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 Full Metal Jacket
Lowest review score: 0 Cocktail
Score distribution:
1493 movie reviews
    • 52 Metascore
    • 70 Jonathan Rosenbaum
    This is familiar but atmospheric, with good performances by Peter Falk, Blythe Danner, Joey Bilow, Michael Santoro, Merle Kennedy, and former football pro Don Meredith.
    • 77 Metascore
    • 70 Jonathan Rosenbaum
    A potent feminist protest--all the more so because some of the laws depicted are still in force today.
    • 67 Metascore
    • 70 Jonathan Rosenbaum
    This movie really belongs to Baye and Lopez, both so skillful that they almost make you forget that what you're watching is close to a stunt--one oddly evocative of Graham Greene in its doomed romanticism but at times also minimalist to a fault.
    • 85 Metascore
    • 70 Jonathan Rosenbaum
    Much more deserving of plaudits is the secondary cast--Hope Davis as Schmidt's resentful daughter, Dermot Mulroney as the waterbed salesman she's engaged to, and, above all, Kathy Bates in a hilarious turn as the latter's New Age mother.
    • 61 Metascore
    • 70 Jonathan Rosenbaum
    This funny, nervy, and pointedly unrated geriatric sex comedy is both enhanced and occasionally limited by being targeted at baby boomers.
    • 61 Metascore
    • 70 Jonathan Rosenbaum
    Far from avoiding the tackier implications of this concept, the film revels in them like a puppy in clover; Martin's delivery of the line, "Into the mud, slime queen!" is alone nearly worth the price of admission.
    • 56 Metascore
    • 70 Jonathan Rosenbaum
    Playwright Adam Rapp, making his feature debut as writer-director, details the family dysfunction to the point of hyperbole, but over the long haul he rewards one's observation and intelligence and a more interesting story emerges.
    • 82 Metascore
    • 70 Jonathan Rosenbaum
    The period ambience (call it funk) is irresistible, but the main points of interest here are sociological rather than musical.
    • 72 Metascore
    • 70 Jonathan Rosenbaum
    This is possibly the funniest lesbian romp since "Go Fish."
    • 79 Metascore
    • 70 Jonathan Rosenbaum
    Scott Alexander and Larry Karaszewski's script may in spots be as much of a skim job as their one for "Ed Wood," but it's almost as sweet and as likable, and if the movie can't ever practice what it and its hillbilly hero preach--the only "beaver" shot in the movie involves a corpse--its heart is certainly in the right place.
    • 64 Metascore
    • 70 Jonathan Rosenbaum
    Ridiculously ambitious, though often likable and touching in its sincerity.
    • 67 Metascore
    • 70 Jonathan Rosenbaum
    If your taste runs in this direction, you're bound to be amused.
    • 64 Metascore
    • 70 Jonathan Rosenbaum
    It's as entertaining and informative as anything Mann's ever done, and as good an example of grass humor as you're likely to find anywhere.
    • 85 Metascore
    • 70 Jonathan Rosenbaum
    An E.T. spin-off, but it's a very likable and imaginative one.
    • 75 Metascore
    • 70 Jonathan Rosenbaum
    Evelyn Glennie has worked with everyone from Bjork to Brazilian samba groups and also gives solo concerts, and the best segments simply show her at work in her mid-30s, explaining what she does.
    • 71 Metascore
    • 70 Jonathan Rosenbaum
    As an interweave of crosscut miniplots, this isn't nearly as interesting or as pleasurable as Jeremy Podeswa's recent "The Five Senses."
    • 81 Metascore
    • 70 Jonathan Rosenbaum
    A pretty impressive horror film.
    • 47 Metascore
    • 70 Jonathan Rosenbaum
    The old-fashioned theme of disaster as an existential test of character still works.
    • 64 Metascore
    • 70 Jonathan Rosenbaum
    Prior to its hyperbolic final act, this is one of Robert Altman's most skillful and least bombastic features in some time.
    • 60 Metascore
    • 70 Jonathan Rosenbaum
    Gordon is so visually and stylistically inventive and the actors are so skillful that you aren't likely to lose interest.
    • 57 Metascore
    • 70 Jonathan Rosenbaum
    An absorbing and compelling account of a historical episode that should be better known.
