For 605 reviews, this critic has graded:
  • 43% higher than the average critic
  • 3% same as the average critic
  • 54% lower than the average critic
On average, this critic grades 3.1 points higher than other critics. (0-100 point scale)

Joshua Rothkopf's Scores

  • Movies
Average review score: 62
Highest review score: 100 The Babadook
Lowest review score: 20 Aurora
Score distribution:
  1. Negative: 42 out of 605
605 movie reviews
    • 79 Metascore
    • 100 Joshua Rothkopf
    See this film immediately.
    • 90 Metascore
    • 100 Joshua Rothkopf
    Why do we care? Because never before have the steps to thugdom, as depressing as that destination may be, been so rigorously detailed, neither romanticized nor negated. Don’t miss.
    • 86 Metascore
    • 100 Joshua Rothkopf
    The best style has a purpose to it, and Russian Ark, in its hypnotic, endless swirl, gets at a deep truth of the post-Soviet psyche, haunted by its legacy of czarist rule and Stalin-era sacrifice. The film is a sad home for ghosts.
    • 86 Metascore
    • 100 Joshua Rothkopf
    Andersen makes humorous hay out of the stark home designs of Richard Neutra — only suitable, it seems, for drug dealers.
    • 89 Metascore
    • 100 Joshua Rothkopf
    We are in the presence of a new classic.
    • 60 Metascore
    • 100 Joshua Rothkopf
    Stunning, eerily atmospheric.
    • 71 Metascore
    • 100 Joshua Rothkopf
    Sly and suggestive, Lourdes is a cosmic black comedy that bumps up against the metaphysical.
    • 85 Metascore
    • 100 Joshua Rothkopf
    That rarest of art documentaries, one that actually leaves viewers with a better sense of the gifted versus the phony.
    • 76 Metascore
    • 100 Joshua Rothkopf
    World on a Wire is the discovery of the season, rarely screened in America but very much a key chapter in Fassbinder's story--a step toward bigger budgets and slicker production values, yet clarifying of his core artistic legacy.
    • 90 Metascore
    • 100 Joshua Rothkopf
    Again, Granik has foregrounded a bold woman, expertly balanced between fearlessness and Ree's own private nervousness.
    • 73 Metascore
    • 100 Joshua Rothkopf
    How perfectly perverse: In a summer crammed with sequels, remakes, '80s nostalgia and the frustrated sense of "What else y'got?" comes the most original nightmare in years.
    • 95 Metascore
    • 100 Joshua Rothkopf
    It's a grandly entertaining reminder of everything we used to go to the movies for (and still can't get online): sparkling dialogue, thorny situations, soulful performances, and an unusually open-ended and relevant engagement with a major social issue of the day: how we (dis)connect.
    • 81 Metascore
    • 100 Joshua Rothkopf
    Blue Valentine has a quiet, resigned wisdom to it.
    • 48 Metascore
    • 100 Joshua Rothkopf
    Is Joaquin Phoenix putting us on? After watching the terrifying, near-brilliant exposé I'm Still Here, in which the Oscar nominee's public and private unraveling becomes a sick joke, the question doesn't matter.
    • 82 Metascore
    • 100 Joshua Rothkopf
    Paradoxically, this is not a tale about summoning inner strength, but about shedding pride. Sometimes, there's no choice.
    • 94 Metascore
    • 100 Joshua Rothkopf
    Though it runs an epic five-and-a-half hours (it was made for French TV), Carlos books like no film since "Goodfellas." You will not be bored, ever.
    • 72 Metascore
    • 100 Joshua Rothkopf
    Amer could exist only as a movie, not as a novel or a pop song. If you give it a whirl, you won't simply get drunk on its immediacy; you may throw out plot and character altogether.
    • 87 Metascore
    • 100 Joshua Rothkopf
    A classically structured rampage that bears serious comparison to the definitive greats of Akira Kurosawa, 13 Assassins will floor connoisseurs of action, mood and the dignity of a pissed-off scowl.
    • 87 Metascore
    • 100 Joshua Rothkopf
    The final Harry Potter movie, above all others, supplies Radcliffe with the gravitas of not just an epic story come to completion, but some real dramatic heft. Not so bad for a Hogwarts dropout.
