Joshua Rothkopf

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For 846 reviews, this critic has graded:
  • 44% higher than the average critic
  • 3% same as the average critic
  • 53% lower than the average critic
On average, this critic grades 2.2 points higher than other critics. (0-100 point scale)

Joshua Rothkopf's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 Senna
Lowest review score: 20 Stake Land
Score distribution:
  1. Negative: 50 out of 846
846 movie reviews
    • 57 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.
    • 42 Metascore
    • 60 Joshua Rothkopf
    It’s a movie that tips toward overkill--even Ronan’s voice is amplified into a weird whisper. More quiet would have helped.
    • 75 Metascore
    • 60 Joshua Rothkopf
    No matter how predictable his arc is, writer-director Thomas McCarthy (The Station Agent) never loses sight of the difficulties of cashflow and making one's weekly nut. You'll want to give his movie-and his secret weapon, the lovably neurotic Bobby Cannavale, as a recent divorcé hoping to co-coach the team-a pass for sweetness.
    • 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.
    • 85 Metascore
    • 60 Joshua Rothkopf
    The movie skips along episodically; it's not quite as sharp as a war narrative needs to be, even if its nightmarish psychology feels spot-on.
    • 67 Metascore
    • 60 Joshua Rothkopf
    Unlike recent, sharp-witted examples like The Lego Movie and Paddington, there’s zero interest in mocking or freshening up the material—think what Wes Anderson might have done with this—thus dooming the movie to nostalgic types only. It trudges along like that black, jagged stripe on our hero’s yellow polo: up and down, scene by scene.
    • 59 Metascore
    • 60 Joshua Rothkopf
    When the movie is doing its tough-guy-seeking-redemption thing, it’s more than just good.
    • 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."
    • 73 Metascore
    • 60 Joshua Rothkopf
    The movie isn’t particularly scary--not a crime when your goal is laughs. More egregious is the niggling fact that this simply isn’t as witty as "Shaun of the Dead," forever the yuks-meet-yucks standard.
    • 56 Metascore
    • 60 Joshua Rothkopf
    Apart from one muted action sequence in which the participants try not to wake a sleeping bundle of joy (“Put that baby down,” one of them demands, and the order is obeyed, with a little tucking in), there’s scarce humor here for adults to relish. And Samberg’s characteristic snark has been sanded down to a nub.
    • 70 Metascore
    • 60 Joshua Rothkopf
    You never feel the burn in The Skin I Live In, certainly not the way you do in an immortal shocker like "Eyes Without a Face." It's almost as if Almodóvar wanted to reach out into a gory genre, but couldn't do so without wearing prissy gloves.
    • 44 Metascore
    • 60 Joshua Rothkopf
    By the Sea is a so-so film, but its meandering stretches of decaying glamour make it about 10 times more interesting than most Oscar bait.
    • 69 Metascore
    • 60 Joshua Rothkopf
    A quintet of actors carve out a beautiful, ill-fated geometry in John Wells's layoff drama, which might play like a retort to "Up in the Air" if it didn't have shortcomings of its own.
    • 82 Metascore
    • 60 Joshua Rothkopf
    This is textbook Kaurismäki, neither fresh nor unwelcome.
    • 57 Metascore
    • 60 Joshua Rothkopf
    Dazzling on his recently concluded Kroll Show in multiple caricatures, Nick Kroll makes a savvy pivot to a role that allows for similar shades.
    • 68 Metascore
    • 60 Joshua Rothkopf
    The middle section of the story is where Rise truly takes off, perhaps in ways that will have viewers forgiving the rest.
    • 66 Metascore
    • 60 Joshua Rothkopf
    Alas, this is a film that builds to a backroom compromise on carbon emissions, not the most thrilling of dramatic structures. The serious issue of global warming won’t be minimized by a mediocre documentary, but it has yet to find a filmmaker inflamed with rage and visual passion.
    • 76 Metascore
    • 60 Joshua Rothkopf
    Blue Caprice is probably what more post-9/11 cinema should have been: desperate for explanations, inchoate and wrapped in unspoken loneliness. Even though we can stomach it better a decade later, we’re still not healed.
    • 74 Metascore
    • 60 Joshua Rothkopf
    The film aims for the stars but might have gone stratospheric if it cooled its jets ever so slightly.
    • 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.
    • 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.
    • 82 Metascore
    • 60 Joshua Rothkopf
    Tonally, it’s a touch awkward (like the movie as a whole), but Larraín’s endgame set on a snowy mountainside is as abstract as the final moments of "The Shining" — a film that’s also about the life of the mind.
    • 49 Metascore
    • 60 Joshua Rothkopf
    A thick sheen of luscious lens flares and Terrence Malick–like poetic lulls feel like icing on an undercooked mud pie—Bedford’s script deserves a stronger engagement with its characters’ desperation. Instead they collide in a clichéd ending that feels padded.
    • 61 Metascore
    • 60 Joshua Rothkopf
    Extract, for all its surface reminders of Judge’s 1999 cult hit, "Office Space" (it’s set around a suburban bottling plant), shows its maker taking the smallest step toward lesser comic matters of infidelity and bong abuse. It feels slightly beneath him. That’s not to say you should skip it.
    • 58 Metascore
    • 60 Joshua Rothkopf
    Jonathan Levine’s night of debauchery and hugs hits a sweet spot of inoffensive offensiveness.
    • 48 Metascore
    • 60 Joshua Rothkopf
    The final word on this incident will require a more thoughtful filmmaker. But hopefully, that artist will possess at least half of Bay’s punishing, peerless craft.
    • 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.
    • 68 Metascore
    • 60 Joshua Rothkopf
    Writer-director Von Trotta, an icon of the New German Cinema, doesn't have the technical chops for the fireworks you desire, so she settles for wan earnestness.
    • 54 Metascore
    • 60 Joshua Rothkopf
    It's almost cruel to criticize something so essentially lighthearted and disposable, but it must be said that a lot of these jokes feel distinctly recycled, mainly from "Broadway Danny Rose."
    • 88 Metascore
    • 60 Joshua Rothkopf
    Firth is exceptional in letting us into his dissolving pride.

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