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

Jonathan Rosenbaum's Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 The Corporation
Lowest review score: 0 Bamboozled
Score distribution:
1,493 movie reviews
    • 64 Metascore
    • 60 Jonathan Rosenbaum
    A pretty good chronicle of a certain phase of French working-class life.
    • 48 Metascore
    • 60 Jonathan Rosenbaum
    Falk throws himself into the part and almost single-handedly enables this comedy drama to transcend some of its sitcom limitations.
    • 43 Metascore
    • 60 Jonathan Rosenbaum
    A seemingly mad dog periodically turns into a well-trained pet.
    • 49 Metascore
    • 60 Jonathan Rosenbaum
    Like "The Hustler," this absorbing Las Vegas story about a professional poker player (Eric Bana) uses gambling to tell a tale of moral regeneration. But Bana can't carry a picture like Paul Newman, and poker proves less photogenic than pool.
    • 50 Metascore
    • 60 Jonathan Rosenbaum
    This arty and moody account of her formation as an artist, as its subtitle declares, is basically invented. Its nerviness only pays off in a few details and in Nicole Kidman's resourcefulness.
    • 56 Metascore
    • 60 Jonathan Rosenbaum
    The results are easy to watch, though awfully familiar and simpleminded.
    • 19 Metascore
    • 60 Jonathan Rosenbaum
    8MM
    I can't say I warmed to the results, but I was solidly held for the film's two hours.
    • 70 Metascore
    • 60 Jonathan Rosenbaum
    If, like the filmmakers, you're willing to settle for a myth that flatters your sensibilities and shortchanges the past, you're likely to find some agreeable kicks here.
    • 71 Metascore
    • 60 Jonathan Rosenbaum
    The performances are strong, but the spectator often feels adrift in an overly busy intrigue.
    • 79 Metascore
    • 60 Jonathan Rosenbaum
    If you like being shaken up and don't care too much why or how, this is probably for you; Huppert gives her all to the part, and you won't be bored.
    • 46 Metascore
    • 60 Jonathan Rosenbaum
    Alas, most of the surprise and the wit to be found here ends with the title.
    • 33 Metascore
    • 60 Jonathan Rosenbaum
    As soon as it became clear that this remake has nothing to do with real Georgia moonshiners and everything to do with car chases, smashups, and explosions, I could sit back and enjoy it as good, stupid fun.
    • 73 Metascore
    • 60 Jonathan Rosenbaum
    Griffith's talent, energy, and sexiness give it some drive and punch.
    • 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.
    • 61 Metascore
    • 60 Jonathan Rosenbaum
    My only reason to recommend this movie is that there's nothing quite like it.
    • 44 Metascore
    • 60 Jonathan Rosenbaum
    The performances of both Schwarzenegger and O'Brien are labored, the pacing uneven, and maybe only half the gags work, but there's a certain amount of creative energy and audacity mixed in with all the confusion.
    • 62 Metascore
    • 60 Jonathan Rosenbaum
    This is fairly efficient if you can square efficiency with being twice as long as necessary and overly familiar to boot; at least Jackson and Spacey keep it afloat.
    • 67 Metascore
    • 60 Jonathan Rosenbaum
    A pleasant, inoffensive, and (quite properly) mindless diversion.
    • 50 Metascore
    • 60 Jonathan Rosenbaum
    George Lucas produced and Jim Henson (of Muppets fame) directed this heftily budgeted 1986 fantasy, which seems to be a conscious attempt to play on the female coming-of-age themes of classic fairy tales.
    • 45 Metascore
    • 60 Jonathan Rosenbaum
    Friedkin does a superb job of serving up the well-appointed script by James Webb and Stephen Gaghan.
    • 65 Metascore
    • 60 Jonathan Rosenbaum
    Ali
    What's lacking here is a sustained thematic focus -- at least five people worked on the script, including Mann, which may account for the absence of a clear through line -- though the spectacle and characters keep one absorbed.
    • 68 Metascore
    • 60 Jonathan Rosenbaum
    This has its moments, but don't expect many fresh insights.
    • 59 Metascore
    • 60 Jonathan Rosenbaum
    This is brisk and fun to watch, thanks to the actors...But once you catch the main drift of the plot, it becomes awfully ho-hum.
    • 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.
    • 71 Metascore
    • 60 Jonathan Rosenbaum
    The Coens do an efficient job of stamping their signature grotesquerie on sumptuous Beverly Hills and Las Vegas settings and ladling on gallows humor and malice, sometimes with the verve of early Robert Zemeckis.
    • 82 Metascore
    • 60 Jonathan Rosenbaum
    The overall feel is phantasmagoric--pitched, like most of Maddin's work, in the style of a half-remembered late silent feature or early talkie.
    • 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.
    • 51 Metascore
    • 60 Jonathan Rosenbaum
    Not at all bad for a toy commercial.
    • 76 Metascore
    • 60 Jonathan Rosenbaum
    Individually these elements are powerful, but they fail to mesh or collide with one another in any satisfying way, and the movie's score only exacerbates the problem.
    • 68 Metascore
    • 60 Jonathan Rosenbaum
    I can't yet decide whether the film works or not, but it certainly held me for its full two hours.

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