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

Jonathan Rosenbaum's Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 Offside
Lowest review score: 0 Good Luck Chuck
Score distribution:
1,493 movie reviews
    • 52 Metascore
    • 80 Jonathan Rosenbaum
    I'm not sure what it all means, but, as in Ed Wood, Burton's visual flair and affection for the characters make it fun.
    • 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.
    • 73 Metascore
    • 80 Jonathan Rosenbaum
    The casting of Michael Douglas against type as an over-the-hill novelist and writing professor is the sort of clever move that wins undeserved Oscars.
    • 75 Metascore
    • 80 Jonathan Rosenbaum
    It's more than a simple improvement, inverting some of the original's qualities so that the impersonal, well-crafted filmmaking remains lucid throughout.
    • 90 Metascore
    • 80 Jonathan Rosenbaum
    Greengrass takes pains to keep events believable and relatively unrhetorical, rejecting entertainment for the sake of sober reflection, though one has to ask how edifying this is apart from its reduction of the standard myths.
    • 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.
    • 72 Metascore
    • 80 Jonathan Rosenbaum
    4
    Puzzling, intriguing, and often compelling, apparently set in the present but magical and futuristic in tone.
    • 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.
    • 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.
    • 89 Metascore
    • 80 Jonathan Rosenbaum
    Stylistically, it's a remarkable effort -- with a continuous sense of gliding motion -- and the film is entertaining and gripping throughout.
    • 81 Metascore
    • 80 Jonathan Rosenbaum
    This 2006 drama may seem to be worlds apart from the surreal theme-park setting of Jia's previous film, "The World," but there are similarities of theme, style, scale, and tone: social and romantic alienation in a monumental setting, a daring poetic mix of realism and lyrical fantasy, and an uncanny sense of where our planet is drifting.
    • 88 Metascore
    • 80 Jonathan Rosenbaum
    Robert Redford's best and richest directorial effort.
    • 83 Metascore
    • 80 Jonathan Rosenbaum
    A must-see.
    • 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.
    • 87 Metascore
    • 80 Jonathan Rosenbaum
    For me it felt like a good many weeks at a politically correct summer camp, though the talented actors--including Cecilia Roth, Eloy Azorin, Marisa Paredes, Toni Canto, Antonia San Juan, and Penelope Cruz--certainly seem to enjoy the taste of the characters they're playing.
    • 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.
    • 48 Metascore
    • 80 Jonathan Rosenbaum
    In many respects this is a black counterpart to The Naked Gun, and very nearly as funny; the bounty of antimacho gags is both unexpected and refreshing.
    • 68 Metascore
    • 80 Jonathan Rosenbaum
    More good-natured than Michael Moore, these guys score by raising the issue of just how much their amateur antics exaggerate the neocon principles of the WTO.
    • 77 Metascore
    • 80 Jonathan Rosenbaum
    For one of the first times in his career Jean-Luc Godard has elected not to hector and harass his audience, and it seems to have paid off.
    • 72 Metascore
    • 80 Jonathan Rosenbaum
    It's a piece of disposable fluff -- though that's exactly what's so appealing about it.
    • 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.
    • 76 Metascore
    • 80 Jonathan Rosenbaum
    I don't much like movies about junkies...but this is easily the liveliest and most inventive I've seen since "Drugstore Cowboy" (1989).
    • 87 Metascore
    • 80 Jonathan Rosenbaum
    The high-powered drive of both the storytelling and the music is riveting.
    • 70 Metascore
    • 80 Jonathan Rosenbaum
    The movie overall may be routine, but Donner gives it some spark and polish.
    • 83 Metascore
    • 80 Jonathan Rosenbaum
    The broad Italian family humor gets so thick at times that you could cut it with a bread knife.
    • 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."
    • 50 Metascore
    • 80 Jonathan Rosenbaum
    Duke is a superb director of actors, and, as in "Deep Cover", Fishburne manages to suggest a lot with a deft economy of means.
    • 70 Metascore
    • 80 Jonathan Rosenbaum
    Karen McCullah Lutz and Kirsten Smith's script has its witty moments, and some of the secondary characters--such as Larry Miller as the father and Daryl "Chill" Mitchell as an irritable teacher--are every bit as quirky as the leads.
    • 64 Metascore
    • 80 Jonathan Rosenbaum
    Absorbing and intelligent.
    • 73 Metascore
    • 80 Jonathan Rosenbaum
    As storytelling it isn'’t always as clean as it might be, but this 1998 first feature by writer-director Lisa Cholodenko is an interesting debut for its nuanced sense of character and its terrific sex scenes--scenes that actually serve character development for a change.

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