    • 78 Metascore
    • 100 Joshua Rothkopf
    Drive feels like some kind of masterpiece - it's as pure a version of the essentials as you're likely to see.
    • 75 Metascore
    • 100 Joshua Rothkopf
    Matthew McConaughey finally locates his perfect métier as the town's Fordian skeptic, a district attorney who smells a rat.
    • 79 Metascore
    • 100 Joshua Rothkopf
    In lesser hands, this could have easily been some seriously detestable John Wayne jingoism. But via Fiennes, the film is a spiky and complex counterweight to Hollywood sentiment and indie cynicism alike.
    • 82 Metascore
    • 100 Joshua Rothkopf
    A staggering political drama that could put you in mind of the intimate sweep of Bernardo Bertolucci, Incendies feels like a mighty movie in our midst.
    • 90 Metascore
    • 100 Joshua Rothkopf
    Thus comes My Perestroika's most sophisticated idea: Day-to-day family struggles have a way of trumping even the most profound political change. Don't miss this.
    • 74 Metascore
    • 100 Joshua Rothkopf
    Funny and heartbreaking, this is a movie that would have made the '80s-era Jonathan Demme, attuned to American anxieties, blush with pride.
    • 82 Metascore
    • 100 Joshua Rothkopf
    Quietly, though, this amuse-bouche of a setup (culled from six episodes of BBC television) blooms into a meal of majestic agony. Coogan and Brydon's competitive bursts of celebrity impressions - Michael Caine comes in for special attention - take on a tone of clingy desperation, as does their jockeying for status in taunts of love, marriage and career.
    • 75 Metascore
    • 100 Joshua Rothkopf
    Starring a tough-minded band of scrappy teens who actually do some solving, it's the movie "Super 8" wanted to be - or should have been.
    • 74 Metascore
    • 100 Joshua Rothkopf
    It may be time to stop calling Nicolas Roeg's sexed-up sci-fi film that vaguely demeaning term - a cult classic - and start addressing it as what it is: the most intellectually provocative genre film of the 1970s.
    • 79 Metascore
    • 100 Joshua Rothkopf
    Phenomenally sad yet exhilarating.
    • 68 Metascore
    • 100 Joshua Rothkopf
    The movie toggles between two periods-before and after a catastrophe-and, were it not for Swinton's magnetism, it would be unbearable. Instead, you'll want to stay for the wallop.
    • 95 Metascore
    • 100 Joshua Rothkopf
    The drama it might remind you most of, oddly enough, is "Six Degrees of Separation," also about the snowballing connections between unlikely people. And as in that urban clash, the bedrock of it all is social responsibility, ever crumbling and rebuilding. A total triumph.
    • 92 Metascore
    • 100 Joshua Rothkopf
    But mainly, it’s the film’s folk music that roots in the heart like a faraway lure.
    • 95 Metascore
    • 100 Joshua Rothkopf
    The details are gripping, presented with respect for an audience's intelligence.
    • 82 Metascore
    • 100 Joshua Rothkopf
    The tunes, flooding every frame, remain perfect.
    • 86 Metascore
    • 100 Joshua Rothkopf
    The true value of the film is universal: These kids study the knotty viral science, pressure doctors into taking daring, inventive steps and make their cause a global emblem.
    • 75 Metascore
    • 100 Joshua Rothkopf
    Rare is the profile that captures so much oddness with so little judgment. You owe yourself a chance to be challenged.
    • 81 Metascore
    • 100 Joshua Rothkopf
    The beauty of this movie, both a nostalgic romp and a futuristic scream, is its stubborn insistence on getting all the trapped-in-amber details right.
    • 86 Metascore
    • 100 Joshua Rothkopf
    Defiantly intellectual, complex and true to the shifting winds of real-world governance, Lincoln is not the movie that this election season has earned-but one that a more perfect union can aspire to.
    • 68 Metascore
    • 100 Joshua Rothkopf
    Like the wood-grained farmhouse itself — a beautiful piece of production design by Julie Berghoff — The Conjuring has an analog solidity that makes the terror to come almost unbearable.
    • 87 Metascore
    • 100 Joshua Rothkopf
    Redford, already a giant, has never been more suggestive. His character’s misadventure — might be a kind of cosmic penance. It’s the salvation of the moviegoing year.
    • 79 Metascore
    • 100 Joshua Rothkopf
    This is a drama about finding one's self-worth; you simply have to see it.
