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 Offside
Lowest review score: 0 The Heartbreak Kid
Score distribution:
1,493 movie reviews
    • 47 Metascore
    • 10 Jonathan Rosenbaum
    If I were a Christian, I'd be appalled to have this primitive and pornographic bloodbath presume to speak for me.
    • 23 Metascore
    • 10 Jonathan Rosenbaum
    "Speed" made millions on mindless, empty thrills; this laborious sequel is just as mindless and empty but lacks the thrills.
    • 46 Metascore
    • 10 Jonathan Rosenbaum
    All this is supposed to be as cute as bugs and chock-full of worldly wisdom, but even with lead actors as likable and as resourceful as these, the material made me alternately want to gag and nod off.
    • 35 Metascore
    • 10 Jonathan Rosenbaum
    With a shamelessly cliched script by Amy Holden Jones (based on a novel by Jack Engelhard) that includes a speech plagiarized from Citizen Kane, the results are only for those who can take fare like "Valley of the Dolls" with a straight face and want to see Redford play Jay Gatsby again.
    • 18 Metascore
    • 10 Jonathan Rosenbaum
    The writing and directing of Jonathan Darby, a British TV veteran and Hollywood executive, make the proceedings neither believable nor compelling, so what might have been another "Rosemary's Baby" isn't even a halfway decent genre exercise.
    • 54 Metascore
    • 10 Jonathan Rosenbaum
    Holly Hunter and Sigourney Weaver, a cop and a shrink, are the main trackers, but so little is done in Ann Biderman and David Madsen's script to give them or their colleagues or even their prey interesting human dimensions that the overall ambience is chiefly pornographic.
    • 54 Metascore
    • 10 Jonathan Rosenbaum
    An offensive premise and a pathetic, almost pleading desire to outrage our sensibilities with it.
    • 23 Metascore
    • 10 Jonathan Rosenbaum
    What seems more problematic is the virtual exaltation of Dirty Harry vigilantism, the storm trooper mentality and behavior on Nolte's part that the film breezily takes for granted; if there's any irony about it, it's carefully designed to wash over the storm trooper types in the audience and not give offense to them--only to the rest of us.
    • 24 Metascore
    • 10 Jonathan Rosenbaum
    It's especially doomed by a strained script that recalls certain bottom-of-the-barrel Bob Hope vehicles of the 50s in its attempts to be brittle and self-mocking in its humor.
    • 58 Metascore
    • 0 Jonathan Rosenbaum
    This is a new form of obscenity that might be called suicide porn. It's not just the voyeuristic surveillance that's obscene, but the use of suicide footage as counterpoint to other stories as they're told. Steel shows no special insight into the subject, though even that couldn't justify such hideousness.
    • 55 Metascore
    • 0 Jonathan Rosenbaum
    A piece of mythmaking stupidity.
    • 21 Metascore
    • 0 Jonathan Rosenbaum
    This atrocious comedy doesn't have an idea in its head but still screams at the top of its lungs.
    • 19 Metascore
    • 0 Jonathan Rosenbaum
    It was like a Farrelly brothers gross-out without the laughs.
    • 46 Metascore
    • 0 Jonathan Rosenbaum
    The ethnic humor that gave May's movie its charge is replaced by crass mean-spiritedness. If I were in movie hell, I'd rather see "Good Luck Chuck" again than return to this atrocity.
    • 41 Metascore
    • 0 Jonathan Rosenbaum
    Formulaic sass machine... I was writhing in my seat.
    • 47 Metascore
    • 0 Jonathan Rosenbaum
    Van Sant's doomed and misguided experiment.
    • 50 Metascore
    • 0 Jonathan Rosenbaum
    Angry, fitfully provocative mess.
    • 22 Metascore
    • 0 Jonathan Rosenbaum
    Insulting to audience and cast alike.
    • 16 Metascore
    • 0 Jonathan Rosenbaum
    The cynicism of the writer and director smacks of such self-hatred (fully acknowledged in the film's closing shot) that their disgust spills over onto all their characters (and their audience too), and inasmuch as everybody here is one kind of whore or another at virtually every moment, the fine moral distinctions this movie insists on making sometimes seem about as arcane and as loony as medieval theology about angels dancing on the heads of pins.
    • 35 Metascore
    • 0 Jonathan Rosenbaum
    If you haven't lived until you've seen Laurence Fishburne and Sam Neill duke it out in a vat full of red paint, here's your chance; personally, my idea of hell would be having to see this stinker again.
    • 45 Metascore
    • 0 Jonathan Rosenbaum
    In what I saw, Madonna in the title role tries bravely not to buckle under the weight of Stone and Parker's sense of Stalinist monumentality and fails honorably, while the Lloyd Webber music goes on being nonmusical.
    • 38 Metascore
    • 0 Jonathan Rosenbaum
    Considering the 32 writers (including Tom S. Parker, Jim Jennewein, and Steven E. de Souza) who worked on this live-action adaptation of the 60s Hanna-Barbera cartoon series about a Stone Age family, one might have expected a few funny lines here and there, but this is mirthless (and worthless) from top to bottom.
    • 44 Metascore
    • 0 Jonathan Rosenbaum
    If you haven't lived until you've heard Geena Davis say "Suck my dick," New Line probably deserves your money.
    • 12 Metascore
    • 0 Jonathan Rosenbaum
    Very, very stupid.