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

Jonathan Rosenbaum's Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 Beauty in Trouble
Lowest review score: 0 Psycho
Score distribution:
1,493 movie reviews
    • 70 Metascore
    • 60 Jonathan Rosenbaum
    Norbu tries too hard to please and charm, but his film at least carries the advantages of unactorly faces and a premise based on actual events that dramatizes the issue of religious vocation in a secular world.
    • 59 Metascore
    • 60 Jonathan Rosenbaum
    Unfortunately, once the freshness of the concept wears off, the same premise starts to feel mechanical and willful.
    • 62 Metascore
    • 60 Jonathan Rosenbaum
    Noah Baumbach collaborated on the arch script, whose bittersweet weirdness leaves a residue even as the narrative disintegrates.
    • 53 Metascore
    • 60 Jonathan Rosenbaum
    This thriller is effective if you can accept that--as with some of John Dickson Carr's locked-room mysteries--the trickiness counts more than any plausibility.
    • 61 Metascore
    • 60 Jonathan Rosenbaum
    The filmmakers have lovingly retained and expanded on that film's only flaws, some implausible plot details. But even without the same cultural significance, it's still a good story, and the interesting cast.
    • 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.
    • 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.
    • 60 Metascore
    • 60 Jonathan Rosenbaum
    The leads work overtime to make their characters and their relationships pungent, believable, and moving (though with regard to the rest of the cast, the movie seems less focused and confident).
    • 78 Metascore
    • 60 Jonathan Rosenbaum
    Breillat may be serious about creating period ambience, but she also can't resist patterning her heroine after Marlene Dietrich's Concha in "The Devil Is a Woman" (even though Argento sometimes suggests Maria Montez in the pleasure she takes in her own company).
    • 46 Metascore
    • 60 Jonathan Rosenbaum
    If you don't mind the telegraphed punches of Ruth Epstein's script and Harvey Kahn's direction, this should carry you along.
    • 45 Metascore
    • 60 Jonathan Rosenbaum
    Not quite a thriller and not quite a character study, though with elements of both, the film is limited by its ambiguous relation to history.
    • 35 Metascore
    • 60 Jonathan Rosenbaum
    Script and direction are both fairly slapdash, but the actors and the overall sweetness keep this chugging along on some level .
    • 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.
    • 50 Metascore
    • 60 Jonathan Rosenbaum
    Provides an interesting introduction to a compelling figure in contemporary pop music.
    • 54 Metascore
    • 60 Jonathan Rosenbaum
    Aiming at a microcosm of American life comparable in some ways to Do the Right Thing, Singleton can't quite justify or explicate his parting message ("unlearn"), but his passion is exemplary.
    • 57 Metascore
    • 60 Jonathan Rosenbaum
    The banal score seems more appropriate for a western, and there's a certain self-conscious theatricality in the mise en scene, yet this is both handsome and affecting.
    • 65 Metascore
    • 60 Jonathan Rosenbaum
    Silly and shameless stuff that made me laugh quite a lot.
    • 80 Metascore
    • 60 Jonathan Rosenbaum
    A strong example of the cinema verite style at work, yet few films of the school show up the crisis of its "noninvolvement" policy more tellingly.
    • 59 Metascore
    • 60 Jonathan Rosenbaum
    Given how bogus the movie is whenever it departs from formula, it's not surprising that the funniest bit (in which Peter Parker becomes a disco smoothie) is stolen from Jerry Lewis's "The Nutty Professor" or that the best special effects, involving a gigantic Sandman, dimly echo "King Kong."
    • 47 Metascore
    • 60 Jonathan Rosenbaum
    Coolidge directs as if the characters were believable human beings--at least until she gets to the end, when Hollywood and fairy-tale conventions have to triumph over humanity and common sense.
    • 73 Metascore
    • 60 Jonathan Rosenbaum
    This is mildly entertaining, though like the puzzles themselves, it favors diversion over wisdom.
    • 58 Metascore
    • 60 Jonathan Rosenbaum
    Led me to second thoughts about whether the feel-good tactics of "Schindler's List" were any worse than the feel-bad tactics on display here.
    • 76 Metascore
    • 60 Jonathan Rosenbaum
    Sacrifices compelling drama for gratuitous whimsy and big-budget spectacle.
    • 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.
    • 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.
    • 59 Metascore
    • 60 Jonathan Rosenbaum
    Bridges and Allen are so bracingly good that you're encouraged to overlook how manipulative the proceedings are.
    • 79 Metascore
    • 60 Jonathan Rosenbaum
    The larger considerations and film noir overtones detract too much from the facts of the case, and what emerges are two effective half-films, each partially at odds with the other.
    • 53 Metascore
    • 60 Jonathan Rosenbaum
    Binoche is especially effective playing a character that seems to have as many layers as her makeup.
    • 59 Metascore
    • 60 Jonathan Rosenbaum
    As a literary bodice ripper this is better than average, partly because of its glimpses of early-19th-century bohemianism in France and Italy but mostly because Juliette Binoche and Benoit Magimel manage to keep the story hot and unpredictable.

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