    • 74 Metascore
    • 70 Jonathan Rosenbaum
    Director Cedric Kahn, Laurence Ferreira Barbosa, and Gilles Marchand collaborated on the well-honed script, derived from a Georges Simenon novel. The film works well with quiet tensions, but becomes less convincing and interesting once it moves beyond them.
    • 66 Metascore
    • 70 Jonathan Rosenbaum
    This runs 192 minutes and has very few jokes, but there are many references to Citizen Kane to put us in the right frame of mind.
    • 66 Metascore
    • 70 Jonathan Rosenbaum
    The plot turns on the complicated lives of the daughters, who are played by Sabine Azema, Emmanuelle Beart, and Charlotte Gainsbourg; they, Fabian, and Rich are the main reasons for seeing this picture.
    • 74 Metascore
    • 70 Jonathan Rosenbaum
    I expected to emerge depressed by how long these stories have gone untold, but the speakers' courage and humanity are a shot in the arm.
    • 60 Metascore
    • 70 Jonathan Rosenbaum
    Goldbacher's story is not always convincing as history, but it's absorbing as a sort of gothic romance and sensually quite potent, and Driver carries it all with grace and authority.
    • 90 Metascore
    • 70 Jonathan Rosenbaum
    Undeniably provocative and reasonably entertaining, The Truman Show is one of those high-concept movies whose concept is both clever and dumb.
    • 66 Metascore
    • 70 Jonathan Rosenbaum
    More entertaining than "The Spanish Prisoner" -- it also turns out to be more conventional and predictable.
    • 64 Metascore
    • 70 Jonathan Rosenbaum
    Or
    Insofar as they're implicitly the spoils of war, this movie seems to be meditating on the whys and hows of the spoiling process -- raising more questions than can possibly be answered, and in this sense, at least, far from dogmatic.
    • 66 Metascore
    • 70 Jonathan Rosenbaum
    Loads of fun even if it's ultimately strangled by its excesses.
    • 63 Metascore
    • 70 Jonathan Rosenbaum
    Powerful, haunting, but ultimately disappointing. Few American movies address abject failure as forcefully as this one, and Sean Penn delivers an intense performance as Bicke.
    • 57 Metascore
    • 70 Jonathan Rosenbaum
    Funnier than "Pecker" but a far cry from the best of Waters's Divine movies.
    • 73 Metascore
    • 70 Jonathan Rosenbaum
    Claude Chabrol's capacity to make shopworn material seem almost new is especially evident in this 2007 drama, which he cowrote with his stepdaughter, Cecile Maistre.
    • 66 Metascore
    • 70 Jonathan Rosenbaum
    Ken Marino, who plays the silliest of the diggers, wrote the script, and when it isn't straining after elegiac moments, it's fresh and unpredictable.
    • 64 Metascore
    • 70 Jonathan Rosenbaum
    This kind of filmmaking is riddled with so-called errors, but these mistakes are indistinguishable from the uncommon rewards.
    • 61 Metascore
    • 70 Jonathan Rosenbaum
    It's striking not for its originality but for its energy in juggling familiar elements.
    • 48 Metascore
    • 70 Jonathan Rosenbaum
    Attractive black-and-white 'Scope compositions, strong Paris locations, and effective handling of the actors makes this captivating throughout.
    • 82 Metascore
    • 70 Jonathan Rosenbaum
    As frequently happens in both Loach films and history, the betrayal of ideals, socialist and otherwise, leaves a harsh aftertaste, which made me feel sadder but not much wiser.
    • 69 Metascore
    • 70 Jonathan Rosenbaum
    Gross-out horror comedy is my least favorite genre, but this movie's so skillful I have to take my hat off to it.
    • 64 Metascore
    • 70 Jonathan Rosenbaum
    The plot points verge on the familiar and obvious, but Adams's work with the actors (especially Judd and among the others Jeffrey Donovan, Diane Ladd, Tim Blake Nelson, and Scott Wilson) is so resourceful and focused that she makes them shine.
    • 44 Metascore
    • 70 Jonathan Rosenbaum
    A potent, moving, liberal-minded docudrama.
