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

Jonathan Rosenbaum's Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 Artificial Intelligence: AI
Lowest review score: 0 Event Horizon
Score distribution:
1,493 movie reviews
    • 60 Metascore
    • 80 Jonathan Rosenbaum
    This is the first feature I've seen by writer-director Dominique Deruddere, and I hope it won't be the last.
    • 44 Metascore
    • 80 Jonathan Rosenbaum
    An experimental feature that keeps shooting off its ideas like an endless row of skyrockets, Kikujiro ultimately conveys this grief with such sustained intensity that it can only leave a scorched path of devastation in its aftermath.
    • 74 Metascore
    • 80 Jonathan Rosenbaum
    Writers Liu Fen Dou and Cai Xiang Jun and director Zhang Yang move freely and gracefully between fantasy and reality in this sentimental film, which never becomes as trite or calculated as you might fear.
    • 74 Metascore
    • 80 Jonathan Rosenbaum
    A movie to savor.
    • 66 Metascore
    • 80 Jonathan Rosenbaum
    This is why movies were invented.
    • 70 Metascore
    • 80 Jonathan Rosenbaum
    Karen McCullah Lutz and Kirsten Smith's script has its witty moments, and some of the secondary characters--such as Larry Miller as the father and Daryl "Chill" Mitchell as an irritable teacher--are every bit as quirky as the leads.
    • 70 Metascore
    • 80 Jonathan Rosenbaum
    Whatever else it may or may not be, Primary Colors is first and last a mainstream Hollywood entertainment. And that means that viewers looking for engagement with political issues are bound to be disappointed.
    • 77 Metascore
    • 80 Jonathan Rosenbaum
    Leisurely pacing of this kind is likely to register as a form of respect for the viewer's intelligence and observation.
    • 73 Metascore
    • 80 Jonathan Rosenbaum
    The casting of Michael Douglas against type as an over-the-hill novelist and writing professor is the sort of clever move that wins undeserved Oscars.
    • 73 Metascore
    • 80 Jonathan Rosenbaum
    The special effects are beautifully handled and the reflections on death attractively peaceful.
    • 86 Metascore
    • 80 Jonathan Rosenbaum
    Cunningly scripted and acted, and talky in the best sense, the film is engrossing to watch but not especially interesting to ponder afterward; it's certainly an improvement on formulaic Hollywood, but on a thematic level there's still more windup than delivery.
    • 78 Metascore
    • 80 Jonathan Rosenbaum
    Miraculously, De Niro and Grodin turn this sow's ear into a plausible vehicle for a buddy movie, and thanks to both of them, this movie springs to life.
    • 73 Metascore
    • 80 Jonathan Rosenbaum
    As storytelling it isn'’t always as clean as it might be, but this 1998 first feature by writer-director Lisa Cholodenko is an interesting debut for its nuanced sense of character and its terrific sex scenes--scenes that actually serve character development for a change.
    • 71 Metascore
    • 80 Jonathan Rosenbaum
    Neither PC nor crudely anti-PC, this tough and tender movie, like its characters, is prepared to take emotional risks, and the comic book milieu is deftly sketched in.
    • 37 Metascore
    • 80 Jonathan Rosenbaum
    There aren't many movies that deal with middle-aged women, and this one manages to do so with a fair amount of wit and heart.
    • 91 Metascore
    • 80 Jonathan Rosenbaum
    This is a powerful and persuasive look at an ethnic community and what makes it tick.
    • 67 Metascore
    • 80 Jonathan Rosenbaum
    There's an undeniable formal elegance in the way Ferrara, who coauthored the script with Zoe Lund, frames and holds certain shots, and Keitel certainly gives his all in this 1992 entry in the Raging Bull redemptive sweepstakes.
    • 90 Metascore
    • 80 Jonathan Rosenbaum
    The power and reach of this undertaking are formidable.
    • 57 Metascore
    • 80 Jonathan Rosenbaum
    A worthy entry in the dystopian cycle of SF movies launched by "Blade Runner" (including "The Terminator" and "Robocop"), this seems less derivative than most of its predecessors yet equally accomplished in its straight-ahead storytelling, with plenty of provocative satiric undertones and scenic details.
    • 65 Metascore
    • 80 Jonathan Rosenbaum
    One can already tell that this film is on to something special during the opening credits.
    • 88 Metascore
    • 80 Jonathan Rosenbaum
    Though it's a good half hour too long, this belated, overblown spin-off of the 60s TV show otherwise adds up to a pretty good suspense thriller.
    • 85 Metascore
    • 80 Jonathan Rosenbaum
    Unlike the classic noirs, this is grounded in neither a recognizable social reality nor a metaphysical sense of doom--just a lot of sexy attitude, humping, and heavy breathing.
    • 81 Metascore
    • 80 Jonathan Rosenbaum
    The film's warmth and sympathy are underlined by some intelligence.
    • 61 Metascore
    • 80 Jonathan Rosenbaum
    If you treasure Gilliam at his best and take his ideas seriously, you'll probably be infuriated as well as delighted.
    • 83 Metascore
    • 80 Jonathan Rosenbaum
    Its brutal take on living under totalitarian rule periodically suggests Orwell's "Nineteen Eighty-Four." Mullan makes the authority figures (such as the nun played by Geraldine McEwan) grimly believable, but as in "Orphans," there are times when he doesn't know when to quit.
    • 77 Metascore
    • 80 Jonathan Rosenbaum
    Fascinating documentary.
    • 69 Metascore
    • 80 Jonathan Rosenbaum
    The movie overextends a patch of folk mysticism toward the end and then adds a silly whimsical coda, but as a comedy of errors it's often hilarious.
    • 90 Metascore
    • 80 Jonathan Rosenbaum
    I can't say that this feature by Shari Springer Berman and Robert Pulcini, about the life and art of Harvey Pekar, made me want to run out and buy his comic books, but it does offer a highly interesting and original introduction to them.
    • 89 Metascore
    • 80 Jonathan Rosenbaum
    "Sweetie" and "An Angel at My Table" have taught us to expect startling as well as beautiful things from Jane Campion, and this assured and provocative third feature offers yet another lush parable--albeit a bit more calculated and commercially minded--about the perils and paradoxes of female self-expression.
    • 52 Metascore
    • 80 Jonathan Rosenbaum
    Amiably unvarnished... Much more successful than most other films that deal with daily life in the projects.

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