Joshua Rothkopf

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For 717 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 Marley
Lowest review score: 20 The Spy Next Door
Score distribution:
  1. Negative: 46 out of 717
717 movie reviews
    • 46 Metascore
    • 40 Joshua Rothkopf
    How does one remain an unapologetic fan of Vaughn, abrasive though he is, even as his material fails him?
    • 53 Metascore
    • 40 Joshua Rothkopf
    The film lacks any kind of human interest, relying instead on our inferred love of lengthy strategy sessions and displays of ruffled pride. When it comes to yakuza cinema, you can do better.
    • 34 Metascore
    • 40 Joshua Rothkopf
    Neither as subversively fun as last year’s megadestructive "Project X," nor as creative as "The Hangover" (on which these codirectors broke through as screenwriters), this further installment in the millennials-acting-badly genre serves as a distinctly average placeholder.
    • 37 Metascore
    • 40 Joshua Rothkopf
    All of them slog through countless boring sword-and-sandal skirmishes, none of which feel remotely suspenseful, until the hugeness of it all becomes a mildly passable joke.
    • 41 Metascore
    • 40 Joshua Rothkopf
    The filmmakers are too much in love with their made-up holiday to observe it to the fullest.
    • 63 Metascore
    • 40 Joshua Rothkopf
    In theory, there's nothing wrong when a movie reminds you of TV. (That's where the fun is, anyway.) But when a movie resembles a long-lost, corduroy-clad episode of "The Rockford Files," that's a problem.
    • 54 Metascore
    • 40 Joshua Rothkopf
    Just as you're reeling from the tackiness of this premise, set within such an explosive context, the plot doubles down on it.
    • 54 Metascore
    • 40 Joshua Rothkopf
    An unfocused comedy about weird Army pseudoscience, ends up blinking before we laugh.
    • 49 Metascore
    • 40 Joshua Rothkopf
    Cutesy and generic, New York, I Love You is almost colossally inept at capturing five-boroughs flavor.
    • 44 Metascore
    • 40 Joshua Rothkopf
    The Losers is the ultimate example, scraped from the bottom of the comic-book barrel, where writer Andy Diggle’s figurine-like characters first had their exploits in an exciting War on Terror.
    • 43 Metascore
    • 40 Joshua Rothkopf
    My Best Enemy bleeds suspense like a pin-pricked tire. It wants to be clever, but survivor tales bring with them too much muck.
    • 47 Metascore
    • 40 Joshua Rothkopf
    Brief yet underdeveloped, Interior. Leather Bar. has a faux-documentary vibe about it.
    • 45 Metascore
    • 40 Joshua Rothkopf
    The new movie is simpler plotwise (a race to the Fountain of Youth), while at the same time being somehow more deadening.
    • 53 Metascore
    • 40 Joshua Rothkopf
    The main flaw — twirling farm girls and grunting oxen aside — is an utter lack of insight into the future leader’s character.
    • 68 Metascore
    • 40 Joshua Rothkopf
    An eerie resurrection regains some good will, but we'll have to wait for Neshat to catch up with the art of storytelling.
    • 43 Metascore
    • 40 Joshua Rothkopf
    Better to defrost "Alive" or "The Edge" from the video icebox.
    • 48 Metascore
    • 40 Joshua Rothkopf
    Green was meant for quick-witted comedy. Unfortunately, she's becoming a mainstay of painfully sincere slogs.
    • 40 Metascore
    • 40 Joshua Rothkopf
    The film is set in a celeb-owned Miami restaurant and many of the gags--exploding entrees, the swallowing of a diamond ring, on-the-job drunkenness--feel like leftovers.
    • 46 Metascore
    • 40 Joshua Rothkopf
    The movie sags after Mary’s weak-willed acquiescence to crime, instantly turning her into a dull-eyed monster. You know her procedures are bound to stray from elective, but it’s hard to care.
    • 59 Metascore
    • 40 Joshua Rothkopf
    The casting is spectacularly wrong, and even on its own scant merits, writer-director Lorene Scafaria's screenplay has little insight into apocalyptic licentiousness, barring a tart line or two.
    • 37 Metascore
    • 40 Joshua Rothkopf
    Centrally, the title character remains an impressive piece of propwork, and Leonetti's restraint in never animating it (à la Chucky) is the only thing worth appreciating here.
    • 52 Metascore
    • 40 Joshua Rothkopf
    Marvel at the desperate spectacle of three comic leads-Aniston, Bateman and Watchmen's Patrick Wilson as the original donor-being outperformed by the wide-eyed Robinson, a quiet collector of silences. These stars will never be as young as he is; you wish they'd all stop trying.
