Jonathan Rosenbaum
Select another critic »
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 0.2 points higher than other critics. (0-100 point scale)

Jonathan Rosenbaum's Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 Umberto D (re-release)
Lowest review score: 0 The Bridge
Score distribution:
1,493 movie reviews
    • 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.
    • 44 Metascore
    • 30 Jonathan Rosenbaum
    Essentially a one-trick pony.
    • 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.
    • 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.
    • 33 Metascore
    • 30 Jonathan Rosenbaum
    Suspense is fairly effective until it's stretched to the point of monotony.
    • 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
    The script...and Rob Reiner's direction...bristle with phoniness.
    • 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.
    • 53 Metascore
    • 30 Jonathan Rosenbaum
    Laughless, brainless, styleless, and clueless.
    • 42 Metascore
    • 30 Jonathan Rosenbaum
    Poorly acted, over-the-top, and generally out-of-control bloodbath.
    • 38 Metascore
    • 30 Jonathan Rosenbaum
    Humorless, lugubrious, and interminable.
    • 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.
    • 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.
    • 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.
    • 36 Metascore
    • 30 Jonathan Rosenbaum
    Another virtual-reality SF movie -- and you're not likely to care.
    • 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
    I haven't seen the original, and this mishmash -- doesn't make me want to.
    • 33 Metascore
    • 30 Jonathan Rosenbaum
    Frantic and unfunny.
    • 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.
    • 38 Metascore
    • 30 Jonathan Rosenbaum
    This all-day sucker put me to sleep -- though it's possible I retreated out of self-defense.
    • 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.
    • 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.
    • 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.
    • 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.
    • 32 Metascore
    • 30 Jonathan Rosenbaum
    The film is far too appreciative of its own jokes to let the audience discover anything on its own.
    • 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.
    • 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.
    • 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.