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 Russian Ark
Lowest review score: 20 Aurora
Score distribution:
  1. Negative: 42 out of 605
605 movie reviews
    • 63 Metascore
    • 60 Joshua Rothkopf
    Subtle performances — especially from Bale and Affleck, both growing meaner in the absence of hope — transcend any structural weaknesses. The bottom drops out early for them, but their endgame is savagely captivating.
    • 65 Metascore
    • 60 Joshua Rothkopf
    Saving Mr. Banks turns Travers’s tense collaboration with Walt and his team of Imagineers into — naturally — a schmaltzy journey of closure, climaxing in a teary screening of the finished musical.
    • 40 Metascore
    • 60 Joshua Rothkopf
    The movie hinges on a lengthy lesbian sex scene between in-on-the-joke leads Asta Paredes and Catherine Corcoran; "Blue Is the Warmest Color" this ain’t.
    • 71 Metascore
    • 60 Joshua Rothkopf
    A cute suitor shows up at Natia’s side with the gift of a pistol (for her protection, he insists), and you wait in vain for it to go off. Rather, the fireworks come in last-act shouting bouts, sincere if slightly disappointing.
    • 57 Metascore
    • 60 Joshua Rothkopf
    The plot’s a bit complex for what amounts to a lot of running around — the movie can’t help but evoke the Bourne series along with a high-gloss hint of Skyfall, not wholly unpleasantly.
    • 57 Metascore
    • 60 Joshua Rothkopf
    It plays like a conventional melodrama with better-than-average production values.
    • 63 Metascore
    • 60 Joshua Rothkopf
    Unfortunately, the draggy movie is one thing definitively, and that’s exactly like all of Reggio’s other films. His formal devices haven’t changed in 30 years, and the po-faced presentation, once hypnotically strange and cosmic, now feels like an overused gimmick.
    • 70 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.
    • 60 Metascore
    • 60 Joshua Rothkopf
    Persuasive sci-fi tech talk, soulful romance and an earnest stab at metaphysics combine in director Mike Cahill's polished second feature.
    • 53 Metascore
    • 60 Joshua Rothkopf
    LaMarque foregrounds her scenario’s awkwardness—it never quite feels like a comedy—and the pair of male suitors she brings in (Jake Johnson and Ron Livingston) are, refreshingly, as unfixed as her main character. But you still wish Kazan had more to work with.
    • 57 Metascore
    • 60 Joshua Rothkopf
    Too many characters contribute to a dulling of the cross-cultural spark found in the original (and in the better-known A Prophet). Kinnaman doesn’t have as much to play with this time — without his double life, he’s just an unsmooth criminal.
    • 36 Metascore
    • 60 Joshua Rothkopf
    The performances, especially from the bed partners, are complex; even if you weren’t wanting for an exposé of adult-entertainment violence, here it is.
    • 40 Metascore
    • 60 Joshua Rothkopf
    But scary? Not so much.
    • 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.
    • 49 Metascore
    • 60 Joshua Rothkopf
    Hollywood does this too; truth be told, Russia’s high-tech whitewash goes down smooth like vodka.
    • 68 Metascore
    • 60 Joshua Rothkopf
    Densely plotted by director Yuval Adler and Ali Wakad (the former Israeli, the latter Palestinian), this informant crime drama finds admirable complexity in the folds of its shifting allegiances — even if you’ve seen this dynamic done better in movies like "The Departed."
    • 60 Metascore
    • 60 Joshua Rothkopf
    All the way back to "Donnie Darko," Jake Gyllenhaal has had an inchoate sense of evolution about him, a tricky quality that better actors can’t pull off half as well. So it’s hard to say if splitting the star into two doppelgängers — Adam, a mousy college professor, and Anthony, a rising actor with a healthy ego — is the best dramatic plan.
    • 57 Metascore
    • 60 Joshua Rothkopf
    Bad Words soars in the bits of riotously offensive chitchat between Guy and a young Indian hopeful (Rohan Chand); it wobbles in plot developments involving the effortlessly starchy Allison Janney as the contest’s “queen bee”; and it splats in the I’m-secretly-hurting conclusion.
    • 77 Metascore
    • 60 Joshua Rothkopf
    The filmmaker has fallen for some of indiedom’s worst clichés, including our main character’s sad stare out to the ocean, and soft camerawork that’s beginning to sound like a Klaxon: Hug me, hug me, hug me.
    • 69 Metascore
    • 60 Joshua Rothkopf
    Morris's new subject looks relaxed and comfortable as ever lobbing out the same old evasions. He probably loves the attention from the Oscar-winning director.
    • 44 Metascore
    • 60 Joshua Rothkopf
    Perfect Sisters, which takes a dark, matricidal turn (inspired by an actual Toronto case), was never going to be a new "Heavenly Creatures." But give credit to director Stan Brooks for allowing his two former child stars some real meat to sink their teenage chops into.
    • 49 Metascore
    • 40 Joshua Rothkopf
    The set pieces are grand—gloriously dumb and never realistic enough to make you wince at the fact that billions of microscopic souls are dying before your eyes. Rather, you wince at everything else.
    • 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.
    • 57 Metascore
    • 40 Joshua Rothkopf
    This is the ultimate sin of the film, generically helmed by lad-auteur Guy Ritchie: Logic seems to be thrown out the window in order to make room for clashes on a partially completed Tower Bridge. It’s way too elementary.
    • 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.
    • 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.
    • 49 Metascore
    • 40 Joshua Rothkopf
    Cutesy and generic, New York, I Love You is almost colossally inept at capturing five-boroughs flavor.
    • 54 Metascore
    • 40 Joshua Rothkopf
    An unfocused comedy about weird Army pseudoscience, ends up blinking before we laugh.
    • 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.
    • 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.