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

Jonathan Rosenbaum's Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 Dracula: Pages from a Virgin's Diary
Lowest review score: 0 Showgirls
Score distribution:
1,493 movie reviews
    • 72 Metascore
    • 80 Jonathan Rosenbaum
    If the relatively prosaic Minghella, making his movie debut, lacks the suggestive poetic sensibility of Lewton, he does a fine job in capturing the contemporary everyday textures of London life, and coaxes a strong performance out of Stevenson, a longtime collaborator. Full of richly realized secondary characters and witty oddball details, this is a beguiling film in more ways than one.
    • 60 Metascore
    • 80 Jonathan Rosenbaum
    A provocative and stirring climax to the Corleone saga, as well as an autonomous work that sometimes shows Coppola at his near best.
    • 71 Metascore
    • 80 Jonathan Rosenbaum
    Sensitive, intelligent, enlightening, and sometimes surprising.
    • 87 Metascore
    • 80 Jonathan Rosenbaum
    The depiction of her risky voyage and what happens afterward is highly suspenseful and entirely believable.
    • 71 Metascore
    • 80 Jonathan Rosenbaum
    Though Hanks keeps the satirical and critical aspects of this look at show biz fairly light, there's a lot of conviction and savvy behind the steadiness of his gaze, and his economy in evoking the flavor of the period at the beginning of the picture is priceless.
    • 71 Metascore
    • 80 Jonathan Rosenbaum
    Among the pleasures to be found here are some amusing sidelong glances at how movies get made and the singing talent of Streep as well as MacLaine. There's not much depth here, but Nichols does a fine job with the surface effects, and the wisecracks keep coming.
    • 70 Metascore
    • 80 Jonathan Rosenbaum
    Ridiculous enough to be hilarious, but this didn't prevent me from thoroughly enjoying Philip Kaufman's silly romp.
    • 66 Metascore
    • 80 Jonathan Rosenbaum
    This is why movies were invented.
    • 61 Metascore
    • 80 Jonathan Rosenbaum
    A few plot details strain credibility, but the characters (particularly the friend's sister and little boy) are persuasively depicted.
    • 79 Metascore
    • 80 Jonathan Rosenbaum
    A nicely shaped script by Chicagoans Rick Shaughnessy and Brian Kalata makes this independent comedy drama a pleasure to watch.
    • 68 Metascore
    • 80 Jonathan Rosenbaum
    Carrey's attempted self-immolation in a men's room, which weirdly recalls certain Fred Astaire routines, may be a small classic.
    • 83 Metascore
    • 80 Jonathan Rosenbaum
    The characters (both animal and human) are solidly conceived, and the storytelling and visuals are expertly fashioned.
    • 57 Metascore
    • 80 Jonathan Rosenbaum
    A worthy entry in the dystopian cycle of SF movies launched by "Blade Runner" (including "The Terminator" and "Robocop"), this seems less derivative than most of its predecessors yet equally accomplished in its straight-ahead storytelling, with plenty of provocative satiric undertones and scenic details.
    • 64 Metascore
    • 80 Jonathan Rosenbaum
    Spirited, quintessential, and often hilarious.
    • 78 Metascore
    • 80 Jonathan Rosenbaum
    Provocative and entertaining.
    • 86 Metascore
    • 80 Jonathan Rosenbaum
    The wonderful Richard Farnsworth plays the lead, and he was clearly born for the part...a highly affecting and suggestive spiritual odyssey.
    • 52 Metascore
    • 80 Jonathan Rosenbaum
    I was wooed by its sexy romanticism all the way through to the mysterious and beautiful coda.
    • 82 Metascore
    • 80 Jonathan Rosenbaum
    An entertaining comedy-thriller directed with bounce (if not much nuance) by Barry Sonnenfeld.
    • 67 Metascore
    • 80 Jonathan Rosenbaum
    This is a fairly accomplished first feature -perky, visually inventive, and unusually nast
    • 59 Metascore
    • 80 Jonathan Rosenbaum
    Doesn't succeed in everything it sets out to do, which is a lot. But as a statement about the death rattle of 60s counterculture it's both thoughtful and affecting, and Daniel Day-Lewis is mesmerizing.
    • 89 Metascore
    • 80 Jonathan Rosenbaum
    "Sweetie" and "An Angel at My Table" have taught us to expect startling as well as beautiful things from Jane Campion, and this assured and provocative third feature offers yet another lush parable--albeit a bit more calculated and commercially minded--about the perils and paradoxes of female self-expression.
    • 64 Metascore
    • 80 Jonathan Rosenbaum
    Many reviews have suggested that this is as politically mild as a John Sayles movie, but Linklater clearly agrees with the frustrated kid who says, "Right now, I can't think of anything more patriotic than violating the Patriot Act."
    • 66 Metascore
    • 80 Jonathan Rosenbaum
    Hysterically hyperbolic and unpleasant if still witty dissection of family traumas.
    • 77 Metascore
    • 80 Jonathan Rosenbaum
    Not even the crude ethnic humor--Billy Crystal's Mel Brooks-ish Miracle Max--pricks the dream bubble, and the spirited cast has a field day.
    • 70 Metascore
    • 80 Jonathan Rosenbaum
    Still about as good as Allen gets, a persuasive, nuanced, and relatively graceful portrait of an egotistical yet talented jazz guitarist of the swing era, astutely played by Sean Penn.
    • 90 Metascore
    • 80 Jonathan Rosenbaum
    An adroit piece of storytelling from Irish writer-director Neil Jordan that's ultimately less challenging to conventional notions about race and sexuality than it may at first seem... The three leads are first-rate.
    • 61 Metascore
    • 80 Jonathan Rosenbaum
    McDormand has never been better, but all the performances are interestingly nuanced, including Natascha McElhone's as one of Bale's fellow psychiatric interns.
    • 73 Metascore
    • 80 Jonathan Rosenbaum
    In short, I never quite believed the story, but this movie is more about feeling than thinking.
    • 73 Metascore
    • 80 Jonathan Rosenbaum
    The special effects are beautifully handled and the reflections on death attractively peaceful.
    • 83 Metascore
    • 80 Jonathan Rosenbaum
    The cast - including Derek Jacobi as the modern-dress chorus, Paul Scofield, Judi Dench, Ian Holm, Emma Thompson, and Robbie Coltrane in an effective cameo as Falstaff - is uniformly fine without any grandstanding.

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