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

Jonathan Rosenbaum's Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 Hollywoodland
Lowest review score: 0 The Flintstones
Score distribution:
1493 movie reviews
    • 80 Metascore
    • 50 Jonathan Rosenbaum
    Has its awkward and square moments directorially, but it's also uncommonly honest and serious.
    • 41 Metascore
    • 50 Jonathan Rosenbaum
    A few of the bad-taste gags are funny, and Carrey's grimaces have a certain inspired delirium, but this is a long way from the social comedy of Jerry Lewis.
    • 77 Metascore
    • 50 Jonathan Rosenbaum
    About as entertaining as a no-brainer can be--a lot more fun, for my money, than a cornball theme-park ride like "Speed," and every bit as fast moving. But don't expect much of an aftertaste.
    • 40 Metascore
    • 50 Jonathan Rosenbaum
    This moves back and forth between slightly clever and dopey or silly, kept vaguely watchable by the charming leads.
    • 74 Metascore
    • 50 Jonathan Rosenbaum
    A pretty good caper comedy for 11-year-old boys -- "heist thriller" would make it sound too ambitious.
    • 86 Metascore
    • 50 Jonathan Rosenbaum
    While the filmmakers manage to keep things interesting (sexy, kinky, and ambiguous) much of the time, the self-conscious piety that Frears lavishes on this material places it in an uncertain netherworld that prevents it from ever becoming fully convincing, even as a stylistic exercise.
    • 48 Metascore
    • 50 Jonathan Rosenbaum
    For my money, what keeps it bearable is mainly the mugging of the older folks -- not just Jack Black, who steals the show in a part seemingly inspired by John Belushi, but Catherine O'Hara, John Lithgow, and cameos by Chevy Chase, Lily Tomlin, and Kevin Kline.
    • 53 Metascore
    • 50 Jonathan Rosenbaum
    Though the premise seems obvious and facile, the execution and the delineation of the various characters (all recognizable Hollywood types) are likable and funny, and the cast is great.
    • 87 Metascore
    • 50 Jonathan Rosenbaum
    It's reasonably well told and well mounted but little more.
    • 54 Metascore
    • 50 Jonathan Rosenbaum
    Ordinarily I don't care for this kind of thing at all, but something must be said for Jackson's endless reserves of giddy energy; perhaps because this is so clearly meant to be silly, he generally avoids the calculated mean-spiritedness of more prestigious directors like Spielberg and Renny Harlin.
    • 78 Metascore
    • 50 Jonathan Rosenbaum
    Disappointingly conventional though well-made...An OK teen movie, but not a whole lot more.
    • 36 Metascore
    • 50 Jonathan Rosenbaum
    Reminded me most of Jean Genet's "Un chant d'amour," with bondage and latex replacing incarceration and cigarettes. This is not to say that it's equally good or poetic, but the eroticizing of a whole universe is no less apparent.
    • 65 Metascore
    • 50 Jonathan Rosenbaum
    An irrefutable triumph of engineering, and it entertained and intrigued me through two separate viewings...though as a view of the human condition it's astonishingly and depressingly meager.
    • 58 Metascore
    • 50 Jonathan Rosenbaum
    Another giggly gross-out comedy for teenagers.
    • 64 Metascore
    • 50 Jonathan Rosenbaum
    Watchable if relatively threadbare movie.
    • 31 Metascore
    • 50 Jonathan Rosenbaum
    Silly but fairly harmless.
    • 50 Metascore
    • 50 Jonathan Rosenbaum
    The couple's parents have a bit more personality than the other characters, but on the whole this is strictly by the numbers.
    • 65 Metascore
    • 50 Jonathan Rosenbaum
    I was never bored but only occasionally interested.
    • 56 Metascore
    • 50 Jonathan Rosenbaum
    Watchable, if at times familiar.
    • 90 Metascore
    • 50 Jonathan Rosenbaum
    Nothing that suggests an independent vision, unless you count seeing more limbs blown off than usual.
    • 78 Metascore
    • 50 Jonathan Rosenbaum
    I wouldn't have minded even the Hollywood schlock lurking behind the studied weirdness if I'd believed in any of the characters on any level.
    • 66 Metascore
    • 50 Jonathan Rosenbaum
    This exercise in mainstream masochism, macho posturing, and designer-grunge fascism is borderline ridiculous. But it also happens to be David Fincher's richest movie.
    • 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.
    • 73 Metascore
    • 50 Jonathan Rosenbaum
    There's not much humor to keep it all life-size, and by the final stretch it's become bloated, mechanical, and tiresome.
    • 50 Metascore
    • 50 Jonathan Rosenbaum
    Neither the crime nor its detection is especially interesting, and screenwriter Tony Gayton doesn't appear to be aiming for psychological insights.
    • 72 Metascore
    • 50 Jonathan Rosenbaum
    Starts off with a lot of promise and excitement but winds up 165 minutes later feeling empty and affectless.
    • 49 Metascore
    • 50 Jonathan Rosenbaum
    It's ultimately a losing battle when the audience's lack of interest in eastern Europeans is assumed at the outset.
    • 51 Metascore
    • 50 Jonathan Rosenbaum
    On its own modest terms, this romp delivers.
    • 18 Metascore
    • 50 Jonathan Rosenbaum
    For the most part I was able to accept this thesis and enjoy Lopez in her usual superwoman role, but the script does get awfully preachy in spots.
    • 50 Metascore
    • 50 Jonathan Rosenbaum
    This is simply efficient, routine storytelling with a high gloss but an undernourished sense of character.

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