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 higher than other critics. (0-100 point scale)

Jonathan Rosenbaum's Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 The Corporation
Lowest review score: 0 Bamboozled
Score distribution:
1,493 movie reviews
    • 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.
    • 77 Metascore
    • 80 Jonathan Rosenbaum
    Fascinating documentary.
    • 64 Metascore
    • 80 Jonathan Rosenbaum
    Period re-creations so rich you can taste them, and the fine cast.
    • 82 Metascore
    • 80 Jonathan Rosenbaum
    An entertaining comedy-thriller directed with bounce (if not much nuance) by Barry Sonnenfeld.
    • 66 Metascore
    • 80 Jonathan Rosenbaum
    This is why movies were invented.
    • 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.
    • 71 Metascore
    • 80 Jonathan Rosenbaum
    Don't expect any psychological depth here, but the cool wit and fun... are deftly maintained, and Sonnenfeld provides a bountiful supply of both fanciful beasties and ingenious visuals.
    • 83 Metascore
    • 80 Jonathan Rosenbaum
    The characters (both animal and human) are solidly conceived, and the storytelling and visuals are expertly fashioned.
    • 81 Metascore
    • 80 Jonathan Rosenbaum
    The players and their stories are as wonderful as the music, and the filmmaking is uncommonly sensitive and alert.
    • 61 Metascore
    • 80 Jonathan Rosenbaum
    If you treasure Gilliam at his best and take his ideas seriously, you'll probably be infuriated as well as delighted.
    • 59 Metascore
    • 80 Jonathan Rosenbaum
    If you decide at the outset that this needn't have any recognizable relationship to the world we live in, you might even find it an unadulterated delight.
    • 86 Metascore
    • 80 Jonathan Rosenbaum
    Cunningly scripted and acted, and talky in the best sense, the film is engrossing to watch but not especially interesting to ponder afterward; it's certainly an improvement on formulaic Hollywood, but on a thematic level there's still more windup than delivery.
    • 48 Metascore
    • 80 Jonathan Rosenbaum
    Stylish and effective, if slightly overlong, thriller.
    • 86 Metascore
    • 80 Jonathan Rosenbaum
    Charting the ruthlessness of an ambitious bimbo telecaster in Little Hope, New Hampshire, this staccato black comedy sustains its brilliant exposition and narration until the plot turns to premeditated murder, complete with hapless and semicoherent teenage accomplices.
    • 69 Metascore
    • 80 Jonathan Rosenbaum
    Their gross-out humor is basically sweet tempered, for all its tweaking of PC attitudes, and though this film looks slapdash, its script (by the Farrellys, Ed Decter, and John J. Strauss) is surprisingly well put together.
    • 74 Metascore
    • 80 Jonathan Rosenbaum
    A movie to savor.
    • 70 Metascore
    • 80 Jonathan Rosenbaum
    Still about as good as Allen gets, a persuasive, nuanced, and relatively graceful portrait of an egotistical yet talented jazz guitarist of the swing era, astutely played by Sean Penn.
    • 69 Metascore
    • 80 Jonathan Rosenbaum
    Allen's movies specialize in contemplating the notion that money can somehow remove vulgarity or produce gentility. Small Time Crooks may conclude quite conventionally that money can't buy you everything, but most of it flirts even more conventionally with the opposite premise.
    • 63 Metascore
    • 80 Jonathan Rosenbaum
    As usual, Lee tries many kinds of stylistic effects and uses wall-to-wall music (by Aaron Copland and Public Enemy); what’s different this time is how personally driven the story feels.
    • 84 Metascore
    • 80 Jonathan Rosenbaum
    Striking for its performances -- especially Anthony LaPaglia.
    • 64 Metascore
    • 80 Jonathan Rosenbaum
    Spirited, quintessential, and often hilarious.
    • 76 Metascore
    • 80 Jonathan Rosenbaum
    There's nothing really new...but it has craft, pacing, and an overall sense of proportion, three pretty rare classic virtues nowadays.
    • 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.
    • 83 Metascore
    • 80 Jonathan Rosenbaum
    A must-see.
    • 73 Metascore
    • 80 Jonathan Rosenbaum
    Juicy, adroit, and likable.
    • 77 Metascore
    • 80 Jonathan Rosenbaum
    Not even the crude ethnic humor--Billy Crystal's Mel Brooks-ish Miracle Max--pricks the dream bubble, and the spirited cast has a field day.
    • 61 Metascore
    • 80 Jonathan Rosenbaum
    This bracing courtroom thriller is the most entertaining and satisfying John Grisham adaptation I've seen.
    • 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).
    • 70 Metascore
    • 80 Jonathan Rosenbaum
    Ridiculous enough to be hilarious, but this didn't prevent me from thoroughly enjoying Philip Kaufman's silly romp.
    • 83 Metascore
    • 80 Jonathan Rosenbaum
    Its brutal take on living under totalitarian rule periodically suggests Orwell's "Nineteen Eighty-Four." Mullan makes the authority figures (such as the nun played by Geraldine McEwan) grimly believable, but as in "Orphans," there are times when he doesn't know when to quit.