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 Pump Up the Volume
Lowest review score: 0 Bratz
Score distribution:
1,493 movie reviews
    • 46 Metascore
    • 20 Jonathan Rosenbaum
    I only laughed once here, at a Treat Williams reaction shot; the rest of the time I was trying to figure out why Allen made this movie.
    • 24 Metascore
    • 20 Jonathan Rosenbaum
    It's not terribly interesting on the subject.
    • 30 Metascore
    • 20 Jonathan Rosenbaum
    Offers so much frenetic fast cutting to so little purpose that it becomes an ordeal.
    • 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.
    • 12 Metascore
    • 20 Jonathan Rosenbaum
    Imagine combining bad imitations of the "Ace Ventura" and "Austin Powers" movies and you'll have a rough idea of this feeble Dana Carvey farce.
    • 59 Metascore
    • 20 Jonathan Rosenbaum
    The film's a swell way of torturing yourself for 108 minutes.
    • 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.
    • 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.
    • 25 Metascore
    • 20 Jonathan Rosenbaum
    The whole thing becomes a very rickety and contrived tearjerker.
    • 25 Metascore
    • 20 Jonathan Rosenbaum
    Costner has an uncanny aptitude for gravitating toward the dopiest projects in sight, but this time he's outdone himself.
    • 30 Metascore
    • 20 Jonathan Rosenbaum
    A stiff. I don't know the comic book series, but it could hardly be as lifeless as this leaden adaptation, in which the weapons have more personality than the characters and the nonstop action often feels like no action at all.
    • 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.
    • 38 Metascore
    • 20 Jonathan Rosenbaum
    Offers the same crudely effective variation on the hatred and fear of hillbillies in "Deliverance."
    • 77 Metascore
    • 20 Jonathan Rosenbaum
    None of the characters or ideas is allowed to develop beyond its cardboard profile.
    • 52 Metascore
    • 20 Jonathan Rosenbaum
    Despite the cast -- Kevin Bacon, Matt Dillon, Neve Campbell, Denise Richards, Daphne Rubin-Vega, Theresa Russell, Robert Wagner, and Bill Murray -- I found it preposterous.
    • 43 Metascore
    • 20 Jonathan Rosenbaum
    Alas, the plot eventually takes over, and it's exceptionally ugly and unpleasant.
    • 28 Metascore
    • 20 Jonathan Rosenbaum
    It's clear that writer Akiva Goldsman and director Joel Schumacher are bereft of ideas and using the MTV clutter as a cover-up.
    • 34 Metascore
    • 20 Jonathan Rosenbaum
    A major washout.
    • 30 Metascore
    • 20 Jonathan Rosenbaum
    Moving in fits and starts, mawkish in its sincerity, and at times disjointed in its lumpy structure.
    • 60 Metascore
    • 20 Jonathan Rosenbaum
    I can think of only one bit of Tin Cup that's beautiful, imaginative, and different, and it lasts for only a few seconds: a speech delivered by Russo, before her character is transformed into the standard-issue cheerleader, is broken into fragments by jump cuts.
    • 46 Metascore
    • 20 Jonathan Rosenbaum
    David Morse, who plays the driver, gives a relatively sharp and understated performance -- for me the only bearable thing in the movie.
    • 22 Metascore
    • 20 Jonathan Rosenbaum
    I don't know the novel, but judging from the script by Crichton and John Patrick Shanley, this must be scraping the bottom of the Crichton barrel.
    • 37 Metascore
    • 20 Jonathan Rosenbaum
    The most obnoxious case of masculine swagger since Andrew Dice Clay, with just a tad of Paul Lynde thrown in for spice, Jim Carrey defies you not to bolt for the exit while playing the title hero in this 1994 comic mystery.
    • 44 Metascore
    • 20 Jonathan Rosenbaum
    Given the audacity, it would be a pleasure to report that the results are hilarious, but most of it isn't even funny, and the sense of "anything goes" hangs heavy over the film as it develops.
    • 60 Metascore
    • 20 Jonathan Rosenbaum
    An epic about the Irish patriot (Liam Neeson) during the last years of his life (1916-'22), it clearly represents a lot of thought on Jordan's part, yet it's dramatic and cinematic sludge.
    • 72 Metascore
    • 20 Jonathan Rosenbaum
    A festival favorite in 1992, this flamboyant Australian crowd pleaser and first feature by Baz Luhrmann ("Moulin Rouge") struck me then as one of the more horrific and unpleasant movies I'd seen in quite some time.
    • 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.
    • 34 Metascore
    • 20 Jonathan Rosenbaum
    Nearly all the SF premises are accorded the status of Andrew Dice Clay one-liners - which means that they, along with the characters, keep changing from one scene to the next.
    • 72 Metascore
    • 20 Jonathan Rosenbaum
    JFK
    Stone's all-purpose conspiracy theory, built like a house of cards, rivals "Mississippi Burning" in its sheer crudeness and contempt for the audience.

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