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

Jonathan Rosenbaum's Scores

  • Movies
Average review score: 60
Highest review score: 100 Pépé le Moko (re-release)
Lowest review score: 0 The Ladies Man
Score distribution:
1,493 movie reviews
    • 90 Metascore
    • 90 Jonathan Rosenbaum
    A stunning achievement in epic cinema.
    • 81 Metascore
    • 90 Jonathan Rosenbaum
    It's virtually guaranteed to make us squirm.
    • 86 Metascore
    • 90 Jonathan Rosenbaum
    To my knowledge there's no one anywhere making films with such a sharp sense of contemporary working-class life -- but for the Dardennes it's only the starting point of a spiritual and profoundly ethical odyssey.
    • 90 Metascore
    • 90 Jonathan Rosenbaum
    Tarkovsky's eerie mystic parable is given substance by the filmmaker's boldly original grasp of film language and the remarkable performances by all the principals.
    • 51 Metascore
    • 90 Jonathan Rosenbaum
    Despite some of the sentimentality that is also Woo's stock-in-trade, I was moved and absorbed throughout.
    • 57 Metascore
    • 90 Jonathan Rosenbaum
    Not to be hyperbolic, but Richard Linklater's first big-budget movie may be the Jules and Jim of bank-robber movies, thanks to its astonishing handling of period detail and its gentleness of spirit, both buoyed by a gliding lightness of touch.
    • 84 Metascore
    • 90 Jonathan Rosenbaum
    Caine has already been cited as a likely Oscar nominee for his performance, which is clearly one of the most nuanced to date from this first-rate actor, and Fraser is funny and effective as a foil to the old pro.
    • 78 Metascore
    • 90 Jonathan Rosenbaum
    Impressive for its lean and unblemished storytelling, but even more so for its performances.
    • 78 Metascore
    • 90 Jonathan Rosenbaum
    This sharp, convincing, and utterly contemporary political film calls to mind some of Ken Loach's work, full of passion as well as precision.
    • 81 Metascore
    • 90 Jonathan Rosenbaum
    Kiarostami's brilliantly suggestive script, which is quite unlike anything else he's written and is marred only slightly by one of his obligatory sages turning up gratuitously near the beginning.
    • 75 Metascore
    • 90 Jonathan Rosenbaum
    Their calm assurance -- Hallyday as a grizzled icon, Rochefort as a melancholy mensch -- is a pleasure to behold.
    • 79 Metascore
    • 90 Jonathan Rosenbaum
    A compellingly watchable, suspenseful, and often funny treatment of a grim subject--the hatred that can build up in a long-term marriage--that also becomes an indirect commentary on yuppie materialism.
    • 83 Metascore
    • 90 Jonathan Rosenbaum
    Warmly recommended to viewers who like their romantic comedies small-scale but life-size.
    • 90 Metascore
    • 90 Jonathan Rosenbaum
    Better in certain ways than the original "Apocalypse Now," though the flaws are also magnified.
    • 88 Metascore
    • 90 Jonathan Rosenbaum
    Powerful.
    • 76 Metascore
    • 90 Jonathan Rosenbaum
    Months after seeing this, I still feel I know most of these people as if they were old friends.
    • 88 Metascore
    • 90 Jonathan Rosenbaum
    A genuine rarity: a sex comedy with brains.
    • 71 Metascore
    • 90 Jonathan Rosenbaum
    The best Australian feature I've seen in years.
    • 79 Metascore
    • 90 Jonathan Rosenbaum
    He doesn't lose his stylistic identity either: in addition to the very Mamet-like delivery of unfinished sentences, his command of rhythm and flow remains flawless throughout.
    • 80 Metascore
    • 90 Jonathan Rosenbaum
    Crichton keeps the laughs coming with infectious energy.
    • 82 Metascore
    • 90 Jonathan Rosenbaum
    For all its minimalism, Tsai Ming-liang's 81-minute masterpiece manages to be many things at once.
    • 80 Metascore
    • 90 Jonathan Rosenbaum
    Gripping...compelling.
    • 59 Metascore
    • 90 Jonathan Rosenbaum
    Neil LaBute delivers his most interesting and powerful film to date, though it's also his most unpleasant and disturbing.
    • 66 Metascore
    • 90 Jonathan Rosenbaum
    Waters builds to a didactic message that he underlines with Disney-esque dream dust (in various colors), as if to protect his sincerity with the disclaimer of self-mockery.
    • 72 Metascore
    • 90 Jonathan Rosenbaum
    The film delivers old-fashioned star turns and glittering cameos (Jon Voight and Mickey Rourke are especially good, but Danny DeVito, Mary Kay Place, Danny Glover, Virginia Madsen, Roy Scheider, and Dean Stockwell--not to mention old-Hollywood icon Teresa Wright--also provide considerable pleasure).
    • 90 Metascore
    • 90 Jonathan Rosenbaum
    There are even more characters of interest here than in "Nashville."
    • 91 Metascore
    • 90 Jonathan Rosenbaum
    The acting is so strong--with Spall a particular standout--that you're carried along as by a tidal wave.
    • 90 Metascore
    • 90 Jonathan Rosenbaum
    Thoroughly researched, unobtrusively upholstered, this beautifully assured entertainment about Victorian England is a string of delights.
    • 82 Metascore
    • 90 Jonathan Rosenbaum
    Beautifully structured and emotionally wrenching.