    • 73 Metascore
    • 70 Jonathan Rosenbaum
    The film is only superficially superficial, and it grows in meaning and resonance as it progresses.
    • 61 Metascore
    • 70 Jonathan Rosenbaum
    John Woo directed this giddy, mindless jaunt with polish but only a modicum of personal investment from a script by Graham Yost.
    • 84 Metascore
    • 70 Jonathan Rosenbaum
    The film gradually devolves into action-adventure, then the equivalent of a war movie. But the filmmaking is pungent throughout, and the first half hour is so jaw-dropping in its fleshed-out extrapolation that Cuaron earns the right to coast a bit.
    • 56 Metascore
    • 70 Jonathan Rosenbaum
    Juliette Binoche won an Oscar for her role in Anthony Minghella's adaptation of "The English Patient", but in many ways I prefer her soulful performance here: portraying a Bosnian Muslim working as a tailor in London, she's reason enough to see Minghella's overcontrived though absorbing 2006 feature based on his original script.
    • 57 Metascore
    • 70 Jonathan Rosenbaum
    The subject's nice - a clan of Irish con artists operating in the rural south - but the movie breaks down into separate pieces, some fresher than others, without much cumulative force.
    • 34 Metascore
    • 70 Jonathan Rosenbaum
    A first-rate Hollywood entertainment--at least if one can accept the schizophrenia of combining a cop/buddy action thriller with an angry satire about the shamelessness of the media.
    • 67 Metascore
    • 70 Jonathan Rosenbaum
    The performances are strong without calling attention to themselves--which is more than I can say for the occasionally hackneyed use of rock on the sound track.
    • 71 Metascore
    • 70 Jonathan Rosenbaum
    The best thing Mann brings to his picture is a strong sense of time and place.
    • 76 Metascore
    • 70 Jonathan Rosenbaum
    These characters are touching and sympathetic to the extent that they're lonely, and that's what most of them are most of the time.
    • 64 Metascore
    • 70 Jonathan Rosenbaum
    Even if you can't accept all the movie's left curves, you might still be amused.
    • 82 Metascore
    • 70 Jonathan Rosenbaum
    Tom Courtenay is quite good in the title role, and Julie Christie makes a memorable early appearance .
    • 65 Metascore
    • 70 Jonathan Rosenbaum
    Like "Mystery Train" and "Night on Earth," this feature by Jim Jarmusch is a short story collection, but it's funnier and more formally adventurous than either--also ultimately greater than the sum of its parts.
    • 70 Metascore
    • 70 Jonathan Rosenbaum
    They often seem more bent on titillating or harrowing us than on helping us understand the characters.
    • 67 Metascore
    • 70 Jonathan Rosenbaum
    Among the many offhand virtues of Julie Delpy's first feature as solo writer-director is the fact that she's as attentive to French foibles as American ones.
    • 53 Metascore
    • 70 Jonathan Rosenbaum
    Chen Kaige clearly intended this Chinese fantasy-action spectacle to top Zhang Yimou's "Hero," and I must admit that I prefer it to the earlier movie: the digital effects are sometimes excessive, yet Chen's story of a loyal slave, his master, and a wealthy, seemingly doomed princess is more affecting, especially in the closing stretch.
    • 73 Metascore
    • 70 Jonathan Rosenbaum
    A rare example of a successful documentary in the mode of Frederick Wiseman made outside the United States.
    • 85 Metascore
    • 70 Jonathan Rosenbaum
    An impressive piece of filmmaking, with lively and suggestive depictions of pre- and postrevolutionary Cuba (shot in Mexico).
    • 73 Metascore
    • 70 Jonathan Rosenbaum
    Despite the thick Scottish accents, filmmaker Andrea Arnold kept me intrigued, but beyond a certain point the movie's ambiguity fades into indifference.
    • 68 Metascore
    • 70 Jonathan Rosenbaum
    This nicely made 1994 comedy-drama could be described as an Australian "Easy Rider," with Sydney drag queens instead of bikers and no apocalyptic ending.
    • 74 Metascore
    • 70 Jonathan Rosenbaum
    Honest curiosity and observation are what make this work, and in this respect Christina Ricci (as Wuornos's lover, Selby Wall) is almost as good as Theron.
