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 Glengarry Glen Ross
Lowest review score: 0 Bamboozled
Score distribution:
1,493 movie reviews
    • 93 Metascore
    • 100 Jonathan Rosenbaum
    Frightening, funny, profound, and mysterious.
    • 93 Metascore
    • 100 Jonathan Rosenbaum
    The juxtaposition of liberal Jewish attorney Dershowitz (Silver) and von Bulow working together on the latter's defense makes for some engagingly offbeat drama, with some interesting insights into the legal process.
    • 84 Metascore
    • 100 Jonathan Rosenbaum
    A highly emotional epic about what it means to be both Chinese and American.
    • 83 Metascore
    • 100 Jonathan Rosenbaum
    Duvall’s direction of a mix of professional and nonprofessional actors, especially in the extended church sessions, is never less than masterful.
    • 92 Metascore
    • 100 Jonathan Rosenbaum
    This is truly a great film, recently celebrated at length in "My Voyage to Italy," Martin Scorsese's documentary about Italian cinema.
    • 86 Metascore
    • 100 Jonathan Rosenbaum
    A heartfelt, passionate, tragic musical suite made up of these formulas, which the film both celebrates and wryly examines to discover their inner logic: how they actually work, what they do and don't do.
    • 80 Metascore
    • 100 Jonathan Rosenbaum
    This 2002 German documentary (in English) by Marta Kudlacek is the best portrait of an experimental filmmaker that I know.
    • 94 Metascore
    • 100 Jonathan Rosenbaum
    A veritable salad of mixed genres and emotional textures, this exciting black-and-white cold war thriller runs more than two hours and never flags for an instant...A powerful experience, alternately corrosive with dark parodic humor, suspenseful, moving, and terrifying.
    • 84 Metascore
    • 100 Jonathan Rosenbaum
    Maddin takes on his first commissioned feature--an adaptation of the Royal Winnipeg Ballet's production of Dracula--and succeeds brilliantly, making it his own while offering what may be the most faithful screen version to date of Bram Stoker's novel.
    • 80 Metascore
    • 100 Jonathan Rosenbaum
    All-expert cast.
    • 84 Metascore
    • 100 Jonathan Rosenbaum
    This brilliantly and comprehensively captures the look, feel, and sound of glamorous 50s tearjerkers like All That Heaven Allows, not to mock or feel superior to them but to say new things with their vocabulary.
    • 86 Metascore
    • 100 Jonathan Rosenbaum
    "Heathers" may view teenagers more caustically, but this movie, incomparably better, actually delivers the goods.
    • 94 Metascore
    • 100 Jonathan Rosenbaum
    It's one of the best movies about revolutionary and anticolonial activism ever made, convincing, balanced, passionate, and compulsively watchable as storytelling.
    • 86 Metascore
    • 100 Jonathan Rosenbaum
    Its special effects are used so seamlessly as part of an overall artistic strategy that, as critic Annette Michelson has pointed out, they don't even register as such, and thus are almost impossible to trivialize, a feat unmatched in movies.
    • 88 Metascore
    • 100 Jonathan Rosenbaum
    The grafting of 40s hard-boiled detective story with SF thriller creates some dysfunctional overlaps, and the movie loses some force whenever violence takes over, yet this remains a truly extraordinary, densely imagined version of both the future and the present, with a look and taste all its own.
    • 73 Metascore
    • 100 Jonathan Rosenbaum
    Riveting cinematic essay.
    • 83 Metascore
    • 100 Jonathan Rosenbaum
    Combines live-action and animation with breathtaking wizardry... Alternately hilarious, frightening, and awesome.
    • 70 Metascore
    • 100 Jonathan Rosenbaum
    The effect is riveting and telling--not always realistic (none of the characters carry cell phones) but often enlightening.
    • 91 Metascore
    • 100 Jonathan Rosenbaum
    This is a masterwork by Ousmane Sembene, the 81-year-old father of African cinema and one of Senegal's greatest novelists.
    • 78 Metascore
    • 100 Jonathan Rosenbaum
    Elliptical, full of subtle inner rhymes...and profoundly moving, this is the most tightly crafted Kubrick film since "Dr. Strangelove," as well as the most horrific; the first section alone accomplishes most of what "The Shining" failed to do.
    • 65 Metascore
    • 100 Jonathan Rosenbaum
    A film that might make you cry watching it is just as likely to give you the creeps thinking about it afterward, which is as it should be.
    • 94 Metascore
    • 100 Jonathan Rosenbaum
    Tarantino's mock-tough narrative--which derives most of its titillation from farcical mayhem, drugs, deadpan macho monologues, evocations of anal penetration, and terms of racial abuse--resembles a wet dream for 14-year-old male closet queens (or, perhaps more accurately, the 14-year-old male closet queen in each of us), and his command of this smart-alecky mode is so sure that this nervy movie sparkles throughout with canny twists and turns.
    • 78 Metascore
    • 100 Jonathan Rosenbaum
    Guy Maddin has reached a new expressive plateau with The Saddest Music in the World.
    • 91 Metascore
    • 100 Jonathan Rosenbaum
    Masterpiece.
    • 77 Metascore
    • 100 Jonathan Rosenbaum
    A grand-style, idiosyncratic war epic, with wonderful poetic ideas, intense emotions, and haunting images rich in metaphysical portent.
    • 86 Metascore
    • 100 Jonathan Rosenbaum
    Stylistically fresh and full of sweetness that never cloys, this is contemporary Hollywood filmmaking at its near best.
    • 96 Metascore
    • 100 Jonathan Rosenbaum
    Wong Kar-wai's idiosyncratic style first became apparent in this gorgeously moody second feature.
    • 74 Metascore
    • 100 Jonathan Rosenbaum
    Throughout the film cause and effect, the mainspring of most narratives, is replaced by a sense of spiritual synchronicity.
    • 71 Metascore
    • 100 Jonathan Rosenbaum
    The overall mood is stately and melancholy, the selective use of color is ravishing, and some of the natural views are breathtaking.
    • 90 Metascore
    • 100 Jonathan Rosenbaum
    One of the most perfect endings of any film that comes to mind.