
    • 60 Jonathan Rosenbaum
    This is stronger in terms of characters (male ones, that is) than in terms of story or mise en scene, but the actorskeep this pretty watchable.
    • 57 Metascore
    • 60 Jonathan Rosenbaum
    Enjoyably campy hokum.
    • 64 Metascore
    • 60 Jonathan Rosenbaum
    It's a story worth telling, though once the participants and the filmmakers start basking in their virtue, the material begins to feel overextended.
    • 70 Metascore
    • 60 Jonathan Rosenbaum
    The cast is OK, and LaBute still has an eye, but the uses they're put to seem contrived and arty.
    • 44 Metascore
    • 60 Jonathan Rosenbaum
    Too bad the overreaching script has to go after effects recalling "Alien," but as a stylistic exercise this still has its chills.
    • 54 Metascore
    • 60 Jonathan Rosenbaum
    According to common usage, the French word stupide comes closer to silly than to dumb, which is how I might rationalize my affection for this harebrained, obvious, but euphoric tale.

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