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

Jonathan Rosenbaum's Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 Kundun
Lowest review score: 0 Showgirls
Score distribution:
1493 movie reviews
    • 79 Metascore
    • 50 Jonathan Rosenbaum
    A brave effort to stare down the specter of American failure, it gets off on the wrong foot by pretentiously turning the doomed hero into a Christ figure--a traffic cop with arms extended in crucifixion mode--before the story even gets started.
    • 52 Metascore
    • 50 Jonathan Rosenbaum
    I'm not sure how much has been gained in the updating.
    • 53 Metascore
    • 50 Jonathan Rosenbaum
    Hurt's character is so inert and unemotional that some spectators may find it difficult to stay interested in him.
    • 65 Metascore
    • 50 Jonathan Rosenbaum
    Eastwood himself, pushing 70 but cruising women in their early 20s, counts on more goodwill than I can muster. I wasn't bored, but my suspension of disbelief collapsed well before the end.
    • 76 Metascore
    • 50 Jonathan Rosenbaum
    An unholy mess that becomes steadily more incoherent -- morally, dramatically, and conceptually.
    • 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.
    • 17 Metascore
    • 50 Jonathan Rosenbaum
    It doesn't have the polish or the momentum of an Indiana Jones adventure, and isn't too engaging on the plot level, but at least the filmmakers keep it moving with lots of screwball stunts.
    • 32 Metascore
    • 50 Jonathan Rosenbaum
    Ridiculous but occasionally fun.
    • 70 Metascore
    • 50 Jonathan Rosenbaum
    If not all the gags work, the overall irreverence and all-American anomie are fairly contagious.
    • 59 Metascore
    • 50 Jonathan Rosenbaum
    Allen gets a chance to unload all his usual patronizing contempt for and middle-class "wisdom" about his own working-class origins.
    • 32 Metascore
    • 50 Jonathan Rosenbaum
    For all its pretensions and avant-garde narrative dislocations, the star-studded cast...keeps this buzzing.
    • 58 Metascore
    • 50 Jonathan Rosenbaum
    Flat and unconvincing.
    • 72 Metascore
    • 50 Jonathan Rosenbaum
    Story is fairly conventional and not especially well told, though as usual Tran's images are so sensual and beautiful that I was rarely bored or frustrated.
    • 53 Metascore
    • 50 Jonathan Rosenbaum
    I have no objection to soap opera when it's delivered with conviction and a sense of urgency, but this sappy tale ... held my interest only moderately.
    • 47 Metascore
    • 50 Jonathan Rosenbaum
    Despite a brisk opening and some agreeable (if sloppy) choreography at the very end, I was less than tickled by the premise of David Serrano's script, that the characters lie to and betray one another as naturally as they breathe.
    • 20 Metascore
    • 50 Jonathan Rosenbaum
    It's no masterpiece, but I found it consistently good-hearted and sometimes hilarious, and the sparse crowd I saw it with was laughing as much as I was, especially at the outrageous rap numbers.
    • 41 Metascore
    • 50 Jonathan Rosenbaum
    Despite (or maybe because of) his obligatory nods to Hitchcock, this is slick and entertaining enough to work quite effectively as thriller porn, even with two contradictory denouements to its mystery (take your pick--or rather, your ice pick).
    • 83 Metascore
    • 50 Jonathan Rosenbaum
    As beautifully mounted as this production is, Scorsese has a way of letting the decor take over, so that Wharton's tale of societal constraints comes through only in fits and starts. But it's a noble failure.
    • 47 Metascore
    • 50 Jonathan Rosenbaum
    Semiabsorbing.
    • 47 Metascore
    • 50 Jonathan Rosenbaum
    It's a letdown from the man who brought us "Men in Black" and "Addams Family Values."
    • 49 Metascore
    • 50 Jonathan Rosenbaum
    This movie is a clone itself, a far cry from "Total Recall" but vastly superior to "End of Days."
    • 57 Metascore
    • 50 Jonathan Rosenbaum
    This is mainly smoke, not fire.
    • 67 Metascore
    • 50 Jonathan Rosenbaum
    Never all it was cracked up to be.
    • 63 Metascore
    • 50 Jonathan Rosenbaum
    Doesn't reflect anyone's love or hatred for anything, just a lot of anxiety about test marketing, which means it takes a nosedive when it goes shopping for an ending.
    • 45 Metascore
    • 50 Jonathan Rosenbaum
    Though director Ulu Grosbard is as good as he usually is with most of the actors, the story problems tend to stump him too.
    • 74 Metascore
    • 50 Jonathan Rosenbaum
    The Spielbergian attempt at sweetness--heralded by references in Danny Elfman's score to the Nutcracker Suite--never fully convinces.
    • 40 Metascore
    • 50 Jonathan Rosenbaum
    Val Kilmer, clearly pleased to be entering the Oscar disability sweepstakes, does what he can as the hunk who learns how to see.
    • 51 Metascore
    • 50 Jonathan Rosenbaum
    Gardos -- treats it competently, though without much freshness or imagination.
    • 45 Metascore
    • 50 Jonathan Rosenbaum
    Whereas "Posession" was relatively light on its feet, this is so overloaded from the outset that it can only sink.
    • 59 Metascore
    • 50 Jonathan Rosenbaum
    After a while it becomes apparent that this movie is too eager to please, too willing to sacrifice its point of view toward its targets to sustain itself for the length of a feature.

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