    • 55 Metascore
    • 40 Joshua Rothkopf
    The better actors — Kevin Costner, chiefly, as the adoptive Earth father — strain to supply warmth, but mostly, the minutes stretch into great expanses of blahness, much of them filled with Transformers-grade skyscraper snapping and bloodless catastrophe.
    • 61 Metascore
    • 40 Joshua Rothkopf
    A typically lax late-period Ferrara work, far from the glories of "King of New York."
    • 39 Metascore
    • 40 Joshua Rothkopf
    Depending on what you need from this movie, there's slight redemption in its full-on commitment to raunch, both in baby-shit–to-mouth scatology and some choice zingers.
    • 54 Metascore
    • 40 Joshua Rothkopf
    Let's not make 4:44 Last Day on Earth sound cooler than it is. Compared with Lars von Trier's histrionically doomed "Melancholia," the film lacks any serious attempt to grapple with mortality.
    • 36 Metascore
    • 40 Joshua Rothkopf
    Ultimately, for all its running around in the middle of the night, Sex Tape plays it remarkably coy, reaffirming love, not lust. It’s the cinematic equivalent of sleeping in the wet spot.
    • 70 Metascore
    • 40 Joshua Rothkopf
    Once you get over the droll joke of seeing an equine Web surfer wearing a bathrobe and sipping his morning coffee, the movie settles into a shrill groove from which it never escapes.
    • 43 Metascore
    • 40 Joshua Rothkopf
    Some will find the director’s toothless brand of epiphany comforting (and download his mixtape), but the vast majority will find it tired.
    • 41 Metascore
    • 40 Joshua Rothkopf
    What's the word on the film debut of Rihanna, playing a sass-mouthed petty officer? Dreadful (ella, ella).
    • 45 Metascore
    • 40 Joshua Rothkopf
    A perfectly boring movie from Julian Schnabel - is it possible?
    • 69 Metascore
    • 40 Joshua Rothkopf
    Breillat, as always, goes her own way, but her impressionistic scenes barely cohere, even at this brief running time.
    • 53 Metascore
    • 40 Joshua Rothkopf
    There's nothing strictly wrong with any of this, except for the fact that even a buttoned-down period piece like "Topsy-Turvy" feels sexier.
    • 53 Metascore
    • 40 Joshua Rothkopf
    Where the book had a kernel of intellectual irony to it — words betray a nation — this drama goes shamelessly for the heart.
    • 63 Metascore
    • 40 Joshua Rothkopf
    Material like this doesn't require the additional strain of overnarrated freeze-frames, a "Cuckoo's Nest" supporting cast of adorable crazies and a Glee-ified musical number set to Queen and David Bowie's "Under Pressure."
    • 47 Metascore
    • 40 Joshua Rothkopf
    Diced into hash, the action sequences are unusually painful: poundingly loud and punctuated by Liam Neeson's bark, Bradley Cooper's manic heehawing and a total lack of clarity.
    • 50 Metascore
    • 40 Joshua Rothkopf
    Judging from Sánchez's Lovely Molly, he'd like to get lost in the trees again, but now knows the path too well.
    • 52 Metascore
    • 40 Joshua Rothkopf
    The predictability is crushing, and with movies like "Crazy Heart" and Sofia Coppola's distinctly personal "Somewhere" so close in the rearview, David M. Rosenthal's estrangement drama feels especially soft.
    • 48 Metascore
    • 40 Joshua Rothkopf
    In our chatty "Game of Thrones" moment, you'll thirst for a sidekick: a sly dwarf, a wisecracking female warrior, a huggable wolf, anything. Solomon Kane has none of these, and even heavyweight speechifiers like Max von Sydow and the late Pete Postlethwaite (that's how old the film is) have little to gnaw on.
    • 45 Metascore
    • 40 Joshua Rothkopf
    Still Life constantly threatens to become a better movie: John’s scrutiny of photos feels vaguely serial-killer–esque, and there’s a late-inning love interest (Downton Abbey’s Joanne Froggatt) that you privately cheer for.
    • 52 Metascore
    • 40 Joshua Rothkopf
    The film will do until "Fifty Shades of Grey" turns up. The more you think about Labor Day, the more calculating it gets.
    • 61 Metascore
    • 40 Joshua Rothkopf
    The whole film seems dead set against offering up any kind of salaciousness. Like the overly arty "Zoo" and other indie experiments, it misses the point in a disturbing way.
