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

Jonathan Rosenbaum's Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 Who Framed Roger Rabbit
Lowest review score: 0 The Heartbreak Kid
Score distribution:
1493 movie reviews
    • 57 Metascore
    • 60 Jonathan Rosenbaum
    The cast--including Julianna Margulies, Olivia Williams, James Coburn, and Anjelica Huston--keeps this pretty watchable, and casting Mick Jagger as director of the escort service was inspired.
    • 62 Metascore
    • 60 Jonathan Rosenbaum
    Denzel Washington's directorial debut reminds me of a 60s British movie called "The Mark": it's liberal minded, heartwarming, sincere, and consequently somewhat old-fashioned and stodgy.
    • 56 Metascore
    • 60 Jonathan Rosenbaum
    Maybe I've seen too many James Bond movies by now, or maybe the trouble with this 20th installment is that the filmmakers are trying too hard to top the excesses of the predecessors.
    • 51 Metascore
    • 60 Jonathan Rosenbaum
    At times the plot developments in this post-Tarantino story seem so random they suggest automatic writing, but the characters and some of the settings kept me interested.
    • 72 Metascore
    • 60 Jonathan Rosenbaum
    Sincere, capable, at times moving, but overextended, this picture is seriously hampered by its tendency to linger over everything--especially landscapes with silhouetted figures, and not excluding its own good intentions.
    • 81 Metascore
    • 60 Jonathan Rosenbaum
    Everyone who likes this movie calls it "disturbing," but what disturbs me most is the self-loathing laughter it provokes, similar to what one often hears at Woody Allen and Michael Moore comedies.
    • 64 Metascore
    • 60 Jonathan Rosenbaum
    The English cast is fun; but this is more spectacle than story, and the Steve Kloves script deserves better handling than director Chris Columbus -- plus any number of studio deliberators -- gave it.
    • 59 Metascore
    • 60 Jonathan Rosenbaum
    Unfortunately, once the freshness of the concept wears off, the same premise starts to feel mechanical and willful.
    • 55 Metascore
    • 60 Jonathan Rosenbaum
    The characters are so full-bodied and the feelings so raw and complex that I'd call this the best thing he's (Singleton) done to date.
    • 66 Metascore
    • 60 Jonathan Rosenbaum
    The main problem is that Burton operates best on a modest scale; saddled with a blockbuster, he doesn't know how to animate all the dead space.
    • 67 Metascore
    • 60 Jonathan Rosenbaum
    The film asks us to embrace not only the death of beauty but the beauty of death.
    • 35 Metascore
    • 60 Jonathan Rosenbaum
    I found it more pleasurable as a time waster than either "Mission: Impossible."
    • 58 Metascore
    • 60 Jonathan Rosenbaum
    Perhaps the post-cold-war attitudes behind this film are progressive, but the same old pre-nuclear-war worship of the military goes all but unchallenged.
    • 51 Metascore
    • 60 Jonathan Rosenbaum
    Not at all bad for a toy commercial.
    • 76 Metascore
    • 60 Jonathan Rosenbaum
    This adaptation of Patricia Highsmith's novel is commercial to the core.
    • 64 Metascore
    • 60 Jonathan Rosenbaum
    The script by producer David Franzoni, John Logan, and William Nicholson is serviceable but not exactly inspired.
    • 86 Metascore
    • 60 Jonathan Rosenbaum
    I don't see this slightly better-than-average drug thriller, with slightly better-than-average direction by Steven Soderbergh, as anything more than a routine rubber-stamping of genre reflexes.
    • 47 Metascore
    • 60 Jonathan Rosenbaum
    Though its ending feels protracted--especially the climactic chase--it kept me reasonably distracted.
    • 52 Metascore
    • 60 Jonathan Rosenbaum
    I was engaged by Chick's characters...But that point passed pretty soon after the credits rolled, and nothing has come back to haunt me since.
    • 80 Metascore
    • 60 Jonathan Rosenbaum
    This 1998 film held my interest for two hours, even taking on an epic feel when it turns into a road movie. It's not bad by any means, but it also happens to resemble a lot of other movies.
    • 64 Metascore
    • 60 Jonathan Rosenbaum
    Like Fellini's "I vitelloni," this Spanish-French-Italian coproduction is a bittersweet epic about frustration and relative inertia, though with a somewhat older and wiser group of layabouts.
    • 92 Metascore
    • 60 Jonathan Rosenbaum
    It's full of scenic splendors with a fine sense of scale, but its narrative thrust seems relatively pro forma, and I was bored by the battle scenes.
    • 43 Metascore
    • 60 Jonathan Rosenbaum
    A seemingly mad dog periodically turns into a well-trained pet.
    • 46 Metascore
    • 60 Jonathan Rosenbaum
    Broder's script makes the weird transition from satire to camp as if there were no distinction between the two. It's a bracing if at times bewildering experience.
    • 75 Metascore
    • 60 Jonathan Rosenbaum
    All the virtues of the original... are present here, though when Cameron tries to milk some sentiment out of the "personality" and fate of his top machine he comes up flat and empty, and the other characters are scarcely more interesting.
    • 33 Metascore
    • 60 Jonathan Rosenbaum
    Unafraid to look absurd but lacks the self-conviction needed to come off as camp.
    • 81 Metascore
    • 60 Jonathan Rosenbaum
    Maybe you'll enjoy it, but don't expect to remember it ten minutes later, or even to believe in the characters while you're watching them.
    • 82 Metascore
    • 60 Jonathan Rosenbaum
    The result is grimly "effective," but it made me long for Hollywood junk.
    • 66 Metascore
    • 60 Jonathan Rosenbaum
    Diverting, energetic, and even reasonably satisfying, so long as you aren't looking for a real musical to take its place.
    • 65 Metascore
    • 60 Jonathan Rosenbaum
    Missing is most of Tarkovsky's contemplative and mystical poetry (which is why it's 90 minutes shorter), and added are some unfortunate Hollywood-style designer flashbacks -- The story is still strong and haunting, but I'd recommend seeing this, if at all, only after the Tarkovsky.

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