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 0.2 points higher than other critics. (0-100 point scale)

Jonathan Rosenbaum's Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 The Illusionist
Lowest review score: 0 Good Luck Chuck
Score distribution:
1,493 movie reviews
    • 56 Metascore
    • 30 Jonathan Rosenbaum
    The result is a dull and campy 97-minute bloodbath offering little distinction between good guys and bad.
    • 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.
    • 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.
    • 26 Metascore
    • 30 Jonathan Rosenbaum
    Director Philip Kaufman's usual flair for erotic detail largely deserts him here, and this thriller seems most interested in lingering over battered and bloodied male faces.
    • 41 Metascore
    • 30 Jonathan Rosenbaum
    Part of the idea here was to play in the ambiguous zones where Las Vegas tackiness, LSD hallucinations, Gilliam beasties, and lots of vomit become difficult to separate.
    • 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.
    • 54 Metascore
    • 30 Jonathan Rosenbaum
    Easy to take but even easier to leave alone.
    • 46 Metascore
    • 30 Jonathan Rosenbaum
    The tricky plot has an interesting payoff, but it's a slow and bumpy ride getting there, and Koepp fares better with special effects than with generating either suspense or interest in the characters.
    • 55 Metascore
    • 30 Jonathan Rosenbaum
    A horrendous effort all around.
    • 59 Metascore
    • 30 Jonathan Rosenbaum
    Bored me for most of its 178 minutes and then infuriated me with its cheap cynicism once it belatedly became interesting--which may be a tribute to writer-director Lars von Trier's gifts as a provocateur.
    • 47 Metascore
    • 30 Jonathan Rosenbaum
    This comedy is an ill-fated attempt to remake "Risky Business" (1983) for the 21st century, complete with a wind-chimey score, the hero posing in his underpants, and a cynical happy ending.
    • 31 Metascore
    • 30 Jonathan Rosenbaum
    With so many dubious elements at play, even the half-good ideas get lost in the shuffle.
    • 73 Metascore
    • 30 Jonathan Rosenbaum
    Insofar as one can distinguish the investigative research from the career move, this Sundance prizewinner is effective muckraking, but it lacks much of a political program apart from the message that we're poisoning ourselves.
    • 47 Metascore
    • 30 Jonathan Rosenbaum
    An exceptionally stupid movie.
    • 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.
    • 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.
    • 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.
    • 39 Metascore
    • 30 Jonathan Rosenbaum
    Slapdash plot, paper-thin characters, misogynist undertones, and mechanical crosscutting are all soft-core standbys.
    • 47 Metascore
    • 30 Jonathan Rosenbaum
    If Sayles had persuaded me he knew anything about Bush, his background, or his entourage that isn't already well-known, I might have felt more like laughing.
    • 68 Metascore
    • 30 Jonathan Rosenbaum
    Its paper-thin characters turned into caricatures by egregious hamming, this 1996 Japanese comedy-drama about shy ballroom dancers is sentimental goo and downright interminable.
    • 49 Metascore
    • 30 Jonathan Rosenbaum
    More concerned with attitude than character and too moralistic to be much fun.
    • 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.
    • 49 Metascore
    • 30 Jonathan Rosenbaum
    This caper movie starts off as enjoyable guff before turning strictly formulaic and winding up as unenjoyable guff.
    • 29 Metascore
    • 30 Jonathan Rosenbaum
    One very sick and messed-up movie.
    • 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.
    • 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.
    • 56 Metascore
    • 30 Jonathan Rosenbaum
    This movie feels like it was made by a bank rather than a person.
    • 64 Metascore
    • 30 Jonathan Rosenbaum
    Payne is just as guilty of using her (Ruth) as a figurehead for his ideas--most of them about the stupidity and futility of politics--as are the targets of his satirical abuse.
    • 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.