    • 76 Metascore
    • 40 Joshua Rothkopf
    The director has made disappointing films before — a more generous word might be transitional — but never one so slight.
    • tbd Metascore
    • 40 Joshua Rothkopf
    The young actors' vacant-eyed brazenness may be true to life, but there's a whiff of exploitation, matched by the script's disinterest in exploring any friction that isn't skin on skin.
    • 46 Metascore
    • 40 Joshua Rothkopf
    Listen to the rhythms of "Broadcast News" - from Holly Hunter's daily crying jags to William Hurt's cock-of-the walk patter - and you'll hear how romantic comedy can approach an art form, a roundelay that requires the ear of a conductor. How Do You Know, James L. Brooks's latest, has such tone-deaf passages that it feels made by a totally different man.
    • tbd Metascore
    • 40 Joshua Rothkopf
    Unfortunately, Truffaut fell into a pit of awkwardness on the project; editingwise, he's hardly in the league of Hitchcock, his sequences rushing ahead, his ironies too obvious. The Bride Wore Black only makes you yearn for better imitators like Brian De Palma. (Unlikely agreement came from Truffaut himself, ever the film critic, who hated his own movie.)
    • 52 Metascore
    • 40 Joshua Rothkopf
    You keep waiting for the movie to grow a brain, for that random attractive neighbor (Wilde) to turn out to be a decoy, for Banks herself to become suspect. Nope. The Next Three Days morphs into "The Fugitive" on steroids.
    • 59 Metascore
    • 40 Joshua Rothkopf
    Here's a film that definitely wants to play Hollywood dress-up.
    • 37 Metascore
    • 40 Joshua Rothkopf
    The movie dies onscreen; it might be the best advertisement for avoiding the glories of Italy ever released by a Hollywood distributor.
    • 38 Metascore
    • 40 Joshua Rothkopf
    It’s crushing, then, that the movie’s big reveal is the kind of narrative do-over that could only spring from the mind of an almighty writer in love with playing God — or with himself.
    • 57 Metascore
    • 40 Joshua Rothkopf
    With this depressingly bland sequel (scripted by snark specialist Justin Theroux), he’s (Robert Downey Jr.) stranded in lightweight arrogance.
    • 61 Metascore
    • 40 Joshua Rothkopf
    From its title on, Come Undone is as dully generic as is imaginable.
    • 33 Metascore
    • 40 Joshua Rothkopf
    Sandler's puppy-dog persona is just about ready to be put down. From its title on, this is entertainment for extremely lazy audiences.
    • 28 Metascore
    • 40 Joshua Rothkopf
    Fellini used to get away with such slender crises, but he had Marcello Mastrioanni behind the shades, as well as a more vivid penchant for psychosexual fantasy. Coppola and Swan are stuck in their obsessions with dorky album art and old-man cocktails at Musso & Frank. A precious, arid thing, Glimpse arrives pinned to Styrofoam like a prize arthropod.
    • 62 Metascore
    • 40 Joshua Rothkopf
    The sequences in Micmacs are contorted too: impressive and bendy and aggressively shallow.
    • 51 Metascore
    • 40 Joshua Rothkopf
    Dedicating a movie to John Hughes doesn't equal capturing the master's ear for the universality of adolescent angst.
    • 47 Metascore
    • 40 Joshua Rothkopf
    Less a master class in inappropriate high-school relationships than the CliffsNotes version, A Teacher isn’t going to tell you anything Nabokov or "Election" didn’t.
    • 29 Metascore
    • 40 Joshua Rothkopf
    Look, the movie didn't have to cure cancer or anything. But sans the original's redemptive nostalgia or any newfound cleverness, it's just a manic, flop-sweat-drenched mess.
    • 72 Metascore
    • 40 Joshua Rothkopf
    Something, Anything doesn’t really engage with issues of faith or materialism.
    • 52 Metascore
    • 40 Joshua Rothkopf
    Never once does the film feel sharp on black identity (as did Bill Gunn’s original), and the terror is theoretical only.
    • 38 Metascore
    • 40 Joshua Rothkopf
    Fans hoping to watch Schwarzenegger growl his catchphrases with a slight edge of shtick are underestimating the patience involved in sitting through a two-hour slog. As for those who want a little apocalyptic tension or (dare to dream) romance, this new model is not for you. It’s the Skynet cut.
    • 41 Metascore
    • 40 Joshua Rothkopf
    Almost half a century after "Night of the Living Dead," filmmakers are still misunderstanding how George Romero made his besieged shut-ins compelling.
