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 Rushmore
Lowest review score: 0 Good Luck Chuck
Score distribution:
1,493 movie reviews
    • 63 Metascore
    • 80 Jonathan Rosenbaum
    Starting off as a low-key psychological drama, this suddenly turns into a murder mystery that's resolved awkwardly and ambiguously, but the fascination of the characters and milieu remains.
    • 72 Metascore
    • 80 Jonathan Rosenbaum
    4
    Puzzling, intriguing, and often compelling, apparently set in the present but magical and futuristic in tone.
    • 91 Metascore
    • 80 Jonathan Rosenbaum
    Roman Polanski's first film in English (1965, 105 min.) is still his scariest and most disturbing--not only for its evocations of sexual panic, but also because his masterful employment of sound puts the audience's imagination to work in numerous ways...As narrative this works only part of the time, and as case study it may occasionally seem too pat, but as subjective nightmare it's a stunning piece of filmmaking.
    • 65 Metascore
    • 80 Jonathan Rosenbaum
    Brilliantly conceived and competently executed.
    • 65 Metascore
    • 80 Jonathan Rosenbaum
    Cuesta directs the lead actors with such feeling that their misery seems authentic.
    • 64 Metascore
    • 80 Jonathan Rosenbaum
    Volatile and sometimes daring performances by Catherine Deneuve, Gerard Depardieu, Gilbert Melki, Malik Zidi, and Lubna Azabal (as twins) contribute to the highly charged and novelistic experience.
    • 57 Metascore
    • 80 Jonathan Rosenbaum
    Just when I'm ready to write off the mockumentary as an exhausted form, along comes this delightful and hilarious improv comedy from the UK in which a bridal magazine sets up a promotional contest for the best offbeat wedding.
    • 70 Metascore
    • 80 Jonathan Rosenbaum
    Gondry is a soft surrealist without much of a sociopolitical agenda, closer to Dr. Seuss than Luis Buñuel,
    • 64 Metascore
    • 80 Jonathan Rosenbaum
    Many reviews have suggested that this is as politically mild as a John Sayles movie, but Linklater clearly agrees with the frustrated kid who says, "Right now, I can't think of anything more patriotic than violating the Patriot Act."
    • 54 Metascore
    • 80 Jonathan Rosenbaum
    An amiable demonstration of how two charismatic actors and a relaxed writer-director (Brad Silberling) can squeeze an enjoyable movie out of practically nothing.
    • 82 Metascore
    • 80 Jonathan Rosenbaum
    This comedy drama is an exercise in self-indulgence for O'Toole, but an enjoyable and touching one.
    • 68 Metascore
    • 80 Jonathan Rosenbaum
    The main interest here is the juxtaposing of Gosling's Method acting with Hopkins's more classical style, a spectacle even more mesmerizing than the settings.
    • 67 Metascore
    • 80 Jonathan Rosenbaum
    What this movie has going for itself in spite of its cloying pleas for indulgence is a playful and interesting narrative structure that precludes much development and comes to the fore only toward the end. The whole thing may drive you batty, but as with "Rushmore," the melancholy aftertaste lingers.
    • 46 Metascore
    • 80 Jonathan Rosenbaum
    A powerful Christian parable, painful but illuminating, about crime and redemption.
    • 58 Metascore
    • 80 Jonathan Rosenbaum
    The portrait of Carter has been described as hagiography, but it isn't a stretch to view his quiet integrity as saintly next to the track records of his successors.
    • 66 Metascore
    • 80 Jonathan Rosenbaum
    Hysterically hyperbolic and unpleasant if still witty dissection of family traumas.
    • 68 Metascore
    • 80 Jonathan Rosenbaum
    Danny Glover, as hard-rock reliable as Spencer Tracy in his prime, plays onetime pianist Tyrone "Pine Top" Purvis.
    • 83 Metascore
    • 80 Jonathan Rosenbaum
    Well-crafted if relatively impersonal adaptation.
    • 84 Metascore
    • 80 Jonathan Rosenbaum
    The movie is dominated by Maddin's usual black-and-white photography, silent-movie syntax, and deadpan melodrama.
    • 81 Metascore
    • 80 Jonathan Rosenbaum
    The film is made up chiefly of found footage and therefore lacks the mise en scene of its predecessors, but it has the added benefit of Davies's voice-over narration, which, thanks to his training and experience as an actor, is enormously powerful.
    • 63 Metascore
    • 80 Jonathan Rosenbaum
    If it speaks with a quieter voice than many of Bogdanovich's early pictures, what it has to say seems substantially more personal and thoughtful.
    • 60 Metascore
    • 80 Jonathan Rosenbaum
    Since the virtues of heroism and decency it celebrates are universal, I hope it doesn't get absorbed into the dubious agitprop of American exceptionalism.
    • 52 Metascore
    • 80 Jonathan Rosenbaum
    Amiably unvarnished... Much more successful than most other films that deal with daily life in the projects.
    • 79 Metascore
    • 80 Jonathan Rosenbaum
    To my taste, the only serious drawback to this absorbing film is Harris's unimaginative adherence to documentary convention, which obliges him to "illustrate" the voice-overs even when the material matches the narratives only in fictional terms.
    • 68 Metascore
    • 80 Jonathan Rosenbaum
    Especially interesting are the complex relations among the residents of the ghetto.
    • 69 Metascore
    • 80 Jonathan Rosenbaum
    This is effective as straight-ahead, action-packed storytelling, losing some of its energy only in the final stretch.
    • 73 Metascore
    • 80 Jonathan Rosenbaum
    In short, I never quite believed the story, but this movie is more about feeling than thinking.
    • 54 Metascore
    • 80 Jonathan Rosenbaum
    A hokey but highly entertaining tale of corporate greed that should be especially satisfying if you're pissed off at big business.
    • 59 Metascore
    • 80 Jonathan Rosenbaum
    A must-see.
    • 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.

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