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 Reversal of Fortune
Lowest review score: 0 Event Horizon
Score distribution:
1,493 movie reviews
    • 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.
    • 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.
    • 49 Metascore
    • 60 Jonathan Rosenbaum
    If the Disney animated original (1961) -- adapted from Dodie Smith's novel -- tried to approximate live action, this 1996 Disney live-action remake often tries to evoke cartoon.
    • 83 Metascore
    • 60 Jonathan Rosenbaum
    This obsessive movie, awarded the grand jury prize at the Sundance festival, may not quite live up to its advance billing; the subject is powerful, but the filmmaking often seems slapdash, and the final half hour dithers.
    • 74 Metascore
    • 60 Jonathan Rosenbaum
    If you don't care about such motivations, this is a pretty good thriller, though not one you're likely to remember for very long.
    • 50 Metascore
    • 60 Jonathan Rosenbaum
    It's too bad that Pakula allows this 1993 movie to dawdle after its climax, but prior to that he's adept at suggesting unseen menace and keeping things in motion.
    • 72 Metascore
    • 60 Jonathan Rosenbaum
    Nora Ephron, who wrote and directed this, repeatedly alludes to the 1957 "An Affair to Remember" as her principal point of reference, yet at no point does she indicate any awareness of what makes that tragicomic love story sublime and this one merely cutesy.
    • 74 Metascore
    • 60 Jonathan Rosenbaum
    The characters' behavior isn't always believable, and the jerky rhythm takes some getting used to (there may be more attitude here than observation). But the defiant absence of any conventional plot has a cumulative charm.
    • 45 Metascore
    • 60 Jonathan Rosenbaum
    It's full of pain and quirky characters standing at oblique angles to one another, and while it doesn't add up it held me throughout.
    • 73 Metascore
    • 60 Jonathan Rosenbaum
    This is mildly entertaining, though like the puzzles themselves, it favors diversion over wisdom.
    • 67 Metascore
    • 60 Jonathan Rosenbaum
    Given all the filmed memory pieces about screaming, violent Italian-American families in New York boroughs, I'm not especially thrilled by even a well-made example.
    • 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
    It's a noble undertaking, and Eastwood is stylistically bold enough to create a view of combat based mainly on images that are clearly manufactured. (As with "Saving Private Ryan," the movie's principal source is "The Big Red One," whose director, Samuel Fuller, actually experienced the war.) But this is underimagined and so thesis ridden that it's nearly over before it starts.
    • 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).
    • 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.
    • 77 Metascore
    • 60 Jonathan Rosenbaum
    This curious ecological parable was directed by George Miller (Babe: Pig in the City), who still has an eye and a sense of humor but on this particular outing can't get the script he wrote with three others to make much sense.
    • 68 Metascore
    • 60 Jonathan Rosenbaum
    This has its moments, but don't expect many fresh insights.
    • 69 Metascore
    • 60 Jonathan Rosenbaum
    The main novelty of this conventional, slight, but charming youth picture is that it's English and therefore more class-conscious than most American equivalents.
    • 61 Metascore
    • 60 Jonathan Rosenbaum
    A mainly routine Hong Kong action film from fleet and floppy-haired action hero Jackie Chan. It's light on plot and character, but the stunts are well staged.
    • 77 Metascore
    • 60 Jonathan Rosenbaum
    I enjoyed the invented trailers the directors fold into the mix, but despite the jokey "missing reels," these two full-length features are each 20 minutes longer than they need to be, and neither one makes much sense as narrative.
    • 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.
    • 44 Metascore
    • 60 Jonathan Rosenbaum
    Too bad the overreaching script has to go after effects recalling "Alien," but as a stylistic exercise this still has its chills.
    • 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.
    • 71 Metascore
    • 60 Jonathan Rosenbaum
    Director Jonathan Demme's farcical and broad 1988 comedy, written by Barry Strugatz and Mark R. Burns, doesn't really work, but there are plenty of enjoyable compensations.
    • 74 Metascore
    • 60 Jonathan Rosenbaum
    The dissection of Edwardian repression never gets beyond the dutiful, tasteful obviousness of a BBC miniseries.
    • 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."
    • 80 Metascore
    • 60 Jonathan Rosenbaum
    The efforts to plant this story in a contemporary vernacular are not always successful but the performances are uniformly fine in their adherence to the material, and consistently avoid any vulgarity or showboating.
    • 49 Metascore
    • 60 Jonathan Rosenbaum
    Sam Raimi tries to do a Sergio Leone, and though this 1995 feature is highly enjoyable in spots, it doesn't come across as very convincing, perhaps because nothing can turn Sharon Stone into Charles Bronson.
    • 67 Metascore
    • 60 Jonathan Rosenbaum
    The unvarnished quality of some of the acting limits this effort in spots, but the quirky originality of the story, characters, and filmmaking keeps one alert and curious.
    • 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.

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