    • 52 Metascore
    • 40 Joshua Rothkopf
    Christopher Felver, while an inspired photographer, is not the director for the job; he dutifully ticks off Ferlinghetti’s major achievements — such as the founding of North Beach’s literary mecca, City Lights — yet never imbues his life with anything more than lefty zeal.
    • 72 Metascore
    • 40 Joshua Rothkopf
    The script, credited to one Bert V. Royal, seems to have been run through an out-of-control sass machine (seriously, it'll make you appreciate Diablo Cody's tact).
    • 49 Metascore
    • 40 Joshua Rothkopf
    Adult children and friends watch nervously as Pippa reclaims a measure of spunk; too bad it all feels like one of those pharmaceutical ads for longer, healthier lifestyles.
    • 56 Metascore
    • 40 Joshua Rothkopf
    It's Goldthwait's first misstep, a serious one. He's simply not the filmmaker to mount a fierce takedown of Kardashian culture, thorough though his script's rage is.
    • 59 Metascore
    • 40 Joshua Rothkopf
    J. Edgar is infuriatingly coy and noncritical about its subject, an undeniable patriot but also an alarmist and a ruiner of lives.
    • 34 Metascore
    • 40 Joshua Rothkopf
    Unfortunately, none of the subsequent noise is all that scary, and the striving for "Paranormal Activity’s" buzz is shameless.
    • 41 Metascore
    • 40 Joshua Rothkopf
    You can go to one of those sweaty, immersive outdoor music fests and get splattered with the mud and euphoria that always engulfs fans. Or you can cheap out and see this predictable rom-com-shot at the 2010 edition of Scotland's then-in-progress T in the Park­-and boggle at finding strangers in the audience more appealing than our main characters.
    • 28 Metascore
    • 40 Joshua Rothkopf
    Unintentionally true to its title, The Divide first goes for a similar bleakness (it barely registers as entertainment), then lurches into a rousing, vengeful finale; both sides of the equation add up to less than zero.
    • 53 Metascore
    • 40 Joshua Rothkopf
    Bitchy histrionics curdle faster than a spoiled soy latte in this distinctly unlikable comedy about a trio of coked-up gal pals who barely muster the strength to celebrate their happier friend's wedding.
    • 51 Metascore
    • 40 Joshua Rothkopf
    In the wake of the spunkier "Your Sister's Sister," writer-director Brian Savelson can't seem to mount a head of steam, and his chamber piece feels underdeveloped. Even Slattery's sourness doesn't redeem the banality of impending heart-to-hearts.
    • 58 Metascore
    • 40 Joshua Rothkopf
    It takes a long time for Brothers to become the movie it wants to be, and even then, it stumbles.
    • 44 Metascore
    • 40 Joshua Rothkopf
    We've seen Nicolas Cage when he's angry-and we like him when he's angry. So why does this painfully loud revenge movie skimp on the Cage rage?
    • 42 Metascore
    • 40 Joshua Rothkopf
    The film’s cutesy vibe is closer to "Glee" than "Election" or "Waiting for Guffman," with Nathan Lane’s exuberant drama teacher pitching several yards of camp tent.
    • 57 Metascore
    • 40 Joshua Rothkopf
    Bound to surprise absolutely no one, Donald Trump comes off like a shameless boor in this slack, hiss-jerking documentary about his efforts to build a luxurious golf resort on hundreds of pristine acres of the Scottish coast.
    • 24 Metascore
    • 40 Joshua Rothkopf
    Like a stumpy limb requiring quick cauterization via steam pipe (our first cringe), the Saw series is begging for closure.
    • 27 Metascore
    • 40 Joshua Rothkopf
    There's really no focking place for the franchise to go anymore.
    • 46 Metascore
    • 40 Joshua Rothkopf
    [Eva] Green is the only one able to excite this silly material into the spiky shape it’s supposed to take. You wish the rest of the cast was as clued in.
    • 31 Metascore
    • 40 Joshua Rothkopf
    Utterly inessential, this slightly cheap-looking reboot of the Turtles franchise is froth too — it might even be too tame for the kids who make up the target audience.
    • 44 Metascore
    • 40 Joshua Rothkopf
    Who will survive the night in order to deflower her? Mysteriously, the film has a hard time functioning on even this level, introducing complications for Mandy that the actor can’t pull off, adorable though she is.
    • 45 Metascore
    • 40 Joshua Rothkopf
    A coda shifts to video footage of Cleese's irreverent eulogy; you wish the whole film could have been as slyly somber. It's what the colonel would have insisted upon.