    • 78 Metascore
    • 100 Joshua Rothkopf
    An aggressively unpleasant man somehow lands a perfect series of gigs in this rudely funny documentary: first as a pounding rock drummer who revolutionized the field; then as a fearless, rage-filled polo player; and finally as an impatient interviewee.
    • 94 Metascore
    • 100 Joshua Rothkopf
    That’s the subtle level this movie operates on, and by the time it arrives at its powerhouse climax, a ruinous argument in a hotel room where all lingering doubts are finally and furiously outed, there’s nowhere left for them to ramble. They’re pinned down and have to improvise, but this glorious movie has infinite space to roam.
    • 81 Metascore
    • 100 Joshua Rothkopf
    No
    The essential thrust here is both knowing and undeniable: No is pitched at the pivot point when the image makers were brazen enough to push ideology to the side. Considering how high the stakes were, it’s amazing they almost didn’t get the gig.
    • 78 Metascore
    • 100 Joshua Rothkopf
    It’s real Streetcar Named Desire territory as the fights pile up, and if you think that doesn’t sound entertaining, know that it is, in a hypnotically catastrophic way.
    • 91 Metascore
    • 100 Joshua Rothkopf
    Polley has gone further into the thorny subject of forgiveness than any of her peers. Her movies ache with ethical quandary; Stories We Tell aches the most.
    • 90 Metascore
    • 100 Joshua Rothkopf
    A dynamite crime comedy and identity meltdown that can rekindle one’s faith in movies.
    • 82 Metascore
    • 100 Joshua Rothkopf
    Rarely leaning on the weepy families back home, this briskly paced triumph maintains a clear focus on human costs, with hope slipping away onboard while lives hang on the burp of a fax machine.
    • 69 Metascore
    • 100 Joshua Rothkopf
    Wheatley, underplaying his stylishness, goes for a subtle national satire about geeks gone wild, and that’s the fun here: On as mild-mannered a vacation as two Brits might devise, a killer comes along—and, after a while, is politely welcomed in, the kettle simmering.
    • 100 Metascore
    • 100 Joshua Rothkopf
    Voyage to Italy is the kind of movie that makes those unhappily in love feel understood. And even if that’s not you (congratulations), it’s still possible to groove on Rossellini’s stranger-in-a-strange-land psychodrama.
    • 87 Metascore
    • 100 Joshua Rothkopf
    Either via clay dolls or fragile flesh, the truth is unmissable—as is Panh’s film itself.
    • 88 Metascore
    • 100 Joshua Rothkopf
    The auteur’s style — dramatic zooms, winking symmetry — is balanced against a newfound political context; this one’s his "To Be or Not to Be."
    • 78 Metascore
    • 100 Joshua Rothkopf
    Frank Pavich’s fun documentary captures an unbowed, exuberant Jodorowsky, who recalls his team of “spiritual warriors” with the camaraderie of a battle-scarred veteran.
    • 96 Metascore
    • 100 Joshua Rothkopf
    Unshakable, witty and deeply felt, the film will be paying emotional dividends for a long, long time.
    • 91 Metascore
    • 100 Joshua Rothkopf
    Love Is Strange emerges as a total triumph for Sachs and his co-leads, John Lithgow and Alfred Molina, who, despite lengthy filmographies, turn in career-topping work. a sensitive domestic tragedy about the finite nature of any union.
    • 88 Metascore
    • 100 Joshua Rothkopf
    On purely formal grounds (the ones on which the genre lives or dies), Kent is a natural. She favors crisp compositions and unfussy editing, transforming the banal house itself into a subtle, shadowy threat.
    • 87 Metascore
    • 100 Joshua Rothkopf
    Particle Fever is that rare, exhilarating science doc that’s neither dumbed down nor drabbed up.
    • 82 Metascore
    • 80 Joshua Rothkopf
    The White Ribbon comes dangerously--wonderfully?--close to playing like an evil-kid flick.
    • 57 Metascore
    • 80 Joshua Rothkopf
    A darkly stylish horror film.
    • 64 Metascore
    • 80 Joshua Rothkopf
    And then, Robert Duvall appears—or, should I say, insinuates himself out of the muck. Cagily, his character wends his way into the story, played by the one American actor who might best understand the limits of bluster. “It’s foolish to ask for luxuries in times like these,” he mutters in the Duvall twang, the weather and indignity beaten into him, and The Road suddenly feels major.
