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 lower than other critics. (0-100 point scale)

Jonathan Rosenbaum's Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 Half Nelson
Lowest review score: 0 Bamboozled
Score distribution:
1,493 movie reviews
    • 91 Metascore
    • 30 Jonathan Rosenbaum
    A very well-made genre exercise, but I can’t understand why it’s been accorded so much importance, unless it’s because it strokes some ideological impulse.
    • 29 Metascore
    • 30 Jonathan Rosenbaum
    One very sick and messed-up movie.
    • 49 Metascore
    • 30 Jonathan Rosenbaum
    More concerned with attitude than character and too moralistic to be much fun.
    • 47 Metascore
    • 30 Jonathan Rosenbaum
    Running beyond three hours, the movie more than overstays its welcome, and despite some vague genuflections in the general direction of The Godfather regarding family ties and revenge, there are simply too many years and locations covered, too many crane shots and rainstorms.
    • 56 Metascore
    • 30 Jonathan Rosenbaum
    This movie feels like it was made by a bank rather than a person.
    • 48 Metascore
    • 30 Jonathan Rosenbaum
    Allen doesn't get us to care much about any of the characters here.
    • 25 Metascore
    • 30 Jonathan Rosenbaum
    Director Ken Kwapis (The Sisterhood of the Traveling Pants) gives this script by many hands a certain gloss it doesn't deserve.
    • 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.
    • 38 Metascore
    • 30 Jonathan Rosenbaum
    Humorless, lugubrious, and interminable.
    • 39 Metascore
    • 30 Jonathan Rosenbaum
    The movie offers an insulting "let them eat cake" gesture toward the 1982 audience, but the pacing is so ragged and the characters so lifeless that few will be able to stay awake long enough to feel offended
    • 33 Metascore
    • 30 Jonathan Rosenbaum
    The protracted shoot-out at the end of Dear Wendy is even more pornographic than the moment when a female member of the Dandies exposes her breasts. The audience is clearly expected to enjoy the bloodbath even while it disapproves.
    • 45 Metascore
    • 30 Jonathan Rosenbaum
    The plot of this character-driven drama is slender and the digital images rather muddy--apparently an impoverished indie feature can look bad and still not be very interesting--but to his credit, Thelemaque sticks to his minimalist turf. And the dogs are great.
    • 58 Metascore
    • 30 Jonathan Rosenbaum
    Jarhead virtually begins with a rip-off of the basic-training sequence that opens Stanley Kubrick's "Full Metal Jacket."
    • 42 Metascore
    • 30 Jonathan Rosenbaum
    Poorly acted, over-the-top, and generally out-of-control bloodbath.
    • 43 Metascore
    • 30 Jonathan Rosenbaum
    "Sorry, viewers" is more like it.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 28 Metascore
    • 30 Jonathan Rosenbaum
    The rationale behind this unattractive animated comedy, a U.S.-German coproduction, seems to be that since it can't create a fairy-tale world of its own, it might as well riffle through many of the more familiar ones, with particular emphasis on Cinderella's, pretending to deconstruct them with postmodernist glosses, adolescent wisecracks, and a few high-tech anachronisms.
    • 55 Metascore
    • 30 Jonathan Rosenbaum
    A horrendous effort all around.
    • 33 Metascore
    • 30 Jonathan Rosenbaum
    Suspense is fairly effective until it's stretched to the point of monotony.
    • 37 Metascore
    • 30 Jonathan Rosenbaum
    Director F. Gary Gray doesn't have a clue about how to film this couple dancing, and Peter Steinfeld's crude script confuses character with shtick while racing us through a story where loyalties and motivations turn on a dime.
    • 52 Metascore
    • 30 Jonathan Rosenbaum
    Murphy seems either incapable of or uninterested in creating a recognizable world, so local comic effects count for everything.
    • 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.
    • 38 Metascore
    • 30 Jonathan Rosenbaum
    This all-day sucker put me to sleep -- though it's possible I retreated out of self-defense.
    • 53 Metascore
    • 30 Jonathan Rosenbaum
    Now that Robin Williams has been emasculated--dangerously schizoid comic turned into nice-guy movie star--it isn't too surprising that a commercial hack like Chris Columbus would use him the way he does in this cutesy 1993 comedy: cutting between Williams trying on different voices rather than holding the camera on him as he lurches between these voices without notice.
    • 49 Metascore
    • 30 Jonathan Rosenbaum
    This caper movie starts off as enjoyable guff before turning strictly formulaic and winding up as unenjoyable guff.
    • 37 Metascore
    • 30 Jonathan Rosenbaum
    This interminable, poorly constructed drug thriller by writer-director Frank E. Flowers sat on the shelf for two years before winning a release.

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