For 631 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 Passion Play
Score distribution:
  1. Negative: 42 out of 631
631 movie reviews
    • 56 Metascore
    • 60 Joshua Rothkopf
    A fine sense of yuppie suffocation—Spin-class listlessness and workaholic disconnection—sets up this indie as a potential suburban satire.
    • 83 Metascore
    • 60 Joshua Rothkopf
    Director Paul Greengrass remains a genius of claustrophobia, yet his better films — "Bloody Sunday," "United 93" and "The Bourne Ultimatum" — all beat with a stronger sense of central identification. He doesn’t have as much to work with this time, and his solution is to slow down the pace. The result is more clarity, but also more monotony.
    • 41 Metascore
    • 60 Joshua Rothkopf
    Doomed love will never go out of style, but would it have killed director Carlo Carlei to inject the proceedings with some modern-day aloofness? Today’s version will likely become a cheat sheet for slacking students, but it won’t inspire them to open their hearts to the text.
    • 53 Metascore
    • 60 Joshua Rothkopf
    Only Julianne Moore, as the Bible-thumping mom, has an instinct to go softer — how couldn’t she, after Piper Laurie? — and paradoxically, it’s a move that feels wrong, the role requiring its cantatory bigness.
    • 35 Metascore
    • 60 Joshua Rothkopf
    Watts’s work is extraordinary, sometimes keying off the same illicit register as "Mulholland Drive"; she risks being goofy, awkward and bratty.
    • 59 Metascore
    • 60 Joshua Rothkopf
    A certain Hollywood self-absorption is on display here, but the family’s depressing story merits Mariel’s vigilant defensiveness.
    • 67 Metascore
    • 60 Joshua Rothkopf
    Given Armstrong’s squirminess on the couch, you’ll wish this profile had traded a portion of its deep background for a little in-the-moment boldness.
    • 57 Metascore
    • 60 Joshua Rothkopf
    How I Live Now goes to that nuclear nightmare, and Ronan, who can’t hide her smarts even when the role isn’t as good as the one she had in "Atonement," makes a feast of the journey.
    • 80 Metascore
    • 60 Joshua Rothkopf
    At Berkeley works beautifully as a picture of compromised activism; viewers who summon the patience to commit to its indulgences won’t feel shortchanged, even if next year’s freshmen are.
    • 63 Metascore
    • 60 Joshua Rothkopf
    This recut version appends a new interview with Polanski and Stewart, returning to the same hotel room to wax nostalgic. Essentially, they liked going fast and big; this film feels slow and minor.
    • 49 Metascore
    • 60 Joshua Rothkopf
    Weaknesses from the original remain, including a mustache-twirling villain straight out of a Bond film (Sharlto Copley) and a Freudian master plan that unravels the more you think about it. Give credit to Lee for staying fresh, even if this feels like slumming.
    • 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.
    • 72 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.
    • 56 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.
    • 76 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.