    • 50 Metascore
    • 40 Joshua Rothkopf
    Mainly, though, this is a humorless film that skimps on the delicious opportunity for spousal retribution.
    • 59 Metascore
    • 40 Joshua Rothkopf
    This time, Stone is just sloshing around in the shallow end. When John Travolta and Benicio Del Toro show up for extended, cartoonish dialogues, you'll wonder what year it is, and let out a sigh of relief that the moment is long gone.
    • 49 Metascore
    • 40 Joshua Rothkopf
    Some kind of napping for sure: The line between rigor and tedium is crossed in this Madrid-set home-invasion thriller, captured in a dozen or so claustrophobic shots but impoverished as a piece of drama.
    • 49 Metascore
    • 40 Joshua Rothkopf
    Missing is Cameron’s signature action modification, best exploited in Aliens: the strapping female heroine. McG’s testosterone-juiced world feels a little doomed without her.
    • 27 Metascore
    • 40 Joshua Rothkopf
    The truly mystifying thing about the movie is how desperately it caters to Gen-X junk nostalgia without bothering to think that maybe those Reagan-era kids have grown up a bit.
    • 68 Metascore
    • 40 Joshua Rothkopf
    The more substantial material, including Spitzer's feuds with vindictive New York politician Joe Bruno and financier Ken Langone, gets short shrift.
    • 33 Metascore
    • 40 Joshua Rothkopf
    The doc’s most intriguing moment has Summers dropping into a Japanese karaoke bar and singing along to an in-progress Police hit, an affable man wandering through his own legacy.
    • 40 Metascore
    • 40 Joshua Rothkopf
    Why introduce two female characters — played by Kate Bosworth and Winona Ryder, both excelling at trashy desperation — if the script’s ultimately going to forget them? The worst sin is visited upon Statham: Sure, those fists fly, but his poetry has become a chopped-up hash.
    • 68 Metascore
    • 40 Joshua Rothkopf
    The big absence here is the man himself; Gibney couldn’t get the jailed Abramoff on camera, either due to unwillingness or a Justice Department intervention. Whatever the reason, it’s crippling.
    • 63 Metascore
    • 40 Joshua Rothkopf
    Not since a Nam-scarred Sly Stallone asked, "Do we get to win this time?" in "Rambo: First Blood Part II" has an American action star been deployed to rewrite history so thoroughly.
    • 54 Metascore
    • 40 Joshua Rothkopf
    You’re going to find it all either enormously empowering or deeply calculated: an Arcade Fire–scored TV commercial for instant spirituality.
    • 47 Metascore
    • 40 Joshua Rothkopf
    "Southland Tales" was a soporific mess, and while The Box (based on material by novelist Richard Matheson) is superior by a certain margin, Kelly derails his newfound discipline with the usual shimmering portals and hazy notions of apocalyptic sacrifice.
    • 60 Metascore
    • 40 Joshua Rothkopf
    This can't be a faithful facsimile of the literary phenomenon currently turning soccer moms into Scandinoir crackheads. Nor can ethical journalist Mikael (Nyqvist), an uncoverer of conspiracies, actually be the dull, Windbreakered nonaction hero onscreen.
    • 56 Metascore
    • 40 Joshua Rothkopf
    The movie you were hoping to avoid.
    • 49 Metascore
    • 40 Joshua Rothkopf
    Cake chokes you on its self-seriousness, even as it trots out potentially interesting supporting players.
    • 55 Metascore
    • 40 Joshua Rothkopf
    A proper profile of Hefner would start and end with sex, and not merely glance on casualties like Dorothy Stratten (and even the loveless Hef himself). The movie can't seem to get it up.
    • 30 Metascore
    • 40 Joshua Rothkopf
    No viewer goes into this movie expecting John Cassavetes's "Husbands," least of all from soft-serve director Denis Dugan (You Don't Mess with the Zohan).
    • 50 Metascore
    • 40 Joshua Rothkopf
    Please. If you're going to ask audiences to submit to a dim theater themselves, at least greet them with the proper monster they paid for.
    • 63 Metascore
    • 40 Joshua Rothkopf
    Never is the material excited into the kind of playful uncertainty that Rivette all but trademarked; the inertness of the performances robs the movie of spirit.
    • 33 Metascore
    • 40 Joshua Rothkopf
    Controversially, Escrivá started the Opus Dei, and There Be Dragons is best appreciated by those seeking more realism than the albino self-whipper of "The Da Vinci Code."
    • 41 Metascore
    • 40 Joshua Rothkopf
    It gets bogged down in slo-mo indie quirk when it should be faster, more in our face.

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