Joshua Rothkopf
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For 692 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
  • TV
Average review score: 63
Highest review score: 100 Gett: The Trial of Viviane Amsalem
Lowest review score: 20 Antichrist
Score distribution:
  1. Negative: 44 out of 692
692 movie reviews
    • 66 Metascore
    • 60 Joshua Rothkopf
    On the whole, it's passable stuff, a surprise, given how mechanical the masked character seemed.
    • 71 Metascore
    • 60 Joshua Rothkopf
    Outside of its cracked psychology (well conveyed by papa Bill Sage), We Are What We Are is horror leftovers, neither inedible nor piping hot.
    • 75 Metascore
    • 60 Joshua Rothkopf
    The film manages to span from feisty Wilson Pickett to Confederate-flag-flaunting Lynyrd Skynyrd, but if ever a music doc needed insight from the fans who went along for the ride and forgot their troubles, it’s this one.
    • 64 Metascore
    • 60 Joshua Rothkopf
    Best are the film's tender ghostly visitations from Dad, evoked with a minimum of artiness, and the authentic, impoverished locations.
    • 55 Metascore
    • 60 Joshua Rothkopf
    This version’s shadowy Las Vegas underworld and convenient adoring female coed (Brie Larson, who deserves better) play like clichés.
    • 49 Metascore
    • 60 Joshua Rothkopf
    Call it a strange and unintended benefit, then, that many of these generic characters work better as awkward adults than as teens.
    • 66 Metascore
    • 60 Joshua Rothkopf
    The general takeaway, occasionally swaddled in pot clouds and boisterous laughter, is that verse-slinging requires serious thought and planning.
    • 74 Metascore
    • 60 Joshua Rothkopf
    The film is vigorous exercise for those who prefer their mysteries knowing and knotty.
    • 63 Metascore
    • 60 Joshua Rothkopf
    You watch Dafoe's intelligent hands skillfully setting traps, building fires and squeezing triggers, and wonder if an entire movie might be made of such manly components. Probably not.
    • 64 Metascore
    • 60 Joshua Rothkopf
    Sometimes, the debunking is overshadowed by cringe-inducing graphics involving pills with little legs running toward a finish line.
    • 72 Metascore
    • 60 Joshua Rothkopf
    The tale itself is extraordinary, so why not let it do the talking? When Crime After Crime sifts through the facts, we feel the pull of justice; those moments might be enough.
    • 61 Metascore
    • 60 Joshua Rothkopf
    The film's mood is so somber and minimal, it might be confused for deep. Had the plot (meager and one-last-job-predictable) zipped along, that wouldn't feel like such a problem.
    • 71 Metascore
    • 60 Joshua Rothkopf
    With unexpected supernatural restraint, the movie approaches a religious parable; am I being unfair in wishing it had a touch more apocalyptic hysteria to it?
    • 62 Metascore
    • 60 Joshua Rothkopf
    More shakily, Payne’s obvious pathology isn’t probed as deeply as it should be. A jaunty musical score smooths over what might have been a tougher profile about an expert liar, to self included.
    • 73 Metascore
    • 60 Joshua Rothkopf
    There's a more courageous profile waiting to be made by someone who understands the man better.
    • 47 Metascore
    • 60 Joshua Rothkopf
    The movie has a centerfold sheen to it--and some lesbianic soft-core flirtation to match--as its plot dives deeply into "Twilight"-esque heavy-melo meltdown in the last act. Cody throws one too many losses at Needy; the screenwriter loses her satiric way about halfway through. But for a while, this has real fangs.
    • 63 Metascore
    • 60 Joshua Rothkopf
    Love Crime soon plummets into a flashback-laden mess, a shame since it was marginally stronger as a psychosexual game of dominance.
    • 66 Metascore
    • 60 Joshua Rothkopf
    The esteemed director, Ken Loach, isn’t really a fantasist--and it shows.
    • 72 Metascore
    • 60 Joshua Rothkopf
    The funny thing? It all works reasonably well, especially if you have a yen for the urbane register of city kids and their amazingly cool parents.
    • 55 Metascore
    • 60 Joshua Rothkopf
    There's too much going on here - of a winning, thoughtful nature - to dismiss Josh Radnor's back-to-college romance as the nostalgia bath it mainly is.
    • 30 Metascore
    • 60 Joshua Rothkopf
    Too many digital effects ruin the spell of a tactile world of evil objects scheming your demise. But even a mediocre FD is better than more Jigsaw.
    • 73 Metascore
    • 60 Joshua Rothkopf
    Tuschi leans too far into an admiring position, and you thirst for some commonsense critique. It's all a bit rich.
    • 58 Metascore
    • 60 Joshua Rothkopf
    Al Pacino’s done so much Acting over the last 25 years (hoo-ah), it’s disquieting to see him digging deep again—often with subtlety—into a rich role with hidden depths.
    • 75 Metascore
    • 60 Joshua Rothkopf
    As brought to life in the stentorian tones of Ben Kingsley, the curator comes off like a driven visionary, but his actual efforts aren't dramatized enough. The paintings speak more articulately: doomy, dank colors and oppressive shapes.
    • 66 Metascore
    • 60 Joshua Rothkopf
    Breathtaking imagery competes with a scary lack of human interest in this hypnotic, potentially alienating documentary.
    • 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.
    • 72 Metascore
    • 60 Joshua Rothkopf
    Simply skip the first part entirely: "Killer Instinct" bulges with a disconnected jumble of nightclub attacks and fence-clipping escapes you've seen better elsewhere. Yet a tide change happens with the superior Public Enemy No. 1, which takes the subject's raging ego as its cue.
    • 60 Metascore
    • 60 Joshua Rothkopf
    It exists in fits and starts: a Blade Runner–esque moment of rainy contemplation on a hotel balcony; some weird sexual tension with a lizard girl (statuesque Svetlana Khodchenkova) who steals away Wolverine’s healing powers.
    • 52 Metascore
    • 60 Joshua Rothkopf
    Now, with this underwhelming sequel, Spain proves it can stand toe to toe with any nation in the manufacture of unnecessary follow-ups.
    • 45 Metascore
    • 60 Joshua Rothkopf
    The film wants to be inspiring, when it might have been cosmic-a far greater ambition. Tossing boats and dreamers, the huge waves perform beautifully.

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