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 Who Framed Roger Rabbit
Lowest review score: 0 Showgirls
Score distribution:
1,493 movie reviews
    • 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.