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

Jonathan Rosenbaum's Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 Rushmore
Lowest review score: 0 The Ladies Man
Score distribution:
1493 movie reviews
    • 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.
    • 90 Metascore
    • 50 Jonathan Rosenbaum
    Nothing that suggests an independent vision, unless you count seeing more limbs blown off than usual.
    • 89 Metascore
    • 60 Jonathan Rosenbaum
    This is the apotheosis of Classics Illustrated filmmaking, aiming at nothing more than tasteful reduction, and the fact that it's done so well here doesn't mean that it's necessarily worth doing.
    • 87 Metascore
    • 50 Jonathan Rosenbaum
    The film is watchable as well as informative...But I wish I had a better notion of what story he's trying to tell.
    • 87 Metascore
    • 50 Jonathan Rosenbaum
    It's reasonably well told and well mounted but little more.
    • 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.
    • 86 Metascore
    • 60 Jonathan Rosenbaum
    I don't see this slightly better-than-average drug thriller, with slightly better-than-average direction by Steven Soderbergh, as anything more than a routine rubber-stamping of genre reflexes.
    • 86 Metascore
    • 40 Jonathan Rosenbaum
    The surface activity keeps one occupied, but never adds up to much because none of the characters is developed beyond the cartoon level; and the snobby sense of knowingness that's over everything is uncomfortably close to what the movie is supposed to be dissecting.
    • 84 Metascore
    • 50 Jonathan Rosenbaum
    The performances, especially of Penn and Robbins, are so powerful and detailed (down to the Boston accents) that they often persuade one to overlook the narrative contrivances (particularly the incessant crosscutting), the arty trimmings (including Eastwood's own score), and the dubious social philosophy.
    • 84 Metascore
    • 50 Jonathan Rosenbaum
    Even though it's scripted by a woman (Kelly Masterson), this tale of buried family resentments rising to the surface as the brothers plot to rob their parents' jewelry store is concerned only with the guys, and it's marred by an uncharacteristically mannered performance by Albert Finney as the father.
    • 83 Metascore
    • 60 Jonathan Rosenbaum
    This obsessive movie, awarded the grand jury prize at the Sundance festival, may not quite live up to its advance billing; the subject is powerful, but the filmmaking often seems slapdash, and the final half hour dithers.
    • 83 Metascore
    • 50 Jonathan Rosenbaum
    As beautifully mounted as this production is, Scorsese has a way of letting the decor take over, so that Wharton's tale of societal constraints comes through only in fits and starts. But it's a noble failure.
    • 83 Metascore
    • 50 Jonathan Rosenbaum
    There's some striking camerawork by Christopher Doyle (in 35-millimeter) and Rain Kathy Li (in Super-8), though this doesn't alter the overall feeling of random, nihilistic drift.
    • 82 Metascore
    • 60 Jonathan Rosenbaum
    As a moral reconsideration of the role of violence in previous Eastwood films, this is strong and sure, and characters who play against genre expectations give the film a provocative aftertaste. The only limitation, really, is that the picture hasn't much dramatic urgency apart from its revisionist context.
    • 82 Metascore
    • 60 Jonathan Rosenbaum
    I seem to be in a distinct minority in finding the satire toothless, obvious, and insufferably glib -- Still, I found genuine pleasure in watching Catherine Zeta-Jones, Renee Zellweger, Richard Gere, and John C. Reilly try their hands at singing and dancing.
    • 82 Metascore
    • 60 Jonathan Rosenbaum
    The result is grimly "effective," but it made me long for Hollywood junk.
    • 82 Metascore
    • 60 Jonathan Rosenbaum
    The script dawdles, and in spite of a good cast--Bill Paxton, Billy Bob Thornton (who's especially resourceful), Bridget Fonda, and Brent Briscoe--the movie tends to amble around its points rather than drive straight toward the heart of the matter.
    • 82 Metascore
    • 60 Jonathan Rosenbaum
    The overall feel is phantasmagoric--pitched, like most of Maddin's work, in the style of a half-remembered late silent feature or early talkie.
    • 81 Metascore
    • 60 Jonathan Rosenbaum
    Half-funny mockumentary.
    • 81 Metascore
    • 60 Jonathan Rosenbaum
    Maybe you'll enjoy it, but don't expect to remember it ten minutes later, or even to believe in the characters while you're watching them.
    • 81 Metascore
    • 60 Jonathan Rosenbaum
    Everyone who likes this movie calls it "disturbing," but what disturbs me most is the self-loathing laughter it provokes, similar to what one often hears at Woody Allen and Michael Moore comedies.
    • 81 Metascore
    • 60 Jonathan Rosenbaum
    Remains mired in a smart-alecky film-school sensibility.
    • 81 Metascore
    • 50 Jonathan Rosenbaum
    The three actors manage to get a lot of mileage out of the material: although one never quite believes that Tandy's character is Jewish, she is remarkable in every other respect, and Freeman and Aykroyd are wonderful throughout.
    • 81 Metascore
    • 60 Jonathan Rosenbaum
    The results are watchable enough--sometimes funny, sometimes over the top--and fairly fresh, though also a bit calculated.
    • 80 Metascore
    • 60 Jonathan Rosenbaum
    The efforts to plant this story in a contemporary vernacular are not always successful but the performances are uniformly fine in their adherence to the material, and consistently avoid any vulgarity or showboating.
    • 80 Metascore
    • 50 Jonathan Rosenbaum
    Has its awkward and square moments directorially, but it's also uncommonly honest and serious.
    • 80 Metascore
    • 50 Jonathan Rosenbaum
    Originally a two-part film running about three hours, this treacle has been reduced by almost a third, though it still seems to run on forever -- a bit like life but much less interesting.
    • 80 Metascore
    • 50 Jonathan Rosenbaum
    The performances are perfectly distilled, but the traits I dislike in Bergman are all here -- self-pity, brutality, spiritual constipation, and an unwillingness to try to overcome these difficulties.
    • 80 Metascore
    • 60 Jonathan Rosenbaum
    A strong example of the cinema verite style at work, yet few films of the school show up the crisis of its "noninvolvement" policy more tellingly.
    • 80 Metascore
    • 50 Jonathan Rosenbaum
    Despite some sentimentality and occasional directorial missteps, this is a respectable piece of work--evocative, very funny in spots, and obviously keenly felt. With Francis Capra, Taral Hicks, and Katherine Narducci.

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