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 The Three Burials of Melquiades Estrada
Lowest review score: 0 The Ladies Man
Score distribution:
1,493 movie reviews
    • 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.
    • 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.
    • 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.
    • 44 Metascore
    • 30 Jonathan Rosenbaum
    Loaded with facile social themes, opaque characters, pointlessly intricate flashbacks, and inflated technique.
    • 31 Metascore
    • 30 Jonathan Rosenbaum
    With so many dubious elements at play, even the half-good ideas get lost in the shuffle.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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!"
    • 68 Metascore
    • 30 Jonathan Rosenbaum
    Torturously dull.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 34 Metascore
    • 30 Jonathan Rosenbaum
    There are a few pretty good design effects en route, but not enough to compensate for all the embarrassments.
    • 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.
    • 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.
    • 45 Metascore
    • 30 Jonathan Rosenbaum
    Tsai's obvious disgust at the sex is part of what makes the film so unpleasant; he remains a brilliant original, but this is a parody of his gifts.
    • 58 Metascore
    • 30 Jonathan Rosenbaum
    At first I thought this was a Michael Haneke knockoff, but it's more depressing and less edifying than most of those narrative experiments, which is why I eventually tuned it out.
    • 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.
    • 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.
    • 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.
    • 39 Metascore
    • 30 Jonathan Rosenbaum
    Slapdash plot, paper-thin characters, misogynist undertones, and mechanical crosscutting are all soft-core standbys.
    • 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.
    • 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.

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