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 Pulp Fiction
Lowest review score: 0 Bad Boys
Score distribution:
1,493 movie reviews
    • 79 Metascore
    • 80 Jonathan Rosenbaum
    A nicely shaped script by Chicagoans Rick Shaughnessy and Brian Kalata makes this independent comedy drama a pleasure to watch.
    • 56 Metascore
    • 80 Jonathan Rosenbaum
    The story didn't fully answer all my queries about the characters, but did such a nice job of keeping me interested that I wound up appreciating the mysteries that remained.
    • 80 Metascore
    • 80 Jonathan Rosenbaum
    Reputed to be sentimental crowd pleaser, for better and for worse.
    • 74 Metascore
    • 80 Jonathan Rosenbaum
    May have some of the trappings of an exotic thriller, but it's basically a character study.
    • 76 Metascore
    • 80 Jonathan Rosenbaum
    Has the expressionistic simplicity of Kurosawa's other late films.
    • 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.
    • 61 Metascore
    • 80 Jonathan Rosenbaum
    McDormand has never been better, but all the performances are interestingly nuanced, including Natascha McElhone's as one of Bale's fellow psychiatric interns.
    • 82 Metascore
    • 80 Jonathan Rosenbaum
    Unfortunately, a conclusion stuffed with so many improbabilities that it left me gaping in disbelief. Prior to that, this is pretty much fun.
    • 85 Metascore
    • 80 Jonathan Rosenbaum
    Jean Gabin wasn't yet 50 when he starred as a big-time, high-style gangster hoping to retire, but he still looks pretty wasted, and this pungent tale about aging and friendship, adapted from a best-selling noir thriller by Albert Simonin, would be hard to imagine without his puffy features.
    • 63 Metascore
    • 80 Jonathan Rosenbaum
    Just about everyone in this sharp, passionate feature is chillingly good.
    • 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.
    • 52 Metascore
    • 80 Jonathan Rosenbaum
    The most underestimated commercial movie of 1987 may not be quite as good as Elaine May's three previous features, but it's still a very funny work by one of this country's greatest comic talents.
    • 71 Metascore
    • 80 Jonathan Rosenbaum
    None of the characters emerges as very sympathetic.
    • 80 Metascore
    • 80 Jonathan Rosenbaum
    The story is so black-and-white that one feels like hissing the villain (Kenneth Branagh) and cheering the heroines at every stage, but it's so amazing that the simplicity of the telling seems warranted.
    • 73 Metascore
    • 80 Jonathan Rosenbaum
    If you think 85 minutes devoted to a "difficult" French philosopher is bound to be either abstruse or watered-down middlebrow stuff, think again.
    • 87 Metascore
    • 80 Jonathan Rosenbaum
    The high-powered drive of both the storytelling and the music is riveting.
    • 83 Metascore
    • 80 Jonathan Rosenbaum
    The broad Italian family humor gets so thick at times that you could cut it with a bread knife.
    • 90 Metascore
    • 80 Jonathan Rosenbaum
    An adroit piece of storytelling from Irish writer-director Neil Jordan that's ultimately less challenging to conventional notions about race and sexuality than it may at first seem... The three leads are first-rate.
    • 76 Metascore
    • 80 Jonathan Rosenbaum
    Fortunately, this time around the Ivy League characters project less of a glib sense of entitlement, making them more fun to watch, and Stillman himself gives more evidence of watching rather than simply listening.
    • 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.
    • 76 Metascore
    • 80 Jonathan Rosenbaum
    Its particularities are the best thing about it.
    • 88 Metascore
    • 80 Jonathan Rosenbaum
    Robert Redford's best and richest directorial effort.
    • 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.
    • 64 Metascore
    • 80 Jonathan Rosenbaum
    It's gripping and provocative, making effective use of Charles Berling and the music of Sonic Youth, though I wish it were a little less indebted to David Cronenberg's "Videodrome."
    • 52 Metascore
    • 80 Jonathan Rosenbaum
    I was wooed by its sexy romanticism all the way through to the mysterious and beautiful coda.
    • 72 Metascore
    • 80 Jonathan Rosenbaum
    We finally learn much more about Moskowitz than about Mossman, and more about Mossman than about his novel, but Moskowitz's passion for books is irresistible.
    • 72 Metascore
    • 80 Jonathan Rosenbaum
    It's a piece of disposable fluff -- though that's exactly what's so appealing about it.
    • 52 Metascore
    • 80 Jonathan Rosenbaum
    If you can accept the flouting of logic and credibility that usually goes with this kind of horror picture, this scary and suspenseful genre exercise, chock-full of false alarms and brutal shocks, really delivers.
    • 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.
    • 38 Metascore
    • 80 Jonathan Rosenbaum
    An entertainingly offbeat blend of 19th-century science fiction and Hope and Crosby Road comedies.

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