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 lower than other critics. (0-100 point scale)

Jonathan Rosenbaum's Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 Offside
Lowest review score: 0 Good Luck Chuck
Score distribution:
1,493 movie reviews
    • 75 Metascore
    • 100 Jonathan Rosenbaum
    Writer Petr Jarchovsky and director Jan Hrebejk collaborated on the formidable "Up and Down" (2004), and this 2006 feature, which takes its title from a Robert Graves poem, is equally impressive for its mastery, intelligence, and ambition in juggling intricate plot strands and memorable characters.
    • 77 Metascore
    • 100 Jonathan Rosenbaum
    Filmmakers Richard Berge, Bonni Cohen, and Nicole Newhman do a superb job of telling this neglected story in vivid detail.
    • 55 Metascore
    • 100 Jonathan Rosenbaum
    Yes
    Beautifully composed and deftly delivered, it becomes the libretto to Potter's visual music, creating a remarkable lyricism and emotional directness.
    • 89 Metascore
    • 100 Jonathan Rosenbaum
    A Chayefsky movie isn't hard to identify, but I think it's safe to say that these days a Charlie Kaufman movie is even more recognizable.
    • 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.
    • 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
    Haggis's dialogue is worthy of Hemingway, and the three leads border on perfection.
    • 81 Metascore
    • 100 Jonathan Rosenbaum
    The title of Jia Zhang-ke's 2004 masterpiece, The World -- a film that's hilarious and upsetting, epic and dystopian -- is an ironic pun and a metaphor.
    • 94 Metascore
    • 100 Jonathan Rosenbaum
    Shot on a year's worth of weekends on a minuscule budget (less than $20,000), this remarkable work--conceivably the best single feature about ghetto life that we have--was selected for preservation by the National Film Registry as one of the key works of the American cinema, an ironic and belated form of recognition for a film that has had virtually no distribution. It shouldn't be missed.
    • 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
    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.
    • 99 Metascore
    • 100 Jonathan Rosenbaum
    A great film but also one of the most upsetting films I know.
    • 80 Metascore
    • 100 Jonathan Rosenbaum
    The movie's dreamlike spaces and characters are sometimes worthy of Lewis Carroll.
    • 86 Metascore
    • 100 Jonathan Rosenbaum
    Stylistically fresh and full of sweetness that never cloys, this is contemporary Hollywood filmmaking at its near best.
    • 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.
    • 81 Metascore
    • 100 Jonathan Rosenbaum
    Watts and Harring even turn out to be the hottest Hollywood couple of 2001. The plot slides along agreeably as a tantalizing mystery before becoming almost completely inexplicable, though no less thrilling, in the closing stretches--but that's what Lynch is famous for. It looks great too.
    • 77 Metascore
    • 100 Jonathan Rosenbaum
    All this edginess, combined with the grandeur and sweep of a classic western, demonstrates that Jones clearly knows how to tell a story -- and how to confound us at the same time.
    • 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.
    • 98 Metascore
    • 100 Jonathan Rosenbaum
    An early voice-over segment about the Casbah itself, before Gabin makes an appearance, is so pungent you can almost taste the place, even though the filming was clearly done in a studio.
    • 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.
    • 85 Metascore
    • 100 Jonathan Rosenbaum
    So accessible and entertaining.
    • 70 Metascore
    • 100 Jonathan Rosenbaum
    The effect is riveting and telling--not always realistic (none of the characters carry cell phones) but often enlightening.
    • 86 Metascore
    • 100 Jonathan Rosenbaum
    "Heathers" may view teenagers more caustically, but this movie, incomparably better, actually delivers the goods.
    • 87 Metascore
    • 100 Jonathan Rosenbaum
    Whether the title refers to the baby or the thief remains an open question, and the viewer is left to decide whether the theme of redemption should be perceived in Christian terms. This builds to a suspenseful climax, and as in Hitchcock's best work, that suspense is morally inflected.
    • 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.
    • 93 Metascore
    • 100 Jonathan Rosenbaum
    Frightening, funny, profound, and mysterious.
    • 85 Metascore
    • 100 Jonathan Rosenbaum
    A dedicated, charismatic, crack-addicted history teacher is the most believable protagonist in an American movie this year.
    • 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.
    • 89 Metascore
    • 100 Jonathan Rosenbaum
    It has few stars familiar to Americans, and it shares with "Pan's Labyrinth" the rare distinction of being a mainstream commercial movie with subtitles.
    • 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.

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