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

Jonathan Rosenbaum's Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 Yes
Lowest review score: 0 Bamboozled
Score distribution:
1529 movie reviews
    • 81 Metascore
    • 100 Jonathan Rosenbaum
    This masterpiece, an art film deftly masquerading as a thriller, seems to celebrate small-town pastoralism and critique big-city violence, but this position turns out to be double-edged.
    • 98 Metascore
    • 100 Jonathan Rosenbaum
    Unlike most horror movies, this chiller gives equal prominence to reality and fantasy, though the reality is far more frightening. The only precedent that comes to mind in terms of a lyrical treatment of a child's experience of terror is "The Night of the Hunter."
    • 81 Metascore
    • 100 Jonathan Rosenbaum
    One reason Bamako feels like a blast of sanity is that the theoretical debates about the state of the world, particularly Africa and more particularly Mali, are only half of its agenda. The other half, broadly speaking, is the life of everyday Africans.
    • 84 Metascore
    • 100 Jonathan Rosenbaum
    Maddin takes on his first commissioned feature--an adaptation of the Royal Winnipeg Ballet's production of Dracula--and succeeds brilliantly, making it his own while offering what may be the most faithful screen version to date of Bram Stoker's novel.
    • 84 Metascore
    • 100 Jonathan Rosenbaum
    A highly emotional epic about what it means to be both Chinese and American.
    • 78 Metascore
    • 100 Jonathan Rosenbaum
    Guy Maddin has reached a new expressive plateau with The Saddest Music in the World.
    • 94 Metascore
    • 100 Jonathan Rosenbaum
    A veritable salad of mixed genres and emotional textures, this exciting black-and-white cold war thriller runs more than two hours and never flags for an instant...A powerful experience, alternately corrosive with dark parodic humor, suspenseful, moving, and terrifying.
    • 69 Metascore
    • 100 Jonathan Rosenbaum
    An excellent introduction to the singular vision of avant-garde stage director Robert Wilson.
    • 63 Metascore
    • 90 Jonathan Rosenbaum
    Arguably Woody Allen's funniest movie. A riotous object lesson in how much dialogue can transform visuals, and Allen works wonders with it.
    • 85 Metascore
    • 90 Jonathan Rosenbaum
    The results are masterful, admirably unsentimental, and never boring, if also a little stodgy.
    • 90 Metascore
    • 90 Jonathan Rosenbaum
    Powerful and haunting.
    • 68 Metascore
    • 90 Jonathan Rosenbaum
    First-rate agitprop about the ruthlessness of South African apartheid, directed by Euzhan Palcy (Sugar Cane Alley) and adapted from Andre Brink's novel by Palcy and Colin Welland. The relentless plot is effectively set up and expertly pursued, and Hugh Masekela makes some striking contributions to Dave Grusin's musical score.
    • 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.
    • 68 Metascore
    • 90 Jonathan Rosenbaum
    While it's easy to imagine an infinite number of bad courtroom comedies based on this scenario, this 1992 movie turns out to be wonderful—broad and low character comedy that's solidly imagined and beautifully played.
    • 77 Metascore
    • 90 Jonathan Rosenbaum
    A quantum leap in ambition from "Hard Eight" and "Boogie Nights" and is, to my mind, much more interesting.
    • 84 Metascore
    • 90 Jonathan Rosenbaum
    Perhaps the most remarkable thing here is Thornton's nuanced performance, but the film has other rare virtues: all the characters are fully and richly fleshed out (with some unexpected turns by John Ritter and singer Dwight Yoakam), and the story's construction is carefully measured.
    • 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.
    • 86 Metascore
    • 90 Jonathan Rosenbaum
    Ten
    The film offers a fascinating glimpse of the Iranian urban middle class, and though it eschews most of the pleasures of composition and landscape found in other Kiarostami films, it's never less than riveting.
    • 93 Metascore
    • 90 Jonathan Rosenbaum
    The first Ang Lee film I've seen that I've liked without qualification.
    • 75 Metascore
    • 90 Jonathan Rosenbaum
    Unprecedented in its intellectual ambition, this is endlessly stimulating; it probably tries for too much, but it shames many other contemporary essays that try for too little.
    • 82 Metascore
    • 90 Jonathan Rosenbaum
    For all its minimalism, Tsai Ming-liang's 81-minute masterpiece manages to be many things at once.
    • 96 Metascore
    • 90 Jonathan Rosenbaum
    Ran
    A stunning achievement in epic cinema.
    • 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.
    • 82 Metascore
    • 90 Jonathan Rosenbaum
    Woo's third Hollywood movie, Face/Off, is the first to balance his visual imagination with the emotional intensity of his Hong Kong films.
    • 80 Metascore
    • 90 Jonathan Rosenbaum
    The film is both wise and tender in its treatment of relationships -- between birds, between people, and between birds and people.
    • 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.
    • 76 Metascore
    • 90 Jonathan Rosenbaum
    Months after seeing this, I still feel I know most of these people as if they were old friends.
    • 80 Metascore
    • 90 Jonathan Rosenbaum
    A witty, canny meditation on the power of pop culture in general and the rationalizations of cinephilia and film criticism in particular.
    • 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.
    • 89 Metascore
    • 90 Jonathan Rosenbaum
    This remarkable British silent (1929) is special in many ways.

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