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 Pépé le Moko (re-release)
Lowest review score: 0 Showgirls
Score distribution:
1,493 movie reviews
    • 75 Metascore
    • 50 Jonathan Rosenbaum
    What's most conspicuously missing is the kind of background information needed to assess many of Eichmann's statements.
    • 40 Metascore
    • 50 Jonathan Rosenbaum
    This moves back and forth between slightly clever and dopey or silly, kept vaguely watchable by the charming leads.
    • 69 Metascore
    • 50 Jonathan Rosenbaum
    It has been called both detached and loaded, unfairly slanted as well as balanced by some of its critics--I can only testify that I found the film both troubling and absorbing over two separate viewings.
    • 73 Metascore
    • 50 Jonathan Rosenbaum
    Carell and Apatow collaborated on the script; it does manage a few laughs, but the characters seldom progress beyond the two-dimensional.
    • 67 Metascore
    • 50 Jonathan Rosenbaum
    John Zorn wrote the percussive score, which is compelling throughout.
    • 63 Metascore
    • 50 Jonathan Rosenbaum
    The facts of their grim treatment, often exacerbated by their estrangement from their countries of origin, sometimes recall the internment of Japanese-Americans during World War II.
    • 77 Metascore
    • 50 Jonathan Rosenbaum
    The film is all but crushed by Tom Cruise's screen-hogging demand that everything collapse and swoon around him. If the star gave us more of a rest, we might have more of a movie.
    • 73 Metascore
    • 50 Jonathan Rosenbaum
    Ray
    Differs from other authorized Hollywood musical biopics in one striking detail: its subject, still alive when most of this was made, is almost never shown as a likable person.
    • 58 Metascore
    • 50 Jonathan Rosenbaum
    The punchy, nonstop visual effects (including an animation segment and stylized subtitles that sometimes suggest an online chat) crowd out coherent storytelling.
    • 73 Metascore
    • 50 Jonathan Rosenbaum
    Newly updated but shamelessly hokey, Steven Spielberg's version of the 1898 H.G. Wells yarn about murderous invaders from outer space starts off as a nimble scare show like "Jaws."
    • 48 Metascore
    • 50 Jonathan Rosenbaum
    The modeling of human figures and the sense of depth are both impressive; the characters themselves are mainly idiotic.
    • 49 Metascore
    • 50 Jonathan Rosenbaum
    Sometimes it's hard to tell what's mere overreaching and what's nostalgia for Hollywood's former grandiloquence.
    • 41 Metascore
    • 50 Jonathan Rosenbaum
    With its flashy, pretentious visual effects, this is really a 98-minute dream sequence--though it's worth recalling that the most effective dream sequences tend to be only a few minutes long.
    • 59 Metascore
    • 50 Jonathan Rosenbaum
    Given the talent on board, there's an undeniable flair and effectiveness in certain scenes (such as Pacino dancing the tango with a stranger in a posh restaurant), but the meretricious calculation finally sticks in one's throat.
    • 57 Metascore
    • 50 Jonathan Rosenbaum
    Jay Craven's stilted adaptation of a novel by Howard Frank Mosher lacks the urgency, the poetry, or the feeling for period that might have brought the material to life, while the cast seems to be largely squandered.
    • 84 Metascore
    • 50 Jonathan Rosenbaum
    Even though it's scripted by a woman (Kelly Masterson), this tale of buried family resentments rising to the surface as the brothers plot to rob their parents' jewelry store is concerned only with the guys, and it's marred by an uncharacteristically mannered performance by Albert Finney as the father.
    • 78 Metascore
    • 50 Jonathan Rosenbaum
    The whole thing's so worthy that I wish I liked it more. It makes time pass agreeably, but Square John still seems about as innocent of fresh ideas (aesthetically and otherwise) as most of his characters, and for this kind of leftist multiplot I found his "City of Hope" more engaging.
    • 50 Metascore
    • 50 Jonathan Rosenbaum
    A lot of superwimp gags executed by Luke Wilson grow out of this premise, as do some tacky 50s-style special effects. The movie's too slapdash to keep its characters consistent, but this has its moments.
    • 64 Metascore
    • 50 Jonathan Rosenbaum
    Though the basic brains-versus-beauty tension suggests a female variation on "The Nutty Professor", this is a softer version of the dilemma than Jerry Lewis offers -- easier to take and easier to forget.
    • 26 Metascore
    • 50 Jonathan Rosenbaum
    Like many sequels this is actually a remake, and it suffers from the law of diminishing returns.
    • 65 Metascore
    • 50 Jonathan Rosenbaum
    Both actors work hard to give this disturbing crime story some flavor and substance, but the narrative is overextended and poorly organized.
    • 56 Metascore
    • 50 Jonathan Rosenbaum
    Director Tom Tykwer (Run Lola Run) and cowriters Andrew Birkin and Bernd Eichinger preserve some of the novel's storytelling flair, and Dustin Hoffman does a swell turn as the antihero's Italian mentor. But despite a fairly spectacular climax, the material's generic limitations eventually catch up with the plot.
    • 44 Metascore
    • 50 Jonathan Rosenbaum
    Writer-director Robert Shallcross believes in it so passionately that he came close to convincing me too.
    • 62 Metascore
    • 50 Jonathan Rosenbaum
    The film never strays much beyond the obvious, despite a conscientious effort by Tim Robbins to humanize a white security officer.
    • 49 Metascore
    • 50 Jonathan Rosenbaum
    Ryan's abrasive and rather creepy character is something of a departure for her.
    • 35 Metascore
    • 50 Jonathan Rosenbaum
    Under the circumstances, MacLaine, Costner, and Ruffalo acquit themselves well.
    • 70 Metascore
    • 50 Jonathan Rosenbaum
    If not all the gags work, the overall irreverence and all-American anomie are fairly contagious.
    • 33 Metascore
    • 50 Jonathan Rosenbaum
    Peter Hyams, a pretty good cinematographer but a mediocre director, goes to work on a script by Andrew W. Marlowe that's designed to carry us from one bit of hyperbole to the next.
    • 49 Metascore
    • 50 Jonathan Rosenbaum
    One can certainly be amused and entertained by writer-director Michael Davis's hyperbolic action frolics--I was--but not without feeling pretty low and stupid.
    • 58 Metascore
    • 50 Jonathan Rosenbaum
    I've heard it said that Philip Seymour Hoffman, one of the most talented character actors currently working, can't carry a film himself, and unfortunately this indie feature isn't meaty enough to prove otherwise.

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