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 Eternal Sunshine of the Spotless Mind
Lowest review score: 0 Psycho
Score distribution:
1,493 movie reviews
    • 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.
    • 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.
    • 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.
    • 31 Metascore
    • 30 Jonathan Rosenbaum
    To boost this movie's rating to "worth seeing" would make me feel like a publicist or simply a dope.
    • 55 Metascore
    • 30 Jonathan Rosenbaum
    A deeply stupid and offensive action comedy-romance.
    • 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.
    • 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.
    • 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.
    • 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."
    • 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.
    • 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.
    • 38 Metascore
    • 30 Jonathan Rosenbaum
    The mirthlessly sadistic gags tend to target people in wheelchairs or hospital beds and betray a mild if all-encompassing disgust for the source material and the audience.
    • 43 Metascore
    • 30 Jonathan Rosenbaum
    "Sorry, viewers" is more like it.
    • tbd Metascore
    • 30 Jonathan Rosenbaum
    Schwaba's uncertainty as a director is underlined by the almost arbitrary jump cuts, freeze-frames, and sped-up action.
    • 37 Metascore
    • 30 Jonathan Rosenbaum
    This 2005 farce about a hellish Passover seder panders to middle-class Jews as gleefully as Tyler Perry's movies pander to middle-class African-Americans, though there's less religiosity and a greater degree of self-hatred in the vulgar stereotypes.
    • 68 Metascore
    • 30 Jonathan Rosenbaum
    Torturously dull.
    • 48 Metascore
    • 30 Jonathan Rosenbaum
    Allen doesn't get us to care much about any of the characters here.
    • 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.
    • 62 Metascore
    • 30 Jonathan Rosenbaum
    Despite the resourcefulness of the two leads, the movie finally registers as much ado about very little.
    • 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.
    • 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.
    • 37 Metascore
    • 30 Jonathan Rosenbaum
    The unfocused story is so bereft of any clear sense of period or location that the political melodrama sometimes seems to be taking place inside a cigar box.
    • 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.
    • 52 Metascore
    • 30 Jonathan Rosenbaum
    Murphy seems either incapable of or uninterested in creating a recognizable world, so local comic effects count for everything.
    • 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.
    • 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.
    • 45 Metascore
    • 30 Jonathan Rosenbaum
    Tsai's obvious disgust at the sex is part of what makes the film so unpleasant; he remains a brilliant original, but this is a parody of his gifts.
    • 35 Metascore
    • 30 Jonathan Rosenbaum
    Translating Woolrich's pulpy obsessiveness and crazy contrivances into the stuff of light comedy is no easy matter, and the movie gets as far as it does mainly with the help of Lake and Shirley MacLaine.
    • 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.")