    • 77 Metascore
    • 80 Joshua Rothkopf
    The movie does an uncommonly sensitive job probing the psychologies of blocked men, less so the urges of a widow who needs more than comforting words.
    • 68 Metascore
    • 80 Joshua Rothkopf
    Marcia Gay Harden is the picture’s treasure; watching her swell with concern at her daughter’s choices, you understand how hard it is to let go.
    • 81 Metascore
    • 80 Joshua Rothkopf
    Hardly the heady stuff of "Frost/Nixon"--or then again, maybe exactly the same thing. This one’s more rude and fun.
    • 67 Metascore
    • 80 Joshua Rothkopf
    Michael Jackson was obviously shooting for the moon right before his death, as you can tell from these stunning bits of concert spectacle.
    • 71 Metascore
    • 80 Joshua Rothkopf
    Refn has somehow found his way to an authentic English hard-man drama, anchored in a dynamite performance, even as it celebrates thug life.
    • 61 Metascore
    • 80 Joshua Rothkopf
    Given the dreck we’ve seen this summer, it’s nice to be reminded of the virtues of clean storytelling and cultural curiosity.
    • 69 Metascore
    • 80 Joshua Rothkopf
    When you have an actor as suggestive as Kazan, swallowing up the lens with allure and complexity, your writer-director becomes superfluous.
    • 81 Metascore
    • 80 Joshua Rothkopf
    The movie isn’t quite suitable for the extremely young, but its apocalyptic tint may be catnip for smart preteens. They’ll breathe in the chilly air of a mysterious forest--the way forests should be.
    • 76 Metascore
    • 80 Joshua Rothkopf
    When Stiller indulges in moments of unfulfilled rage, this has real desperation.
    • 50 Metascore
    • 80 Joshua Rothkopf
    All of the performances are knockouts, especially The Visitor's Richard Jenkins as a damaged Texas spiritualist who steeps the movie in intimacy.
    • 74 Metascore
    • 80 Joshua Rothkopf
    Inception, though, is no "Avatar"--instead, it’s the movie that many wanted "Avatar" to be. In a roaringly fast first hour, we’re introduced to a new technology that allows for the bodily invasion of another person’s dreamworld.
    • 53 Metascore
    • 80 Joshua Rothkopf
    Roger Corman could only dream of producing a movie this stupefyingly gory and loaded with exposed flesh, making the updated Piranha that most unlikely of remakes-an improvement.
    • 66 Metascore
    • 80 Joshua Rothkopf
    For those of us who find somber superhero movies faintly ridiculous, Kick-Ass is a one-film justice league.
    • 82 Metascore
    • 80 Joshua Rothkopf
    Ajami is Israel’s submission to the Oscars, and like the gritty "City of God" before it, it takes harrowing, tricky circumstances and illuminates them with Scorsesian snap.
    • 71 Metascore
    • 80 Joshua Rothkopf
    His own worst enemy, Finkelstein has both trouble and tragic writ large on his brow.
    • 75 Metascore
    • 80 Joshua Rothkopf
    Despite the unsubtlety of the movie’s stance, a dizzyingly complex portrait emerges: that of pissed-off museum neighbors, arrogant critics and even the NAACP’s dignified Julian Bond, articulating a racial component.
    • 73 Metascore
    • 80 Joshua Rothkopf
    Still a mystery: Harlan’s own sense of guilt. But there’s plenty to go around.
    • 85 Metascore
    • 80 Joshua Rothkopf
    Almost as an afterthought to the ringingly true performances--and Marco Bellocchio’s unusually approachable direction--comes a deft analysis of fascism, likened to lovesickness, insanity and a gust of orchestral strings. It’s all of that and more, not to mention a lousy matchmaker.
    • 75 Metascore
    • 80 Joshua Rothkopf
    By movie’s end, you see flocks of umbrella-adorned commuters in a different light; and what’s often viewed as Japanese humility becomes a doorway to something huge and eternal. Bring the kids.
    • 65 Metascore
    • 80 Joshua Rothkopf
    The movie's real asset is Reynolds himself, utilizing his comedy chops for unexpected levity.
