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

Jonathan Rosenbaum's Scores

  • Movies
Average review score: 60
Highest review score: 100 Blade Runner
Lowest review score: 0 Showgirls
Score distribution:
1,493 movie reviews
    • 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.
    • 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.
    • 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.
    • 61 Metascore
    • 30 Jonathan Rosenbaum
    [An] unsatisfying mess.
    • 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.
    • 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.
    • 77 Metascore
    • 30 Jonathan Rosenbaum
    Misogynistic claptrap about a divorced husband (Dustin Hoffman) fighting for the custody of and learning to cope with his little boy (Justin Henry) - a movie whose classy trimmings (including Nestor Almendros's cinematography) persuaded audiences to regard writer-director Robert Benton as a subtle art-house director.
    • 53 Metascore
    • 30 Jonathan Rosenbaum
    If you can swallow one more amnesia plot and one more recycling of favorite bits from Godard's Bande a part, pressed to serve yet another postmodernist antithriller about redemption, this has its compensations.
    • 36 Metascore
    • 30 Jonathan Rosenbaum
    More of the same, though a lot coarser than its immediate predecessor, and the characters and situations have now calcified to the point where they're simply sitcom staples.
    • 66 Metascore
    • 30 Jonathan Rosenbaum
    There are no characters to care about or remember afterward - just a lot of flashy technique involving decor, some glib allegorical flourishes, and the obligatory studied film-school weirdness.
    • 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
    • 44 Metascore
    • 30 Jonathan Rosenbaum
    Essentially a one-trick pony.
    • 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.
    • 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.
    • 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.
    • 47 Metascore
    • 20 Jonathan Rosenbaum
    This is thoughtful nihilist provocation at best.
    • 59 Metascore
    • 20 Jonathan Rosenbaum
    The indifference of the proceedings and the hero's slapstick behavior to the everyday realities of the camps borders on the nauseating.
    • 31 Metascore
    • 20 Jonathan Rosenbaum
    This stupidly contrived thriller is all the more disappointing if you admire previous work by Berry and director James Foley (After Dark, My Sweet).
    • 18 Metascore
    • 20 Jonathan Rosenbaum
    About eight minutes of this comedy is devoted to some terrific breakdancing; the rest consists of wall-to-wall product placement and politically incorrect bad-taste comedy.
    • 18 Metascore
    • 20 Jonathan Rosenbaum
    The unfunniest comedy I can recall seeing in ages.
    • 25 Metascore
    • 20 Jonathan Rosenbaum
    The whole thing becomes a very rickety and contrived tearjerker.
    • 34 Metascore
    • 20 Jonathan Rosenbaum
    A major washout.
    • 32 Metascore
    • 20 Jonathan Rosenbaum
    There's so little urgency to the plot that one eventually feels not even the actors and filmmakers believe for a second in what's going on.
    • 48 Metascore
    • 20 Jonathan Rosenbaum
    But it's also Howard's and his audience's misfortune that a good time can be had by all only if nothing of substance gets said.
    • 40 Metascore
    • 20 Jonathan Rosenbaum
    Almost no plot here and even less character--just a lot of pretexts for S-M imagery, Catholic decor, gobs of gore, and the usual designer schizophrenia.
    • 37 Metascore
    • 20 Jonathan Rosenbaum
    I had a pretty good time with this until the end, when I felt so soiled by the filmmakers' cynicism and the characters' gratuitous viciousness that I wanted to take a bath.
    • 30 Metascore
    • 20 Jonathan Rosenbaum
    Moving in fits and starts, mawkish in its sincerity, and at times disjointed in its lumpy structure.
    • 27 Metascore
    • 20 Jonathan Rosenbaum
    When nostalgia, hypocrisy, and indifference to history converge in the kind of shameless Capracorn manufactured here, one can either be stupefied by the filmmakers' cynicism or fall for the package hook, line, and sinker.
    • 64 Metascore
    • 20 Jonathan Rosenbaum
    A geek festival that mainly invites us to hoot at a bunch of alleged crazies.
    • 26 Metascore
    • 20 Jonathan Rosenbaum
    The gratuitous use of the city (New Orleans) during Mardi Gras is the least of this movie's unoriginal sins.