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

Jonathan Rosenbaum's Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 Reversal of Fortune
Lowest review score: 0 Good Luck Chuck
Score distribution:
1493 movie reviews
    • 80 Metascore
    • 100 Jonathan Rosenbaum
    This 2002 German documentary (in English) by Marta Kudlacek is the best portrait of an experimental filmmaker that I know.
    • 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.
    • 86 Metascore
    • 100 Jonathan Rosenbaum
    Mesmerizing.
    • 74 Metascore
    • 100 Jonathan Rosenbaum
    Throughout the film cause and effect, the mainspring of most narratives, is replaced by a sense of spiritual synchronicity.
    • 71 Metascore
    • 100 Jonathan Rosenbaum
    Like much of Verhoeven's best work, it's shamelessly melodramatic, but in its dark moral complexities it puts "Schindler's List" to shame. Van Houten and Sebastian Koch (The Lives of Others) are only two of the standouts in an exceptional cast.
    • 80 Metascore
    • 100 Jonathan Rosenbaum
    Hou's best film since "The Puppetmaster" (1993). It's also his most minimalist effort to date, slow to reveal its depths and beauties, and it marks a rejuvenation of his art.
    • 77 Metascore
    • 100 Jonathan Rosenbaum
    Alain Resnais' 2006 adaptation of a British play by Alan Ayckbourn is a world apart from his earlier Ayckbourn adaptation, "Smoking/No Smoking"; that film tried to be as "English" as possible. But this time Resnais looks for precise French equivalents to British culture, and what emerges is one of his most personal works, intermittently recalling the melancholy "Muriel" and "Providence."
    • 78 Metascore
    • 100 Jonathan Rosenbaum
    Elliptical, full of subtle inner rhymes...and profoundly moving, this is the most tightly crafted Kubrick film since "Dr. Strangelove," as well as the most horrific; the first section alone accomplishes most of what "The Shining" failed to do.
    • 96 Metascore
    • 100 Jonathan Rosenbaum
    Wong Kar-wai's idiosyncratic style first became apparent in this gorgeously moody second feature.
    • 83 Metascore
    • 100 Jonathan Rosenbaum
    Combines live-action and animation with breathtaking wizardry... Alternately hilarious, frightening, and awesome.
    • tbd Metascore
    • 100 Jonathan Rosenbaum
    This 1985 film's absolute freedom from cliches is genuinely refreshing; looking at it again after Van Sant's subsequent "Drugstore Cowboy," I found it every bit as good and in some ways even more impressive than the later film. It shouldn't be missed.
    • 86 Metascore
    • 100 Jonathan Rosenbaum
    Masterfully charted and acted.
    • 84 Metascore
    • 100 Jonathan Rosenbaum
    Much as Emile de Antonio's neglected "In the Year of the Pig" (1968) may be the only major documentary about Vietnam that actually considers the Vietnamese, this film allows the people of Iraq to speak, and what they say is fascinating throughout.
    • 61 Metascore
    • 100 Jonathan Rosenbaum
    Jarmusch has said that the film's odd, generally slow rhythm -- hypnotic if you're captivated by it, as I am, and probably unendurable if you're not--was influenced by classical Japanese period movies by Kenji Mizoguchi and Akira Kurosawa.
    • 77 Metascore
    • 100 Jonathan Rosenbaum
    The best documentary to date about the military occupation of Iraq.
    • 72 Metascore
    • 100 Jonathan Rosenbaum
    David Lynch's first digital video, almost three hours long, resists synopsizing more than anything else he's done. Some viewers have complained, understandably, that it's incomprehensible, but it's never boring, and the emotions Lynch is expressing are never in doubt.
    • 90 Metascore
    • 100 Jonathan Rosenbaum
    One of the most perfect endings of any film that comes to mind.
    • 91 Metascore
    • 100 Jonathan Rosenbaum
    Masterpiece.
    • 68 Metascore
    • 100 Jonathan Rosenbaum
    A lush piece of romanticism.
    • 62 Metascore
    • 100 Jonathan Rosenbaum
    The period details and performances are uniformly superb (Bob Hoskins is especially good as MGM executive Eddie Mannix), and the major characters are even more complex than those in "Chinatown."
    • 80 Metascore
    • 100 Jonathan Rosenbaum
    All-expert cast.
    • 73 Metascore
    • 100 Jonathan Rosenbaum
    Riveting cinematic essay.
    • 81 Metascore
    • 100 Jonathan Rosenbaum
    It's hard to think of many more galvanizing definitions of what it means to be an American than Cho's volcanic self-assessments.
    • 80 Metascore
    • 100 Jonathan Rosenbaum
    A masterful 168-minute piece of storytelling that never ceases to be gripping in spite of its measured pace.
    • 77 Metascore
    • 100 Jonathan Rosenbaum
    A clarion call for freedom and collective action both hopeful and energizing, it qualifies as a generational statement as Rebel Without a Cause did in the 50s, but without the defeatism and masochism. Not to be missed.
    • 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.
    • 84 Metascore
    • 100 Jonathan Rosenbaum
    Both sad and darkly funny, the film is so sharply conceived and richly populated that it often registers like a Frederick Wiseman documentary, even though everything is scripted and every part played by a professional... This is only the second feature of Cristi Puiu, who claims to have been inspired by his own hypochondria, but he's already clearly a master.
    • 80 Metascore
    • 100 Jonathan Rosenbaum
    Three Times, one of the peaks of his (Hou Hsiao-hsien) career, may be your last chance to see his work inside a movie theater.
    • 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.
    • 77 Metascore
    • 100 Jonathan Rosenbaum
    A grand-style, idiosyncratic war epic, with wonderful poetic ideas, intense emotions, and haunting images rich in metaphysical portent.

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