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

Jonathan Rosenbaum's Scores

  • Movies
Average review score: 60
Highest review score: 100 Mala Noche
Lowest review score: 0 Psycho
Score distribution:
1,493 movie reviews
    • 88 Metascore
    • 90 Jonathan Rosenbaum
    If, like me, you've been wondering how Terry Zwigoff, the brilliant documentary filmmaker who made "Crumb," would negotiate his shift to fiction filmmaking, here's your answer: brilliantly.
    • 71 Metascore
    • 90 Jonathan Rosenbaum
    Magical, visually exciting, affecting even in its sincere hokeyness, and extremely provocative.
    • 83 Metascore
    • 90 Jonathan Rosenbaum
    I was floored by Cronenberg's mastery of the material. Fiennes gives one of his finest performances; Miranda Richardson, playing at least three characters in the protagonist's twisted vision, is no less impressive.
    • 82 Metascore
    • 90 Jonathan Rosenbaum
    The results are skillful, highly affecting, and ultimately more than a little pernicious.
    • 71 Metascore
    • 90 Jonathan Rosenbaum
    Responsibility for the ensuing tragedy is so finely calibrated that neither can be comprehensively blamed or exculpated.
    • 84 Metascore
    • 90 Jonathan Rosenbaum
    The narrative, capped by a brief bad dream and the capture of a mouse, isn't always legible, but it feeds into a monumental, luminous visual style like no other.
    • 81 Metascore
    • 90 Jonathan Rosenbaum
    Kiarostami's brilliantly suggestive script, which is quite unlike anything else he's written and is marred only slightly by one of his obligatory sages turning up gratuitously near the beginning.
    • 71 Metascore
    • 90 Jonathan Rosenbaum
    The best Australian feature I've seen in years.
    • 82 Metascore
    • 90 Jonathan Rosenbaum
    Something of a tour de force, this adaptation of Joe Simpson's nonfiction book about his climbing the 21,000-foot Siula Grande mountain in Peru, breaking a leg, and eventually making it back alive is remarkable simply because the story seems unfilmable.
    • 89 Metascore
    • 90 Jonathan Rosenbaum
    This remarkable British silent (1929) is special in many ways.
    • 82 Metascore
    • 90 Jonathan Rosenbaum
    Beautifully structured and emotionally wrenching.
    • 80 Metascore
    • 90 Jonathan Rosenbaum
    A witty, canny meditation on the power of pop culture in general and the rationalizations of cinephilia and film criticism in particular.
    • 86 Metascore
    • 90 Jonathan Rosenbaum
    This erotically charged drama may not be quite as great as the original, but it's an amazing and beautiful work just the same.
    • 57 Metascore
    • 90 Jonathan Rosenbaum
    Not to be hyperbolic, but Richard Linklater's first big-budget movie may be the Jules and Jim of bank-robber movies, thanks to its astonishing handling of period detail and its gentleness of spirit, both buoyed by a gliding lightness of touch.
    • 77 Metascore
    • 90 Jonathan Rosenbaum
    Richard Linklater goes Hollywood (1995) -- triumphantly and with an overall intelligence, sweetness, and romantic simplicity that reminds me of wartime weepies like The Clock.
    • 66 Metascore
    • 90 Jonathan Rosenbaum
    Waters builds to a didactic message that he underlines with Disney-esque dream dust (in various colors), as if to protect his sincerity with the disclaimer of self-mockery.
    • 78 Metascore
    • 90 Jonathan Rosenbaum
    Impressive for its lean and unblemished storytelling, but even more so for its performances.
    • 82 Metascore
    • 90 Jonathan Rosenbaum
    For all its minimalism, Tsai Ming-liang's 81-minute masterpiece manages to be many things at once.
    • 72 Metascore
    • 90 Jonathan Rosenbaum
    The film delivers old-fashioned star turns and glittering cameos (Jon Voight and Mickey Rourke are especially good, but Danny DeVito, Mary Kay Place, Danny Glover, Virginia Madsen, Roy Scheider, and Dean Stockwell--not to mention old-Hollywood icon Teresa Wright--also provide considerable pleasure).
    • 83 Metascore
    • 90 Jonathan Rosenbaum
    Much of the film's potency derives from its personal edge -- the passion for precise period decor, the title dedicating the film to Leigh's parents (a doctor and midwife), and even the childlike classification of many characters as either good souls or villains.
    • 63 Metascore
    • 90 Jonathan Rosenbaum
    Despite a few narrative confusions, I found it pure magic.
    • 76 Metascore
    • 90 Jonathan Rosenbaum
    Months after seeing this, I still feel I know most of these people as if they were old friends.
    • 72 Metascore
    • 90 Jonathan Rosenbaum
    This is absorbing throughout--not just a history lesson but, as always with Rohmer, a story about individuals
    • 75 Metascore
    • 90 Jonathan Rosenbaum
    A finely crafted entertainment that works better than most current Hollywood movies.
    • 80 Metascore
    • 90 Jonathan Rosenbaum
    The film is both wise and tender in its treatment of relationships -- between birds, between people, and between birds and people.
    • 79 Metascore
    • 90 Jonathan Rosenbaum
    The conceit gets a little out of hand after one of the angels falls in love with the trapeze artist and decides to become human; but prior to this, Wings of Desire is one of Wenders's most stunning achievements.
    • 47 Metascore
    • 90 Jonathan Rosenbaum
    Compared with the novel, the movie might seem predictable. But compared with other movies, it stands alone.
    • 82 Metascore
    • 90 Jonathan Rosenbaum
    Woo's third Hollywood movie, Face/Off, is the first to balance his visual imagination with the emotional intensity of his Hong Kong films.
    • 75 Metascore
    • 90 Jonathan Rosenbaum
    There's plenty of wit on the surface, but the pain of paralysis comes through loud and clear.