Joshua Rothkopf
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For 686 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 A Prophet
Lowest review score: 20 The Back-up Plan
Score distribution:
  1. Negative: 44 out of 686
686 movie reviews
    • 87 Metascore
    • 100 Joshua Rothkopf
    Either via clay dolls or fragile flesh, the truth is unmissable—as is Panh’s film itself.
    • 87 Metascore
    • 100 Joshua Rothkopf
    The most gratifying thing about the film is feeling Moodysson’s warmth return to him.
    • 84 Metascore
    • 100 Joshua Rothkopf
    Sprung from a 1982 French graphic novel and bearing its era’s trickle-down tensions, Snowpiercer is a headlong rush into conceptual lunacy — but you’ll love it anyway.
    • 91 Metascore
    • 100 Joshua Rothkopf
    A superior work of confrontational boldness, it might be the movie Oppenheimer wanted to make in the first place.
    • 76 Metascore
    • 100 Joshua Rothkopf
    Gilroy, vastly supported by cinematographer and Los Angeles specialist Robert Elswit (Boogie Nights, Magnolia), directs with the verve of a seasoned pro, even though Nightcrawler is his debut.
    • 79 Metascore
    • 100 Joshua Rothkopf
    It's a hypnotically perverse film, one that redeems your faith in studio smarts (but not, alas, in local law enforcement, tabloid crime reporting or, indeed, marriage).
    • 89 Metascore
    • 100 Joshua Rothkopf
    The film plays like a better episode of "Mad Men," pitch-perfect in its details yet fully lived-in: a universe of rolled-up shirt sleeves, sweat-laden brows and screams that don’t sound canned.
    • 92 Metascore
    • 100 Joshua Rothkopf
    The acting, especially from Menash Noy as an ineffectual attorney, is phenomenal, resulting in a feminist knockout told in inverse.
    • 57 Metascore
    • 80 Joshua Rothkopf
    A darkly stylish horror film.
    • 64 Metascore
    • 80 Joshua Rothkopf
    And then, Robert Duvall appears—or, should I say, insinuates himself out of the muck. Cagily, his character wends his way into the story, played by the one American actor who might best understand the limits of bluster. “It’s foolish to ask for luxuries in times like these,” he mutters in the Duvall twang, the weather and indignity beaten into him, and The Road suddenly feels major.
    • 68 Metascore
    • 80 Joshua Rothkopf
    Marcia Gay Harden is the picture’s treasure; watching her swell with concern at her daughter’s choices, you understand how hard it is to let go.
    • 92 Metascore
    • 80 Joshua Rothkopf
    Clearly, Pixar’s genius for adventurous storytelling continues unabated.
    • 71 Metascore
    • 80 Joshua Rothkopf
    Refn has somehow found his way to an authentic English hard-man drama, anchored in a dynamite performance, even as it celebrates thug life.
    • 81 Metascore
    • 80 Joshua Rothkopf
    Hardly the heady stuff of "Frost/Nixon"--or then again, maybe exactly the same thing. This one’s more rude and fun.
    • 67 Metascore
    • 80 Joshua Rothkopf
    Michael Jackson was obviously shooting for the moon right before his death, as you can tell from these stunning bits of concert spectacle.
    • 77 Metascore
    • 80 Joshua Rothkopf
    The movie does an uncommonly sensitive job probing the psychologies of blocked men, less so the urges of a widow who needs more than comforting words.
    • 82 Metascore
    • 80 Joshua Rothkopf
    The White Ribbon comes dangerously--wonderfully?--close to playing like an evil-kid flick.
    • 61 Metascore
    • 80 Joshua Rothkopf
    Given the dreck we’ve seen this summer, it’s nice to be reminded of the virtues of clean storytelling and cultural curiosity.
    • 82 Metascore
    • 80 Joshua Rothkopf
    Ajami is Israel’s submission to the Oscars, and like the gritty "City of God" before it, it takes harrowing, tricky circumstances and illuminates them with Scorsesian snap.
    • 71 Metascore
    • 80 Joshua Rothkopf
    His own worst enemy, Finkelstein has both trouble and tragic writ large on his brow.
    • 75 Metascore
    • 80 Joshua Rothkopf
    Despite the unsubtlety of the movie’s stance, a dizzyingly complex portrait emerges: that of pissed-off museum neighbors, arrogant critics and even the NAACP’s dignified Julian Bond, articulating a racial component.
    • 69 Metascore
    • 80 Joshua Rothkopf
    When you have an actor as suggestive as Kazan, swallowing up the lens with allure and complexity, your writer-director becomes superfluous.
    • 81 Metascore
    • 80 Joshua Rothkopf
    The movie isn’t quite suitable for the extremely young, but its apocalyptic tint may be catnip for smart preteens. They’ll breathe in the chilly air of a mysterious forest--the way forests should be.
    • 73 Metascore
    • 80 Joshua Rothkopf
    Still a mystery: Harlan’s own sense of guilt. But there’s plenty to go around.
    • 76 Metascore
    • 80 Joshua Rothkopf
    When Stiller indulges in moments of unfulfilled rage, this has real desperation.
    • 85 Metascore
    • 80 Joshua Rothkopf
    Almost as an afterthought to the ringingly true performances--and Marco Bellocchio’s unusually approachable direction--comes a deft analysis of fascism, likened to lovesickness, insanity and a gust of orchestral strings. It’s all of that and more, not to mention a lousy matchmaker.
    • 66 Metascore
    • 80 Joshua Rothkopf
    For those of us who find somber superhero movies faintly ridiculous, Kick-Ass is a one-film justice league.
    • 75 Metascore
    • 80 Joshua Rothkopf
    By movie’s end, you see flocks of umbrella-adorned commuters in a different light; and what’s often viewed as Japanese humility becomes a doorway to something huge and eternal. Bring the kids.
    • 79 Metascore
    • 80 Joshua Rothkopf
    Director Luca Guadagnino is having so much fun setting up the Kubrickian chill (even Barry Lyndon's Marisa Berenson is on hand) that when Emma and the much younger Antonio finally come together in warming Sanremo, their tryst almost sneaks up on you.
    • 85 Metascore
    • 80 Joshua Rothkopf
    Stripped to a minimum of editorializing (but, like "The Hurt Locker," flush with sympathy), this Afghanistan-shot war documentary takes its cues from the unblinking style of cinema verité.

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