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 Corporation
Lowest review score: 0 Cocktail
Score distribution:
1,493 movie reviews
    • 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.
    • 54 Metascore
    • 30 Jonathan Rosenbaum
    80 minutes of formulaic unpleasantness isn't even close to my idea of a good time, and I doubt that Hitchcock himself could have done very much with Mark L. Smith's script.
    • 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
    • 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.
    • 50 Metascore
    • 30 Jonathan Rosenbaum
    I don't believe in fixing things that aren't broken. Sandra Nettelbeck's wholly accessible "Mostly Martha" (2001) is one of the most delightful comedies of recent years, so the idea of a remake with English instead of German dialogue is already pretty dubious, an insult to the capacities of both audiences and the original filmmakers.
    • 45 Metascore
    • 30 Jonathan Rosenbaum
    Unfortunately the movie's more interesting and challenging social aspects, which imply more than one "British-Chinese gay experience," are often overtaken by its smarminess--including an aggressively banal score and the way some actors have apparently been encouraged to overwork their eyebrows.
    • 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.
    • 44 Metascore
    • 30 Jonathan Rosenbaum
    You can't be both political and incoherent, and even though Kelly's models are "Kiss Me Deadly" and "Blade Runner," this vision of the near-future suggests a random blend of "Dr. No" and "Faster, Pussycat! Kill! Kill!"
    • 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.
    • 52 Metascore
    • 20 Jonathan Rosenbaum
    At least (John) Waters cares about most of his freaks; for Lynch they're basically exploitation fodder for a puritanical "dark vision of the universe" that seems to come straight out of junior high, complete with giggles.
    • 39 Metascore
    • 20 Jonathan Rosenbaum
    Maybe writers Josann McGibbon and Sara Parriott were thinking of Tracy and Hepburn--assuming they were thinking of anything--but not even Roberts's smile can put this one over.
    • 36 Metascore
    • 20 Jonathan Rosenbaum
    Seems more theatrical than cinematic, needing the kind of direct address that only a stage can provide.
    • 47 Metascore
    • 20 Jonathan Rosenbaum
    This is thoughtful nihilist provocation at best.
    • 47 Metascore
    • 20 Jonathan Rosenbaum
    An extravagant mess.
    • 69 Metascore
    • 20 Jonathan Rosenbaum
    After making their two best features to date, "Fargo" and "The Big Lebowski," the Coen brothers have surely come up with their worst.
    • 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.
    • 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.
    • 42 Metascore
    • 20 Jonathan Rosenbaum
    At first I thought I was watching yet another version of "A Christmas Carol"; then I wondered if it was a remake of "It's a Wonderful Life"; finally I gave up trying to find anything at all in it that was unfamiliar.
    • 65 Metascore
    • 20 Jonathan Rosenbaum
    Mechanical, soulless.
    • 18 Metascore
    • 20 Jonathan Rosenbaum
    The unfunniest comedy I can recall seeing in ages.
    • 64 Metascore
    • 20 Jonathan Rosenbaum
    A geek festival that mainly invites us to hoot at a bunch of alleged crazies.
    • 35 Metascore
    • 20 Jonathan Rosenbaum
    For most of the running time I was mainly confused, as well as mildly nauseated by the gross-out details of a tale that tends to be more slimy than scary.
    • 44 Metascore
    • 20 Jonathan Rosenbaum
    Overwritten by Billy Crystal and Peter Tolan, overdirected by Joe Roth, overplayed by most of the cast, yet typically undernourished.
    • 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.