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

Jonathan Rosenbaum's Scores

  • Movies
Average review score: 60
Highest review score: 100 Blade Runner
Lowest review score: 0 Showgirls
Score distribution:
1,493 movie reviews
    • 91 Metascore
    • 30 Jonathan Rosenbaum
    A very well-made genre exercise, but I can’t understand why it’s been accorded so much importance, unless it’s because it strokes some ideological impulse.
    • 85 Metascore
    • 30 Jonathan Rosenbaum
    Out of Sight engaged me less and less, until by the end I no longer cared which of the characters lived or died. Not even the engaging Jennifer Lopez, George Clooney, Albert Brooks, Don Cheadle, and Ving Rhames or the talented secondary cast can survive the abbreviations and last-minute shoehorning their characters receive.
    • 83 Metascore
    • 30 Jonathan Rosenbaum
    This is no restoration but a revision...If there's a difference in overall quality, I'm unaware of it. Dave Kehr calls this 1979 feature "an empty-headed horror movie with nothing to recommend it beyond the disco-inspired art direction and some handsome if gimmicky cinematography.
    • 77 Metascore
    • 30 Jonathan Rosenbaum
    Misogynistic claptrap about a divorced husband (Dustin Hoffman) fighting for the custody of and learning to cope with his little boy (Justin Henry) - a movie whose classy trimmings (including Nestor Almendros's cinematography) persuaded audiences to regard writer-director Robert Benton as a subtle art-house director.
    • 77 Metascore
    • 20 Jonathan Rosenbaum
    None of the characters or ideas is allowed to develop beyond its cardboard profile.
    • 73 Metascore
    • 10 Jonathan Rosenbaum
    If you want to waste a couple of hours, you can surely do much better looking elsewhere.
    • 73 Metascore
    • 30 Jonathan Rosenbaum
    The concept was interesting and charming in "Love Letters," up to a point, but here it quickly becomes repetitive, obvious, and dull.
    • 73 Metascore
    • 30 Jonathan Rosenbaum
    Insofar as one can distinguish the investigative research from the career move, this Sundance prizewinner is effective muckraking, but it lacks much of a political program apart from the message that we're poisoning ourselves.
    • 72 Metascore
    • 20 Jonathan Rosenbaum
    Big
    Once again, the overall premise is milked for some mild titillation involving the hero's sexual innocence, making one wonder if the genre's popularity might involve some deeply sublimated form of kiddie porn--arguably the distilled ideological essence of squeaky-clean Reaganism.
    • 72 Metascore
    • 20 Jonathan Rosenbaum
    JFK
    Stone's all-purpose conspiracy theory, built like a house of cards, rivals "Mississippi Burning" in its sheer crudeness and contempt for the audience.
    • 72 Metascore
    • 20 Jonathan Rosenbaum
    A festival favorite in 1992, this flamboyant Australian crowd pleaser and first feature by Baz Luhrmann ("Moulin Rouge") struck me then as one of the more horrific and unpleasant movies I'd seen in quite some time.
    • 71 Metascore
    • 30 Jonathan Rosenbaum
    May be amusing if you feel a pressing need to feel superior to somebody, but the aim is too broad and scattershot to add up to much beyond an acknowledgment of small-town desperation--something Sherwood Anderson and Sinclair Lewis did much better back in the 20s and 30s.
    • 70 Metascore
    • 30 Jonathan Rosenbaum
    Despite a certain grace in the dialogue and casual plot construction, this is positively reeking of a desire to be cheerful in the face of adversity.
    • 70 Metascore
    • 30 Jonathan Rosenbaum
    It's pretty perverse for William Wheeler, who scripted this feature, to get most of the facts wrong, inflating details that don't need any spin. (As Irving himself remarked, "You could call it a hoax about a hoax.")
    • 70 Metascore
    • 30 Jonathan Rosenbaum
    Compels questions about Kinski's bravado and artistry, and suggests that it might not always be easy to distinguish his from Herzog's.
    • 69 Metascore
    • 20 Jonathan Rosenbaum
    After making their two best features to date, "Fargo" and "The Big Lebowski," the Coen brothers have surely come up with their worst.
    • 68 Metascore
    • 30 Jonathan Rosenbaum
    For me the film creates more embarrassment than sympathy, but at least it's a kind of embarrassment that's instructive.
    • 68 Metascore
    • 30 Jonathan Rosenbaum
    Torturously dull.
    • 68 Metascore
    • 30 Jonathan Rosenbaum
    Its paper-thin characters turned into caricatures by egregious hamming, this 1996 Japanese comedy-drama about shy ballroom dancers is sentimental goo and downright interminable.
    • 67 Metascore
    • 20 Jonathan Rosenbaum
    If your idea of a good time is watching a lot of stupid, unpleasant people insult and brutalize one another, this is right up your alley.
    • 67 Metascore
    • 30 Jonathan Rosenbaum
    A film about a junkie rock musician, played by Michael Pitt at his most narcissistic, doing nothing in particular for the better part of 97 minutes isn't my idea of either a good time or a serious endeavor.
    • 66 Metascore
    • 30 Jonathan Rosenbaum
    There are no characters to care about or remember afterward - just a lot of flashy technique involving decor, some glib allegorical flourishes, and the obligatory studied film-school weirdness.
    • 65 Metascore
    • 30 Jonathan Rosenbaum
    Awkward storytelling and spotty exposition reduce it to a string of rude shocks--not even the eventual denouement provides a lucid enough account of where this is all coming from.
    • 65 Metascore
    • 20 Jonathan Rosenbaum
    Mechanical, soulless.
    • 65 Metascore
    • 20 Jonathan Rosenbaum
    The glorification of the FBI, the obfuscation about Jim Crow laws, and the absurd melodramatics may all have been well-intentioned, but the understanding about the past and the present of racism that emerges is depressingly thin.
    • 64 Metascore
    • 30 Jonathan Rosenbaum
    Payne is just as guilty of using her (Ruth) as a figurehead for his ideas--most of them about the stupidity and futility of politics--as are the targets of his satirical abuse.
    • 64 Metascore
    • 20 Jonathan Rosenbaum
    A geek festival that mainly invites us to hoot at a bunch of alleged crazies.
    • 63 Metascore
    • 30 Jonathan Rosenbaum
    Thomas is a couch potato as well as a recluse, and a terminal bore to boot. The women, real and simulated, are only slightly more interesting, and then only when they talk back.
    • 62 Metascore
    • 30 Jonathan Rosenbaum
    If you're an 11-year-old boy at heart, this is undoubtedly even better than the pile of dinosaur shit in Jurassic Park.
    • 62 Metascore
    • 30 Jonathan Rosenbaum
    Despite the resourcefulness of the two leads, the movie finally registers as much ado about very little.