    • 43 Metascore
    • 70 Jonathan Rosenbaum
    Provocative but also infuriating, this alarmist documentary argues that the levying of a federal income tax in 1913 was unconstitutional and set America on the road to fascism.
    • 73 Metascore
    • 70 Jonathan Rosenbaum
    The film tackles more than it can master, but it's never less than fascinating, and all three leads are exceptional.
    • 76 Metascore
    • 70 Jonathan Rosenbaum
    This shocking, violent, and unsentimental (albeit sensationalized) drama about a second-generation drug dealer (Turner) and the callous world he lives in, produced by "To Sleep With Anger's" Darin Scott, is terrifically acted.
    • 65 Metascore
    • 70 Jonathan Rosenbaum
    Conceived like a sports movie, this delivers passion, nuance, and historical insight along with unnecessary hokum.
    • 78 Metascore
    • 70 Jonathan Rosenbaum
    The deft arabesques of cinematographer Andrzej Bartkowiak juice up the suspense, and if you're not too put off by the sheer ridiculousness of the story you won't be bored.
    • 73 Metascore
    • 70 Jonathan Rosenbaum
    As long as Miller simply crosscuts between the machinations of the three mothers, the sociological and psychological parallels are intriguing, but when they're forced to share the same story line, the contrivances and coincidences begin to seem fussily elaborate.
    • 76 Metascore
    • 70 Jonathan Rosenbaum
    One of the few white vocalists to play the Apollo, O'Day does fabulous things with her hands as well as her voice when she sings. Her talent and will to survive (in the late 60s she kicked a 16-year heroin addiction) are reasons enough to see this film.
    • 69 Metascore
    • 70 Jonathan Rosenbaum
    Structurally and dramatically this is all over the place, but stylistically it's gripping, and thematically it suggests an oblique response to the end of Hong Kong's colonial rule.
    • 67 Metascore
    • 70 Jonathan Rosenbaum
    By the end the story is more satisfying than you might expect.
    • 57 Metascore
    • 70 Jonathan Rosenbaum
    This 2005 British feature by writer Anthony Frewin and director Brian Cook, both former Kubrick assistants, uses Conway's unlikely saga to mount an appreciative send-up of a certain style of gay extravagance.
    • 62 Metascore
    • 70 Jonathan Rosenbaum
    It's especially good in its handling of actors and its sharp feeling for characters who can't even describe their own problems, much less analyze them.
    • 55 Metascore
    • 70 Jonathan Rosenbaum
    This inspirational vehicle, based on a true story, is as hokey as it sounds, and it sometimes cuts too fast to allow us to see the dancing properly. But as in "Saturday Night Fever," the sense of reality giving way to fantasy on a dance floor is potent, and writer Dianne Houston and director Liz Friedlander are so sincere that they make much of it work.
    • 56 Metascore
    • 70 Jonathan Rosenbaum
    The potential for moral confusion in a liberal-minded family -- unpacked so ruthlessly in Noah Baumbach's "The Squid and the Whale" -- is scrutinized with more ambiguity in this good-natured comic subversion of the holiday get-together.
    • 72 Metascore
    • 70 Jonathan Rosenbaum
    The period detail is more vibrant than the minimal story.
    • 52 Metascore
    • 70 Jonathan Rosenbaum
    This is obviously a sincere undertaking, and there's a certain homemade charm to the special effects used in the combat scenes.
    • 54 Metascore
    • 70 Jonathan Rosenbaum
    A fairly enjoyable piece of junk from Oliver Stone.
    • 44 Metascore
    • 70 Jonathan Rosenbaum
    It's also about pain, which both tempers and complicates the eroticism.
    • 51 Metascore
    • 70 Jonathan Rosenbaum
    This heart-warmer by Robert Benton has some of the tender wisdom and humor of his other features (e.g., Nobody's Fool).
    • 63 Metascore
    • 70 Jonathan Rosenbaum
    The film is absorbing enough as an intimate family portrait, complete with friction.
    • 74 Metascore
    • 70 Jonathan Rosenbaum
    Masterfully charted and adeptly played, but also rather minimalist.