    • 79 Metascore
    • 80 Joshua Rothkopf
    Director Luca Guadagnino is having so much fun setting up the Kubrickian chill (even Barry Lyndon's Marisa Berenson is on hand) that when Emma and the much younger Antonio finally come together in warming Sanremo, their tryst almost sneaks up on you.
    • 92 Metascore
    • 80 Joshua Rothkopf
    Clearly, Pixar’s genius for adventurous storytelling continues unabated.
    • 85 Metascore
    • 80 Joshua Rothkopf
    Stripped to a minimum of editorializing (but, like "The Hurt Locker," flush with sympathy), this Afghanistan-shot war documentary takes its cues from the unblinking style of cinema verité.
    • 91 Metascore
    • 80 Joshua Rothkopf
    Watching the first hour of I Was Born, But… (unspooling with a bright, new piano score by Donald Sosin) might remind you of a subdued “Our Gang” skit, and not unpleasantly.
    • 74 Metascore
    • 80 Joshua Rothkopf
    The man himself stares into Davis's lens, both confident and scared; for these moments alone, the movie is key.
    • 70 Metascore
    • 80 Joshua Rothkopf
    Walker integrates stranger-on-the-street testimony to further her general vibe of ignorance, thus pinpointing the true target of an agitated doc--our own blithe apathy.
    • 69 Metascore
    • 80 Joshua Rothkopf
    Life During Wartime slices deeply into its characters' weaknesses.
    • 77 Metascore
    • 80 Joshua Rothkopf
    Nature smiles upon Alamar, just as it did on the simple, unfussy charms of "The Black Stallion" some 30 years ago.
    • 61 Metascore
    • 80 Joshua Rothkopf
    Director Nicolas Winding Refn, the prankster of last year's "Bronson," has never reduced his craft to such a sledgehammer of minimalism. Electric guitars drone on the soundtrack, bones crunch, and a mystical religiosity gathers around One-Eye; there's a midnight cult here for those who yearn for one.
    • 83 Metascore
    • 80 Joshua Rothkopf
    The strength of Animal Kingdom is its slow-building fatalism; the criminals' luck runs out, but then finds depressing extension via an out-of-left-field collaborator. It's a movie that has very little faith in authority, not even in Guy Pearce's righteous detective. The only law here is Darwin's.
    • 85 Metascore
    • 80 Joshua Rothkopf
    Very little gets in the way of Lebanon's apocalyptic mood; if it turns its audience even slightly away from barbarism, it might have done its job.
    • 76 Metascore
    • 80 Joshua Rothkopf
    His (Fatih Akin) new movie, an occasionally shouty comedy, is easily his most fun.
    • 79 Metascore
    • 80 Joshua Rothkopf
    The new Let Me In does more than merely preserve the original's mood; it actually improves on it.
    • 51 Metascore
    • 80 Joshua Rothkopf
    Phillips goes too far sometimes (border-jail breakout?), but his new direction is promising.
    • 65 Metascore
    • 80 Joshua Rothkopf
    Sally Hawkins cruises into her new movie the same way she did her breakthrough, "Happy-Go-Lucky."
    • 83 Metascore
    • 80 Joshua Rothkopf
    There's a darker, fanatical side to blindness too-and this is the movie to show it. Leave all judgments behind.
    • 74 Metascore
    • 80 Joshua Rothkopf
    Suleiman can be criticized for failing, ever so slightly, at crafting an overall structure-his latest, based on his dad's diary and other memories, is an autobiographical story of exile and return that skips like a stone over water, fleetly but not so deeply. Still, this is a welcome example of kitsch wedded to serious indictment.
    • 44 Metascore
    • 80 Joshua Rothkopf
    The unexpectedly wonderful thing about this sequel is that it actually improves on the jokes.
    • 63 Metascore
    • 80 Joshua Rothkopf
    Unpacks the man's story with a dramatic flair that might be mistaken for Zoolanderiffic, if it weren't so aptly accessible.
    • 67 Metascore
    • 80 Joshua Rothkopf
    If the movie had a lead actress more delicate or malleable than the strong-cheeked Lawrence-a Natalie Portman, say-it would tip over into sexy-girl-killer celebration; the same goes for Harrelson's salty mentor, who is never too supportive or paternal. Both performers lean into the economies of survival, certain of the savagery that lies ahead, and come up with sharp work.