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

Jonathan Rosenbaum's Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 Before Sunset
Lowest review score: 0 The Astronaut Farmer
Score distribution:
1,493 movie reviews
    • 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.
    • 72 Metascore
    • 60 Jonathan Rosenbaum
    Considering that none of the characters is fresh or interesting, it's a commendable achievement that the quality of the storytelling alone keeps the movie watchable and likable.
    • 76 Metascore
    • 60 Jonathan Rosenbaum
    This adaptation of Patricia Highsmith's novel is commercial to the core.
    • 45 Metascore
    • 60 Jonathan Rosenbaum
    It reeks of unearned profundity, but I found it entertaining.
    • 52 Metascore
    • 60 Jonathan Rosenbaum
    Slapdash but good-natured romantic comedy.
    • 82 Metascore
    • 60 Jonathan Rosenbaum
    The script dawdles, and in spite of a good cast--Bill Paxton, Billy Bob Thornton (who's especially resourceful), Bridget Fonda, and Brent Briscoe--the movie tends to amble around its points rather than drive straight toward the heart of the matter.
    • 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.
    • 67 Metascore
    • 60 Jonathan Rosenbaum
    This thriller is a lot better than you might expect--especially for a Kevin Costner vehicle.
    • 59 Metascore
    • 60 Jonathan Rosenbaum
    Strictly routine as filmmaking, adhering fairly consistently to the sound-bite approach. But given the subject, there's still a great deal of interest here about the life, art, milieu, and political activity of Ginsberg. (Review of Original Release)
    • 51 Metascore
    • 60 Jonathan Rosenbaum
    What's really fun about this silly but spirited comedy isn't just the ribbing of "swinging London" fashion and social attitudes but the use of the compulsive zooms and split-screen mosaics of commercial movies of the 60s.
    • 66 Metascore
    • 60 Jonathan Rosenbaum
    Well-acted drama.
    • 74 Metascore
    • 60 Jonathan Rosenbaum
    Brad Pitt has fun with his secondary part as a pontificating lunatic, but I wish I'd enjoyed the rest of the cast more.
    • 52 Metascore
    • 60 Jonathan Rosenbaum
    All in all, an entertaining (if ideologically incoherent) response to the valorization of greed in our midst, with lots of Rambo-esque violence thrown in, as well as an unusually protracted slugfest between ex-wrestler Roddy Piper and costar Keith David.
    • 53 Metascore
    • 60 Jonathan Rosenbaum
    The problem, as always, is that when you try to mix cliches with more complicated data it's often the cliches that win out.
    • 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.
    • 58 Metascore
    • 60 Jonathan Rosenbaum
    I was periodically put off by a certain self-conciousness in delivering this material.
    • 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.
    • 59 Metascore
    • 60 Jonathan Rosenbaum
    The cast is good and the story affecting, though at times Michael Mayer's direction makes the production seem a little choked up over its own enlightenment. Sissy Spacek is memorable in a secondary role.
    • 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.
    • 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.
    • 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.
    • 57 Metascore
    • 60 Jonathan Rosenbaum
    As usual, Tarantino's sense of fun is infectious but fairly heartless.
    • 73 Metascore
    • 60 Jonathan Rosenbaum
    Even as a simple genre picture it works only in fits and starts.
    • 59 Metascore
    • 60 Jonathan Rosenbaum
    One gets a pungent look at what makes being a pimp look attractive to some people in certain circumstances.
    • 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.
    • 55 Metascore
    • 60 Jonathan Rosenbaum
    If you can get into the spirit of the proceedings, you're likely to find some fun.
    • 69 Metascore
    • 60 Jonathan Rosenbaum
    As disposable fun, this is every bit as enjoyable and as forgettable as most Hollywood equivalents.
    • 66 Metascore
    • 60 Jonathan Rosenbaum
    DuBowski focuses on religious faith as much as sexual preference, which may be the most interesting aspect of the film.
    • 64 Metascore
    • 60 Jonathan Rosenbaum
    There's something stirring and gutsy about this evocation of collective ferment -- not to mention timely, in the wake of the Seattle uprising against the World Trade Organization.
    • 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.

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