Jonathan Rosenbaum

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For 1,498 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 1.9 points lower than other critics. (0-100 point scale)

Jonathan Rosenbaum's Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 Letters from Iwo Jima
Lowest review score: 0 The Ladies Man
Score distribution:
1498 movie reviews
    • 75 Metascore
    • 80 Jonathan Rosenbaum
    The performances are strong (my favorite is Deborah Harry as an older waitress) and the sense of eroded as well as barely articulated lives is palpable.
    • 75 Metascore
    • 80 Jonathan Rosenbaum
    Beautiful and challenging documentary.
    • 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.
    • 82 Metascore
    • 80 Jonathan Rosenbaum
    Unfortunately, a conclusion stuffed with so many improbabilities that it left me gaping in disbelief. Prior to that, this is pretty much fun.
    • 67 Metascore
    • 80 Jonathan Rosenbaum
    Despite the flashback structure, this is a film in which mood matters more than plot, while the hero's heroic stature steadily shrinks.
    • 91 Metascore
    • 80 Jonathan Rosenbaum
    Roman Polanski's first film in English (1965, 105 min.) is still his scariest and most disturbing--not only for its evocations of sexual panic, but also because his masterful employment of sound puts the audience's imagination to work in numerous ways...As narrative this works only part of the time, and as case study it may occasionally seem too pat, but as subjective nightmare it's a stunning piece of filmmaking.
    • 73 Metascore
    • 80 Jonathan Rosenbaum
    There's something almost wearying as well as exhilarating about the perpetual brilliance of Bosnian-born filmmaker Emir Kusturica.
    • 76 Metascore
    • 80 Jonathan Rosenbaum
    Has the expressionistic simplicity of Kurosawa's other late films.
    • 64 Metascore
    • 80 Jonathan Rosenbaum
    Volatile and sometimes daring performances by Catherine Deneuve, Gerard Depardieu, Gilbert Melki, Malik Zidi, and Lubna Azabal (as twins) contribute to the highly charged and novelistic experience.
    • 77 Metascore
    • 80 Jonathan Rosenbaum
    Fascinating documentary.
    • 63 Metascore
    • 80 Jonathan Rosenbaum
    Subtle and graceful directorial debut.
    • 74 Metascore
    • 80 Jonathan Rosenbaum
    Writers Liu Fen Dou and Cai Xiang Jun and director Zhang Yang move freely and gracefully between fantasy and reality in this sentimental film, which never becomes as trite or calculated as you might fear.
    • 76 Metascore
    • 80 Jonathan Rosenbaum
    Its particularities are the best thing about it.
    • 82 Metascore
    • 80 Jonathan Rosenbaum
    This movie has its share of laughs, but it's also Ron Howard's most personal film, and clearly his most ambitious--a multifaceted essay in fictional form about the diverse snares of child rearing.
    • 68 Metascore
    • 80 Jonathan Rosenbaum
    Danny Glover, as hard-rock reliable as Spencer Tracy in his prime, plays onetime pianist Tyrone "Pine Top" Purvis.
    • 59 Metascore
    • 80 Jonathan Rosenbaum
    But if you can get swept up in the story, the movie is imaginative and compelling.
    • 76 Metascore
    • 80 Jonathan Rosenbaum
    Far and away the funniest comedy in town.
    • 73 Metascore
    • 80 Jonathan Rosenbaum
    Kidman and Zellweger are uncommonly good, and I especially liked the timely treatment of war as universally brutalizing: even the outcomes of battles are ignored, as are the motives behind the conflict.
    • 82 Metascore
    • 80 Jonathan Rosenbaum
    Fernando Meirelles stresses old-fashioned storytelling and takes full advantage of his cast, including Danny Huston.
    • 54 Metascore
    • 80 Jonathan Rosenbaum
    Starts out silly, gets sillier by the minute, and frequently had me and most of the people around me in stitches.
    • 76 Metascore
    • 80 Jonathan Rosenbaum
    The film's storytelling and heartfelt pantheism are both impressive.
    • 90 Metascore
    • 80 Jonathan Rosenbaum
    The power and reach of this undertaking are formidable.
    • 63 Metascore
    • 80 Jonathan Rosenbaum
    As usual, Lee tries many kinds of stylistic effects and uses wall-to-wall music (by Aaron Copland and Public Enemy); what’s different this time is how personally driven the story feels.
    • 63 Metascore
    • 80 Jonathan Rosenbaum
    Just about everyone in this sharp, passionate feature is chillingly good.
    • 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.
    • 69 Metascore
    • 80 Jonathan Rosenbaum
    Pivots on the characters' racism and xenophobia, playing tricks with our own biases and ultimately justifying an extravagant array of coincidences and surprises.
    • 76 Metascore
    • 80 Jonathan Rosenbaum
    There's nothing really new...but it has craft, pacing, and an overall sense of proportion, three pretty rare classic virtues nowadays.
    • 62 Metascore
    • 80 Jonathan Rosenbaum
    Combining the gentle with the vulgar as only the English can, this lively comedy is bursting with character and energy.
    • 87 Metascore
    • 80 Jonathan Rosenbaum
    For better and for worse, this is seductive storytelling as well as investigative journalism, and I wasn't always sure which mode I was in.
    • 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.

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