Jonathan Rosenbaum

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For 1,529 reviews, this critic has graded:
  • 42% higher than the average critic
  • 2% same as the average critic
  • 56% lower than the average critic
On average, this critic grades 2.1 points lower than other critics. (0-100 point scale)

Jonathan Rosenbaum's Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 Pump Up the Volume
Lowest review score: 0 The Bridge
Score distribution:
1529 movie reviews
    • 70 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.
    • 75 Metascore
    • 80 Jonathan Rosenbaum
    Initially this seems naive and archaic, but it conceals a Buñuelian stinger in its tail.
    • 46 Metascore
    • 80 Jonathan Rosenbaum
    As long as Spacey is singing, the movie soars.
    • 74 Metascore
    • 80 Jonathan Rosenbaum
    A film about freedom as well as death, this won't suit every taste, but it rewards close attention and has moments of saving humor.
    • 52 Metascore
    • 80 Jonathan Rosenbaum
    One thing I especially like about it, apart from the flavorsome 40s decor in color, is that it's silly in much the same way that many small 40s comedies were.
    • 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.
    • 63 Metascore
    • 80 Jonathan Rosenbaum
    Just about everyone in this sharp, passionate feature is chillingly good.
    • 86 Metascore
    • 80 Jonathan Rosenbaum
    Charting the ruthlessness of an ambitious bimbo telecaster in Little Hope, New Hampshire, this staccato black comedy sustains its brilliant exposition and narration until the plot turns to premeditated murder, complete with hapless and semicoherent teenage accomplices.
    • 71 Metascore
    • 80 Jonathan Rosenbaum
    Don't expect any psychological depth here, but the cool wit and fun... are deftly maintained, and Sonnenfeld provides a bountiful supply of both fanciful beasties and ingenious visuals.
    • 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.
    • 77 Metascore
    • 80 Jonathan Rosenbaum
    This is a good, solid, intelligent drama about the ambiguities of what does and doesn't constitute courage under fire
    • 72 Metascore
    • 80 Jonathan Rosenbaum
    This isn't the supreme masterpiece it might have been, but Nichols's direction is very polished and some of the lines and details are awfully funny.
    • 75 Metascore
    • 80 Jonathan Rosenbaum
    If you want to know what the Warhol scene was all about, this is even better than the documentaries.
    • 78 Metascore
    • 80 Jonathan Rosenbaum
    Provocative and entertaining.
    • 63 Metascore
    • 80 Jonathan Rosenbaum
    Subtle and graceful directorial debut.
    • 62 Metascore
    • 80 Jonathan Rosenbaum
    Nevertheless, the cast of mainly unknowns is so good, and Linklater is so adept at playing them off one another, that the two-hour running time never seems overextended.
    • 67 Metascore
    • 80 Jonathan Rosenbaum
    This cagey and compelling 2004 documentary looks at the world of wine, but it's actually a nuanced, provocative piece of journalism about globalization and its discontents.
    • 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.
    • 82 Metascore
    • 80 Jonathan Rosenbaum
    To my taste the only serious distraction and ethical lapse is Gibney's sarcastic, cheap-shot use of popular songs like "That Old Black Magic," "Love for Sale," and "God Bless the Child" to underscore certain points; it seems almost to celebrate the shamelessness of the creeps being exposed.
    • 75 Metascore
    • 80 Jonathan Rosenbaum
    It's more than a simple improvement, inverting some of the original's qualities so that the impersonal, well-crafted filmmaking remains lucid throughout.
    • 51 Metascore
    • 80 Jonathan Rosenbaum
    David Mackenzie, who directed the remarkable Scottish drama "Young Adam" (2003), delivers another masterful, disturbing tale of illicit passion, erotic obsession, and sudden death set in the 1950s.
    • 80 Metascore
    • 80 Jonathan Rosenbaum
    Superior in every respect to the PBS documentary "The Murder of Emmett Till."
    • 51 Metascore
    • 80 Jonathan Rosenbaum
    This brisk, free-falling fantasy about the famous collators of German fairy tales, played here as a kind of comedy act by Matt Damon and Heath Ledger, is Terry Gilliam's most entertaining work since the glory days of "Time Bandits," "Brazil," "The Adventures of Baron Munchausen," and "The Fisher King."
    • 82 Metascore
    • 80 Jonathan Rosenbaum
    Fernando Meirelles stresses old-fashioned storytelling and takes full advantage of his cast, including Danny Huston.
    • 73 Metascore
    • 80 Jonathan Rosenbaum
    Director Erik Van Looy skillfully profiles both the assassin (Jan Decleir, suggesting a tougher, over-the-hill version of Michel Piccoli) and the Antwerp detectives investigating his crimes.
    • 53 Metascore
    • 80 Jonathan Rosenbaum
    As a well-directed star vehicle with a couple of good action sequences, this is good, effective filmmaking, but I was periodically bored; when Ford and Pitt aren't lighting up the screen nothing much happens.
    • 50 Metascore
    • 80 Jonathan Rosenbaum
    Duke is a superb director of actors, and, as in "Deep Cover", Fishburne manages to suggest a lot with a deft economy of means.
    • 79 Metascore
    • 80 Jonathan Rosenbaum
    Kerrigan returns with his best work to date, at least in terms of narrative drive and suspense.
    • 58 Metascore
    • 80 Jonathan Rosenbaum
    Starting with its romantic and inappropriate title, this is an old-fashioned melodrama, the same movie about police corruption and a cultural crisis of morality that Lumet has been making since the 70s, starting with "Serpico".
    • 64 Metascore
    • 80 Jonathan Rosenbaum
    Absorbing and intelligent.

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