Joshua Rothkopf
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For 671 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 Nightcrawler
Lowest review score: 20 Chloe
Score distribution:
  1. Negative: 44 out of 671
671 movie reviews
    • 50 Metascore
    • 60 Joshua Rothkopf
    There’s social satire for those who want it — don’t tell the rest of the neighborhood our daughter’s risen from the dead! — and a fine, simmering sense of apocalypse that turns this suburban community into a war zone. Still, it’s a lot of heavy lifting for what amounts to “he’s just not that into you,” mainly because you’re as ripe as a cadaver.
    • 60 Metascore
    • 60 Joshua Rothkopf
    This one belongs to the women: As a gold-digging mistress, Isla Fisher does half-smart expertly, while Jennifer Aniston demonstrates her underrated timing as a wealthy kidnapping victim turned confidante.
    • 53 Metascore
    • 60 Joshua Rothkopf
    You don’t often see style this gorgeous (however empty), and that must count for something. Groovy soundtrack cues by Ennio Morricone and others do the heavy lifting.
    • 77 Metascore
    • 60 Joshua Rothkopf
    Dank with the effluvia of a proudly unhygienic, sex-obsessed German teen, this frenetic adaptation of Charlotte Roche’s notorious 2008 best-seller is a standing dare to anyone who thinks the movies have gotten too tame.
    • 68 Metascore
    • 60 Joshua Rothkopf
    Until the movie's cathartic showdown (and a few backstory revelations that impress too late), The Drop putters along in a dozy register, less a simmering pot than a cooling one.
    • 74 Metascore
    • 60 Joshua Rothkopf
    It helps that Milo (Hader) and Maggie (Wiig) are cranky adult siblings, sharing a whip-crack shorthand that longtime skit partners know how to muster effortlessly.
    • 55 Metascore
    • 60 Joshua Rothkopf
    Both overindulgent and the writer-director's most fascinatingly strange movie to date.
    • 64 Metascore
    • 60 Joshua Rothkopf
    St. Vincent has nothing on Rushmore, an obvious forebearer, even though it strains for the same egalitarian spirit of thrown-together family, one that includes a pregnant Russian stripper (Naomi Watts) and a sympathetic but firm Catholic schoolteacher (Chris O’Dowd).
    • 60 Metascore
    • 60 Joshua Rothkopf
    Seeing as how Kill the Messenger comes down firmly on the side of Webb’s truth, it’s unfortunate that his discoveries are only confirmed via the end credits. Missing from the action, too, is the merest hint of our hero’s demise by suicide in 2004. These aspects should have been better showcased; as is, it’s not the whole story.
    • 49 Metascore
    • 60 Joshua Rothkopf
    Younger audiences will see "The Fault in Our Stars’" Shailene Woodley once again excelling in an emotionally tricky role: Kat, a 17-year-old blooming into her wild years while reckoning with an increasingly unhinged mother, Eve (Eva Green, crazy-eyed and just this side of Faye Dunaway).
    • 67 Metascore
    • 60 Joshua Rothkopf
    John Wick feels like action manna for its cleanly designed gun-fu sequences—ones you can actually follow—and brutal takedowns. But the revenge plotting is deeply dopey and we shouldn't have to choose one or the other.
    • 75 Metascore
    • 60 Joshua Rothkopf
    Unfortunately for us, Dern — only seen in flashback — isn’t the main character.
    • 61 Metascore
    • 60 Joshua Rothkopf
    Workman’s study, complete with a fawning sit-down with Steven Spielberg, feels slightly awestruck: The films certainly deserve it, but you’ll want more of Welles’s Illinois schoolmate, rolling her eyes when the subject is described as “humble.”
    • 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.
    • 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.
    • 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.
    • 81 Metascore
    • 40 Joshua Rothkopf
    Shockingly dull.
    • 51 Metascore
    • 40 Joshua Rothkopf
    There are sparks here that suggest the smarter movie a more scientifically minded director--say, David Cronenberg--might have made.
    • 43 Metascore
    • 40 Joshua Rothkopf
    Better to defrost "Alive" or "The Edge" from the video icebox.
    • 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.
    • 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.
    • 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.

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