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 Boyhood
Lowest review score: 20 Winter's Tale
Score distribution:
  1. Negative: 42 out of 605
605 movie reviews
    • 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.
    • 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.
    • 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?
    • 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.
    • 45 Metascore
    • 40 Joshua Rothkopf
    A perfectly boring movie from Julian Schnabel - is it possible?
    • 52 Metascore
    • 40 Joshua Rothkopf
    None of this is particularly well wrought, and only a bizarre gas mask worn by the séance leader counts as an inspired (if slightly silly) touch.
    • 59 Metascore
    • 40 Joshua Rothkopf
    To the movie's small credit, there's very little grasping for larger significance: It's a dumb horror film, complete with a sexy female lust object (Kaboom's Mesquida) undraping for a shower scene.
    • 36 Metascore
    • 40 Joshua Rothkopf
    The original film, for all its zaniness, existed in a recognizable Koch-era metropolis, one that paradoxically added to our hero's likable haze of denial. This time, the town is far shinier (what recession?).
    • 27 Metascore
    • 40 Joshua Rothkopf
    While the movie isn't "Witness," you know that comic scenes of target practice are going to make sense around the bend.
    • 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."
    • 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.
    • 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.
    • 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.
    • 69 Metascore
    • 40 Joshua Rothkopf
    Breillat, as always, goes her own way, but her impressionistic scenes barely cohere, even at this brief running time.
    • 41 Metascore
    • 40 Joshua Rothkopf
    It gets bogged down in slo-mo indie quirk when it should be faster, more in our face.
    • 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.
    • 31 Metascore
    • 40 Joshua Rothkopf
    The hard fact, though, is that Harlin's instincts - always toward the massive and slo-mo - make him a fairly dunderheaded political analyst.
    • 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.
    • 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.
    • 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.
    • 55 Metascore
    • 40 Joshua Rothkopf
    Filmed with the somber pretentiousness of a "Babel," the movie never quite converts its premise into something grander (never mind believable). Meanwhile, the world starts to riot, yet their bed is warm. Will love save the day? Unfortunately for us, our sense of smell remains intact.
    • 72 Metascore
    • 40 Joshua Rothkopf
    You doubt Wiseman's sense of pacing. Still, he must have had a good time shooting.
    • 80 Metascore
    • 40 Joshua Rothkopf
    Even on its own limited, rigorous aesthetic grounds, there are far superior movies (including all of Tarr's own work). It's a sad way for the 56-year-old to go out, almost a caricature of his funereal mood and of art cinema in general.
    • 40 Metascore
    • 40 Joshua Rothkopf
    Like all advertisements, this scripted movie is a perfect fantasy: expertly coordinated, simplistic (the bad guys like yachts and bikini girls while our heroes have loving families) and more than a little scary.
    • 52 Metascore
    • 40 Joshua Rothkopf
    The movie is one big scream, clichéd and hardly credible as an oblique call to civility.
    • 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.
    • 45 Metascore
    • 40 Joshua Rothkopf
    Fresnadillo, working with screenwriters Nicolás Casariego and Jaime Marques, might be angling for the same YA fantasy as "Pan's Labyrinth," but they've forgotten about that film's violent underpinnings, a mistake that leaches their movie of suspense.
    • 39 Metascore
    • 40 Joshua Rothkopf
    Close to a parody of a French sex drama - complete with bored, bourgie bed-swappers and a dull sense of amoral sophistication - this autopiloted import does no favors to the legacies of Truffaut and Godard.
    • 48 Metascore
    • 40 Joshua Rothkopf
    Green was meant for quick-witted comedy. Unfortunately, she's becoming a mainstay of painfully sincere slogs.
    • 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.