Joshua Rothkopf

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For 716 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 2.5 points higher than other critics. (0-100 point scale)

Joshua Rothkopf's Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 100 Los Angeles Plays Itself
Lowest review score: 20 The Human Centipede II (Full Sequence)
Score distribution:
  1. Negative: 46 out of 716
716 movie reviews
    • 68 Metascore
    • 60 Joshua Rothkopf
    Yet after the actorcentric fireworks of Cianfrance’s "Blue Valentine" (2010), it’s impressive to see him going after a wider sociopolitical scope, one that would have been better served by a less repetitive structure.
    • 44 Metascore
    • 60 Joshua Rothkopf
    The navel-gazing artist class that gave Williamsburg its character (now more of a marketable “brand”) has in Friedrich both a vigorous defender and, it must be said, something close to an angry parody of itself.
    • 75 Metascore
    • 60 Joshua Rothkopf
    Berlinger is fully invested here, but a little distance might have helped.
    • 78 Metascore
    • 60 Joshua Rothkopf
    Redemptively, the cast goes a long way: Jean Desailly is perfect as a jowly literary celeb deep in midlife crisis, while the aloof Françoise Dorléac is magnetic as his airline stewardess and all-too-scrutable love object.
    • 56 Metascore
    • 60 Joshua Rothkopf
    The metafriction between these classic dupes and today's idiots chafes uneasily.
    • 61 Metascore
    • 60 Joshua Rothkopf
    You sense the Demme-esque working-class comedy that might have been.
    • 74 Metascore
    • 60 Joshua Rothkopf
    Dree Hemingway, daughter of Mariel, commits to some unnecessary nudity, but also impresses with her subtlety.
    • 65 Metascore
    • 60 Joshua Rothkopf
    There's lots of volume in these tunes--the soundtrack is killer--and at least everyone gets their rocks off.
    • 76 Metascore
    • 60 Joshua Rothkopf
    Unfortunately for us, Dern — only seen in flashback — isn’t the main character.
    • 67 Metascore
    • 60 Joshua Rothkopf
    Swaddled with a lacquer of nostalgia that passes for cultural insight, this one-night-in-sweatpants drama will make you yearn for a moratorium on teen movies-at least ones so aggressively dewy-eyed.
    • 69 Metascore
    • 60 Joshua Rothkopf
    No exchanges flare into true weirdness; rather, the mood is lingering and tentative. Undoubtedly, this is the movie's intent, but it's a fairly banal comment on foreign estrangement (or love) that could have used some roughing up.
    • 81 Metascore
    • 60 Joshua Rothkopf
    No one is going to explain any of this for you — and the slightly snobby implication of Upstream Color is that explanations are for suckers.
    • 59 Metascore
    • 60 Joshua Rothkopf
    It all comes down to the Big Birthday Party and a furious bike ride, which he's clearly done before, in "The 40 Year Old Virgin."
    • 59 Metascore
    • 60 Joshua Rothkopf
    When Sarah's Key leans into the horror (as it should), it's harrowing. Alas, that's only half the time.
    • 64 Metascore
    • 60 Joshua Rothkopf
    West holds your interest with material that should feel like a rip-off of The Shining. If this is mere placeholding until something more ambitious comes along for the rising director, it'll do.
    • 74 Metascore
    • 60 Joshua Rothkopf
    The movie isn’t adventurous, but I’m sure glad it exists.
    • 64 Metascore
    • 60 Joshua Rothkopf
    St. Vincent has nothing on Rushmore, an obvious forebearer, even though it strains for the same egalitarian spirit of thrown-together family, one that includes a pregnant Russian stripper (Naomi Watts) and a sympathetic but firm Catholic schoolteacher (Chris O’Dowd).
    • 52 Metascore
    • 60 Joshua Rothkopf
    The oddest thing about the movie - and perhaps the asset that will tip it over into the plus column for you - is that it's a bona fide scuzz-Western.
    • 39 Metascore
    • 60 Joshua Rothkopf
    Alas, it all comes off as hit and myth, mainly due to our leaden, buzz-cut hero, Perseus (Avatar’s Worthington, no Harry Hamlin), and zero sparks of heavenly-body chemistry or humor.
    • 60 Metascore
    • 60 Joshua Rothkopf
    Seeing as how Kill the Messenger comes down firmly on the side of Webb’s truth, it’s unfortunate that his discoveries are only confirmed via the end credits. Missing from the action, too, is the merest hint of our hero’s demise by suicide in 2004. These aspects should have been better showcased; as is, it’s not the whole story.
    • 37 Metascore
    • 60 Joshua Rothkopf
    Crushingly, the dependably perverse art-action director Nicolas Winding Refn has finally made a boring movie.
    • 82 Metascore
    • 60 Joshua Rothkopf
    Daringly plotless and disconnected (“just like my life!” squeals the target audience), Noah Baumbach’s latest, a breeze, feels a lot less self-absorbed than usual, mainly for not having a neurotic at its core.
    • 60 Metascore
    • 60 Joshua Rothkopf
    You outsmart the movie way too soon.
    • 73 Metascore
    • 60 Joshua Rothkopf
    The Grandmaster, five years in the making, feels like a waste of Wong’s talents.
    • 56 Metascore
    • 60 Joshua Rothkopf
    The 3-D effects, so promising on paper, don't really add much-and, worse, there's a overreliance on slow-motion, which kills the fun.
    • 40 Metascore
    • 60 Joshua Rothkopf
    But scary? Not so much.
    • 75 Metascore
    • 60 Joshua Rothkopf
    If you'll pardon the cleverness, Frank takes time to wrap your own cranium around, faults and all, and that's a wonderful thing.
    • 47 Metascore
    • 60 Joshua Rothkopf
    Jessica Lange, as rare as a unicorn these days, seizes on the role of a grieving mother with two taloned hands. If there are any tremors of shame to be felt here, they emanate from her.
    • 59 Metascore
    • 60 Joshua Rothkopf
    While slickly enjoyable in parts, the biggest misstep here comes by puncturing Spielberg’s grandeur.
    • 72 Metascore
    • 60 Joshua Rothkopf
    Safety Not Guaranteed doesn't quite know what kind of comedy it wants to be; the humor works best in its first hour, when the news-of-the-weird plot takes on a suggestive dimension of romantic desperation.

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