    • 51 Metascore
    • 70 Jonathan Rosenbaum
    The thriller plot, while serviceable, registers as somewhat gratuitous, but the Buenos Aires locations are nicely used.
    • 66 Metascore
    • 70 Jonathan Rosenbaum
    Apart from some softening of the extreme violence (through manipulations on the sound track) and some fancy intercutting, this is every bit as unpleasant as Olmos can make it, but occasionally edifying as well.
    • 70 Metascore
    • 70 Jonathan Rosenbaum
    This is good, solid work that never achieves either the art or poignance of Van Sant's earlier and more personal projects.
    • 61 Metascore
    • 70 Jonathan Rosenbaum
    They're all instructive and interesting in one way or another, and they're indispensable viewing for residents of isolationist, or at least isolated, countries such as this one.
    • 59 Metascore
    • 70 Jonathan Rosenbaum
    Agnieszka Holland (Europa Europa, The Secret Garden) directs with obvious feeling rather than cynicism, and I was swept away by it despite the story's anachronisms.
    • 56 Metascore
    • 70 Jonathan Rosenbaum
    Definitely worth checking out.
    • 73 Metascore
    • 70 Jonathan Rosenbaum
    The storytelling is so masterful that Hattendorf doesn't have to spell out the striking parallels between the persecution of Japanese after Pearl Harbor and the harassment of Muslims after 9/11.
    • 89 Metascore
    • 70 Jonathan Rosenbaum
    Coppola does a fair job of capturing the fish-tank ambience of nocturnal, upscale Tokyo and showing how it feels to be a stranger in that world, and an excellent job of getting the most from her lead actors. Unfortunately, I'm not sure she accomplishes anything else.
    • 53 Metascore
    • 70 Jonathan Rosenbaum
    The story has its corny aspects, but thanks to Scott's skill as an image maker and as a storyteller--proceeding from the very blue and very abstract water seen behind the credits to the climactic, extended storm--this is superior to both "Dead Poets Society" (as a tale about a boys' school and its charismatic teacher) and "Apollo 13" (as a true-life action adventure).
    • 73 Metascore
    • 70 Jonathan Rosenbaum
    Given recent similar incidents of young con artists posing as journalists, this is a timely and compelling film, but I wish the filmmakers had widened their focus to address the kinds of journalistic corruption that go beyond simple fibbing.
    • 54 Metascore
    • 70 Jonathan Rosenbaum
    Less suspenseful than the original but more ethically nuanced, politically pointed, and violent.
    • 57 Metascore
    • 70 Jonathan Rosenbaum
    "Bill & Ted's Aurora Adventures" might almost serve as the subtitle for this very silly but enjoyable 1992 comedy, developed from characters introduced on Saturday Night Live--heavy-metal fans (Mike Myers and Dana Carvey) with a cable access show in Aurora, Illinois.
    • 69 Metascore
    • 70 Jonathan Rosenbaum
    Its giddy stylistics include extravagant use of color and rapid montage, which are said to be a direct homage to legendary Thai independent Ratana Pestonji.
    • 65 Metascore
    • 70 Jonathan Rosenbaum
    Fortunately almost everyone acquits himself coolly and admirably; only costars Greg Kinnear and Marcia Gay Harden ham it up.
    • 48 Metascore
    • 70 Jonathan Rosenbaum
    A pretty good job of zipping things along and occasionally scaring us, and the digital effects are fun.
    • 63 Metascore
    • 70 Jonathan Rosenbaum
    This first feature by novelist and psychologist Jeremy Leven has a fairly rudimentary mise en scene, but the actors take over the proceedings with aplomb, and Brando and Dunaway have the grace to turn much of the show over to Depp, who carries the burden with ease.
    • 62 Metascore
    • 70 Jonathan Rosenbaum
    The movie can't explain as much as it wants to about what makes (and unmakes) a skinhead, but it carries us a fair distance.
    • 73 Metascore
    • 70 Jonathan Rosenbaum
    What emerges is a speculative, critical essay about the 60s, weighted down in spots by political correctness and a conflicted desire to mock Dylan's denseness while catering to his hardcore fans, but otherwise lively, fluid, and watchable.

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