Jonathan Rosenbaum

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For 1,516 reviews, this critic has graded:
  • 42% higher than the average critic
  • 2% same as the average critic
  • 56% lower than the average critic
On average, this critic grades 2.1 points lower than other critics. (0-100 point scale)

Jonathan Rosenbaum's Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 Iraq in Fragments
Lowest review score: 0 The Flintstones
Score distribution:
1516 movie reviews
    • 100 Metascore
    • 90 Jonathan Rosenbaum
    Part of what makes this wartime Hollywood drama (1942) about love and political commitment so fondly remembered is its evocation of a time when the sentiment of this country about certain things appeared to be unified.
    • 99 Metascore
    • 100 Jonathan Rosenbaum
    A great film but also one of the most upsetting films I know.
    • 98 Metascore
    • 100 Jonathan Rosenbaum
    An early voice-over segment about the Casbah itself, before Gabin makes an appearance, is so pungent you can almost taste the place, even though the filming was clearly done in a studio.
    • 98 Metascore
    • 100 Jonathan Rosenbaum
    Unlike most horror movies, this chiller gives equal prominence to reality and fantasy, though the reality is far more frightening. The only precedent that comes to mind in terms of a lyrical treatment of a child's experience of terror is "The Night of the Hunter."
    • 97 Metascore
    • 90 Jonathan Rosenbaum
    Day-Lewis's performance is necessarily a bit showy—one has to strain at times to understand all his dialogue because of the character's contorted features—but he puts on a terrific drunk scene, and for all his character's travails the film as a whole winds up surprisingly upbeat.
    • 97 Metascore
    • 70 Jonathan Rosenbaum
    The opening half-hour--the burglary of a jewelry store, filmed in meticulous detail--is as good as its inspiration in The Asphalt Jungle, but the film turns moralistic and sour in the last half, when the thieves fall out.
    • 96 Metascore
    • 100 Jonathan Rosenbaum
    Wong Kar-wai's idiosyncratic style first became apparent in this gorgeously moody second feature.
    • 96 Metascore
    • 90 Jonathan Rosenbaum
    Ran
    A stunning achievement in epic cinema.
    • 96 Metascore
    • 80 Jonathan Rosenbaum
    Mechanically written, but within its own middlebrow limitations, it delivers the goods.
    • 96 Metascore
    • 80 Jonathan Rosenbaum
    Yet some of the laughs come too easy and linger too long; for the film's message to have maximum impact, the laughter has to stick in your throat.
    • 95 Metascore
    • 80 Jonathan Rosenbaum
    Walt Disney Pictures and Pixar Animation Studios join forces on an entertaining computer-generated, hyperrealist animation feature that's also in effect a toy catalog.
    • 95 Metascore
    • 100 Jonathan Rosenbaum
    It's one of the best movies about revolutionary and anticolonial activism ever made, convincing, balanced, passionate, and compulsively watchable as storytelling.
    • 94 Metascore
    • 100 Jonathan Rosenbaum
    A veritable salad of mixed genres and emotional textures, this exciting black-and-white cold war thriller runs more than two hours and never flags for an instant...A powerful experience, alternately corrosive with dark parodic humor, suspenseful, moving, and terrifying.
    • 94 Metascore
    • 100 Jonathan Rosenbaum
    Tarantino's mock-tough narrative--which derives most of its titillation from farcical mayhem, drugs, deadpan macho monologues, evocations of anal penetration, and terms of racial abuse--resembles a wet dream for 14-year-old male closet queens (or, perhaps more accurately, the 14-year-old male closet queen in each of us), and his command of this smart-alecky mode is so sure that this nervy movie sparkles throughout with canny twists and turns.
    • 94 Metascore
    • 100 Jonathan Rosenbaum
    Shot on a year's worth of weekends on a minuscule budget (less than $20,000), this remarkable work--conceivably the best single feature about ghetto life that we have--was selected for preservation by the National Film Registry as one of the key works of the American cinema, an ironic and belated form of recognition for a film that has had virtually no distribution. It shouldn't be missed.
    • 94 Metascore
    • 70 Jonathan Rosenbaum
    Payne's entertaining but familiar comedy lacks the insolence of his "Election" and the freshness of his work with Kathy Bates in "About Schmidt."
    • 93 Metascore
    • 100 Jonathan Rosenbaum
    Frightening, funny, profound, and mysterious.
    • 93 Metascore
    • 100 Jonathan Rosenbaum
    The juxtaposition of liberal Jewish attorney Dershowitz (Silver) and von Bulow working together on the latter's defense makes for some engagingly offbeat drama, with some interesting insights into the legal process.
    • 93 Metascore
    • 90 Jonathan Rosenbaum
    The first Ang Lee film I've seen that I've liked without qualification.
    • 93 Metascore
    • 80 Jonathan Rosenbaum
    Spielberg does an uncommonly good job both of holding our interest over 185 minutes and of showing more of the nuts and bolts of the Holocaust than we usually get from fiction films. Despite some characteristic simplifications, he's generally scrupulous about both his source and the historical record.
    • 93 Metascore
    • 90 Jonathan Rosenbaum
    Yang seems to miss nothing as he interweaves shifting viewpoints and poignant emotional refrains.
    • 93 Metascore
    • 70 Jonathan Rosenbaum
    Perhaps the most formally ravishing-as well as the most morally and ideologically problematic-film ever directed by Martin Scorsese. (Review of Original Release).
    • 93 Metascore
    • 70 Jonathan Rosenbaum
    This has loads of swagger, but for stylistic audacity I prefer Anderson's more scattershot "Magnolia."
    • 93 Metascore
    • 100 Jonathan Rosenbaum
    Zwigoff not only presents a complex human being and the range of his art but also guides us through a profound and unsettling consideration of what it means to be an American artist. Essential viewing.
    • 92 Metascore
    • 100 Jonathan Rosenbaum
    This is truly a great film, recently celebrated at length in "My Voyage to Italy," Martin Scorsese's documentary about Italian cinema.
    • 92 Metascore
    • 60 Jonathan Rosenbaum
    It's full of scenic splendors with a fine sense of scale, but its narrative thrust seems relatively pro forma, and I was bored by the battle scenes.
    • 91 Metascore
    • 100 Jonathan Rosenbaum
    This is a masterwork by Ousmane Sembene, the 81-year-old father of African cinema and one of Senegal's greatest novelists.
    • 91 Metascore
    • 90 Jonathan Rosenbaum
    Exciting not as ethnography but as storytelling, as drama, and as filmmaking.
    • 91 Metascore
    • 80 Jonathan Rosenbaum
    Though it comes across as labored in spots, it also yields a good many beautiful and suggestive moments, and an overall film experience of striking originality.
    • 91 Metascore
    • 80 Jonathan Rosenbaum
    Roman Polanski's first film in English (1965, 105 min.) is still his scariest and most disturbing--not only for its evocations of sexual panic, but also because his masterful employment of sound puts the audience's imagination to work in numerous ways...As narrative this works only part of the time, and as case study it may occasionally seem too pat, but as subjective nightmare it's a stunning piece of filmmaking.

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