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 Joy Luck Club
Lowest review score: 0 Cocktail
Score distribution:
1,493 movie reviews
    • 38 Metascore
    • 30 Jonathan Rosenbaum
    I haven't seen the original, and this mishmash -- doesn't make me want to.
    • 56 Metascore
    • 30 Jonathan Rosenbaum
    The result is a dull and campy 97-minute bloodbath offering little distinction between good guys and bad.
    • 42 Metascore
    • 30 Jonathan Rosenbaum
    If old-fashioned jolts are what you're after, this nasty piece of merchandise delivers. But so does electroshock.
    • 67 Metascore
    • 30 Jonathan Rosenbaum
    A film about a junkie rock musician, played by Michael Pitt at his most narcissistic, doing nothing in particular for the better part of 97 minutes isn't my idea of either a good time or a serious endeavor.
    • 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.
    • 45 Metascore
    • 30 Jonathan Rosenbaum
    Based on this outing, writer-director Joe Carnahan (Narc) can't tell a story worth a damn--especially not a complicated mishmash like this one.
    • 48 Metascore
    • 30 Jonathan Rosenbaum
    This interminable contest between two narcissists, stretched out over many miles and years, is supposed to have something to do with romance.
    • 70 Metascore
    • 30 Jonathan Rosenbaum
    It's pretty perverse for William Wheeler, who scripted this feature, to get most of the facts wrong, inflating details that don't need any spin. (As Irving himself remarked, "You could call it a hoax about a hoax.")
    • 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.
    • 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.
    • 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.
    • 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.
    • 54 Metascore
    • 30 Jonathan Rosenbaum
    This is mainly a narrative brain-teaser like "Memento" or "The Jacket"; merely keeping up with the game requires so much energy that the thinness of the material becomes fully apparent only toward the end.
    • 41 Metascore
    • 30 Jonathan Rosenbaum
    I don't doubt the noble motives behind this Disney parable, but the attempts at amiable, laid-back dialogue (script by Gerald DiPego) are painful, the pacing is sluggish, and the confused story's poorly focused.
    • 39 Metascore
    • 30 Jonathan Rosenbaum
    Mainly it's a shambles, though for once Williams gets to do what he's best at (his stand-up shtick), and the absurd story, no matter how carelessly assembled, keeps moving.
    • 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.
    • 61 Metascore
    • 30 Jonathan Rosenbaum
    [An] unsatisfying mess.
    • 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.
    • 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.
    • 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.
    • 47 Metascore
    • 30 Jonathan Rosenbaum
    An exceptionally stupid movie.
    • 33 Metascore
    • 30 Jonathan Rosenbaum
    Frantic and unfunny.
    • 44 Metascore
    • 30 Jonathan Rosenbaum
    Essentially a one-trick pony.
    • 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.
    • 36 Metascore
    • 30 Jonathan Rosenbaum
    Another virtual-reality SF movie -- and you're not likely to care.
    • 61 Metascore
    • 30 Jonathan Rosenbaum
    13 (Tzameti) might seem allegorical, but it’s too cynically concerned with what works as entertainment to offer larger truths about human existence.
    • 58 Metascore
    • 30 Jonathan Rosenbaum
    As effective as MacDowell was in sex, lies, and videotape, she's clearly no match for the talented Depardieu; perhaps she'd seem less out of her depth if the script wasn't so implausible and threadbare.
    • 37 Metascore
    • 30 Jonathan Rosenbaum
    Arnold Schwarzenegger and Jamie Lee Curtis must have a soft spot for the disabled kids of billionaires, because both have cameos near the end of this vulgar and dreadfully dopey enterprise; more impressively savvy is director Penelope Spheeris, who plays herself directing the movie-within-a-movie and manages to seem superfluous in both roles.
    • 62 Metascore
    • 30 Jonathan Rosenbaum
    Despite the resourcefulness of the two leads, the movie finally registers as much ado about very little.
    • 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.

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