Joshua Rothkopf

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For 846 reviews, this critic has graded:
  • 44% higher than the average critic
  • 3% same as the average critic
  • 53% lower than the average critic
On average, this critic grades 2.2 points higher than other critics. (0-100 point scale)

Joshua Rothkopf's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 Silence
Lowest review score: 20 Parker
Score distribution:
  1. Negative: 50 out of 846
846 movie reviews
    • 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.
    • 65 Metascore
    • 60 Joshua Rothkopf
    Tyrannosaur won't translate into entertainment, nor as a wake-up call to the dark side of humanity - though it does work nicely as a tart slice of hard-bitten acting; the entire cast is superb.
    • 41 Metascore
    • 60 Joshua Rothkopf
    A deep supporting cast brings its A-game to the ridiculous dialogue.
    • 72 Metascore
    • 60 Joshua Rothkopf
    The movie works best in the clan’s private world (even if rock climbing in the rain seems like poor parenting). But then it deflates: Frank Langella, normally a welcome presence, is clownishly directed as a mean grandfather, and the plot abandons its tensions too abruptly.
    • 79 Metascore
    • 60 Joshua Rothkopf
    So why is this songwriter, so articulate on vinyl, so vague and spacey in current-day interviews? Something happened here, deeper than an aborted quest for fame, and the documentary hasn't gotten to it.
    • 50 Metascore
    • 60 Joshua Rothkopf
    But you do take the film home with you - to all your own toys - and that's what decent horror is supposed to do.
    • 62 Metascore
    • 60 Joshua Rothkopf
    It feels too flabby for the company it keeps.
    • 51 Metascore
    • 60 Joshua Rothkopf
    Mike and Dave Need Wedding Dates follows a sturdy trajectory toward incipient maturity (and ceremonial catastrophe). If you don’t think about it too hard, you won’t hate it.
    • 51 Metascore
    • 60 Joshua Rothkopf
    The material isn’t excited or shaped toward any insight — the Mike Leigh of "Naked" did this sort of thing brilliantly — and the arrival of a sluggish investigating journalist (Richard Jenkins), himself a bar fixture and underachiever, doesn’t offer a valid counterpoint.
    • 47 Metascore
    • 60 Joshua Rothkopf
    The movie works-to the extent that it does-because of its sharply un-PC script (credited to Lee Eisenberg and Gene Stupnitsky) that sometimes feels like a Hollywood rewrite of "Election."
    • 49 Metascore
    • 60 Joshua Rothkopf
    There’s no denying the movie’s climactic gathering of females bent on saving the species.
    • 49 Metascore
    • 60 Joshua Rothkopf
    As scripted by Bryan Sipe, Demolition buries its lead actor under a rubble of clichés.
    • 56 Metascore
    • 60 Joshua Rothkopf
    Executive-produced by Steven Spielberg, the movie's special effects are seamless and far more cleanly cut than any of Michael Bay's hash. But the element that lingers longest is a subtle strand - also woven into last week's "Take Shelter" - of recessionary anxiety.
    • 62 Metascore
    • 60 Joshua Rothkopf
    For all its episodic, gleeful inappropriateness, the movie Klown most resembles - not that it tries to or anything - is Alexander Payne's half-soused flight from maturity, "Sideways."
    • 67 Metascore
    • 60 Joshua Rothkopf
    Philip Seymour Hoffman and a ratlike Paul Giamatti are the competing spin doctors - you wish the whole movie were about them. And Marisa Tomei brings a hungry sense of scoopmaking to the (unavoidable?) role of a New York Times journalist who's seen it all.
    • 66 Metascore
    • 60 Joshua Rothkopf
    Notably undisciplined for a Pixar plot, it feels like a lot of heavy lifting to get to the same old lessons about kinship and finding your clan.
    • 53 Metascore
    • 60 Joshua Rothkopf
    Superb limb-erasing effects and lush cinematography are bonuses, though not so much the cloying presence of American Idol's Carrie Underwood.
    • 78 Metascore
    • 60 Joshua Rothkopf
    The whole second half suggests a new way of storytelling-like one of those Wes Anderson montages done by an obsessive fan of Hatari! To judge from Tabu's first hour, pacing is not Gomes's strong suit, yet the filmmaker who emerges might win you over.
    • 51 Metascore
    • 60 Joshua Rothkopf
    Moodysson hasn’t exactly descended to "Babel"-level pabulum with Mammoth, his first foray into English; these characters are too fascinatingly thorny, and he still has a supple way with a pulse-throbbing dance tune.
    • 40 Metascore
    • 60 Joshua Rothkopf
    The Good Heart dilutes Cox’s gravitas with quirk.
    • 60 Metascore
    • 60 Joshua Rothkopf
    When a movie is this predicated on aping the Coen brothers (effectively, it should be added, in fits and starts), surprise won't be its strong suit.
    • 72 Metascore
    • 60 Joshua Rothkopf
    The documentary feels preprogrammed when it could have been a real-life Black Swan.
    • 57 Metascore
    • 60 Joshua Rothkopf
    The doc dutifully allows for these varying viewpoints, but in a mode that’s not especially captivating, despite a guitar score by Brokeback Mountain’s Gustavo Santaolalla.
    • 66 Metascore
    • 60 Joshua Rothkopf
    Though play with fire she might, couldn't screenwriter Jonas Frykberg have played with a little button called DELETE? There's no reason why a two-hour movie should feel like three, nor require quite so much fidelity to Larsson's plot curlicues.
    • 66 Metascore
    • 60 Joshua Rothkopf
    There's too much coyness about the implicit romance across the table; several other tensions concerning female independence go mostly unexplored. But the film's quiet focus on a woman's anxiety is not unwelcome.
    • 66 Metascore
    • 60 Joshua Rothkopf
    The movie strays too far into fantasy - Abe suffers mightily - but Solondz still has an ear and an eye for a specific hell in the real world.
    • 84 Metascore
    • 60 Joshua Rothkopf
    Holy Motors is aggressively "wild," a puzzle that tweaks the mind but doesn't nourish.

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