Joshua Rothkopf

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For 755 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 2.9 points higher than other critics. (0-100 point scale)

Joshua Rothkopf's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 Winter's Bone
Lowest review score: 20 Stake Land
Score distribution:
  1. Negative: 47 out of 755
755 movie reviews
    • 67 Metascore
    • 60 Joshua Rothkopf
    Swaddled with a lacquer of nostalgia that passes for cultural insight, this one-night-in-sweatpants drama will make you yearn for a moratorium on teen movies-at least ones so aggressively dewy-eyed.
    • 59 Metascore
    • 60 Joshua Rothkopf
    When Sarah's Key leans into the horror (as it should), it's harrowing. Alas, that's only half the time.
    • 67 Metascore
    • 60 Joshua Rothkopf
    The mood of this movie will brew with you for a while, even if it swirls around characters who aren't quite persuasive.
    • 82 Metascore
    • 60 Joshua Rothkopf
    Comfortable with subtle Proustian detachment, the director has taken another stab at colossal scope, this time getting lost in the cerebral folds.
    • 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
    Breathtaking imagery competes with a scary lack of human interest in this hypnotic, potentially alienating documentary.
    • 50 Metascore
    • 60 Joshua Rothkopf
    But you do take the film home with you - to all your own toys - and that's what decent horror is supposed to do.
    • 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.
    • 47 Metascore
    • 60 Joshua Rothkopf
    Gus Van Sant directs his players just shy of mush; he's a filmmaker capable of brilliant dares (Milk, Paranoid Park) and shocking whiffs (Finding Forrester, the pointless remake of Psycho). This one's kind of in the middle.
    • 59 Metascore
    • 60 Joshua Rothkopf
    The effort - by Vedder & Co., as well as Crowe - is heroic, if not quite persuasive. Legends aren't made of longevity alone, and while you wouldn't wish Kurt Cobain's pain on anyone, you can't help but feel this band survived well past its meaning.
    • 72 Metascore
    • 60 Joshua Rothkopf
    The story is an autobiographical one from screenwriter Will Reiser's own ordeal; you smile with the thought that he had such women in his life, tough yet supportive, giving him the license to be funny again.
    • 78 Metascore
    • 60 Joshua Rothkopf
    The film's sociopolitical critique is as dull as a sledgehammer - and maybe on the money - but the truth is far more entertaining.
    • 56 Metascore
    • 60 Joshua Rothkopf
    Executive-produced by Steven Spielberg, the movie's special effects are seamless and far more cleanly cut than any of Michael Bay's hash. But the element that lingers longest is a subtle strand - also woven into last week's "Take Shelter" - of recessionary anxiety.
    • 67 Metascore
    • 60 Joshua Rothkopf
    Philip Seymour Hoffman and a ratlike Paul Giamatti are the competing spin doctors - you wish the whole movie were about them. And Marisa Tomei brings a hungry sense of scoopmaking to the (unavoidable?) role of a New York Times journalist who's seen it all.
    • 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.
    • 49 Metascore
    • 60 Joshua Rothkopf
    These filmmakers got halfway there, but Carpenter's genius was about more than just a look.
    • 76 Metascore
    • 60 Joshua Rothkopf
    Escalation is the main thing Margin Call has going for it, as more substantial actors are trotted out to have their way with Chandor's realistic-sounding boardroom dialogue.
    • 82 Metascore
    • 60 Joshua Rothkopf
    This is textbook Kaurismäki, neither fresh nor unwelcome.
    • 46 Metascore
    • 60 Joshua Rothkopf
    "Amadeus" it's not, but as light transitional music, the film-which has Pete Postlethwaite's final performance, as a swishy landlord-is tuneful enough.
    • 65 Metascore
    • 60 Joshua Rothkopf
    Tyrannosaur won't translate into entertainment, nor as a wake-up call to the dark side of humanity - though it does work nicely as a tart slice of hard-bitten acting; the entire cast is superb.
    • 45 Metascore
    • 60 Joshua Rothkopf
    "Rosemary's Baby" it's not, but color us stoked that a Twilight movie even strays into evil-fetus territory.
    • 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.
    • 61 Metascore
    • 60 Joshua Rothkopf
    Watch the director's 1976 "The Tenant," and you'll know he can do more with less.
    • 46 Metascore
    • 60 Joshua Rothkopf
    We might have all felt like lost children for a while, but ten years later, the innocence is shameless.
    • 58 Metascore
    • 60 Joshua Rothkopf
    Too much of the movie feels predestined - down to the rainstorm on opening day - and subplots involving budding romance end up forcing what's implicit. Crowe, meanwhile, still can't stop abusing his vinyl collection; the aural wallpapering of Bob Dylan, Cat Stevens and others will surely please postboomer fans who haven't quite gotten the hang of silence.
    • 73 Metascore
    • 60 Joshua Rothkopf
    There's a more courageous profile waiting to be made by someone who understands the man better.
    • 64 Metascore
    • 60 Joshua Rothkopf
    West holds your interest with material that should feel like a rip-off of The Shining. If this is mere placeholding until something more ambitious comes along for the rising director, it'll do.
    • 53 Metascore
    • 60 Joshua Rothkopf
    Dreams like Garriott's shouldn't be available only to the highest bidder. If you end up taking the kid in your life to go see it, urge them to start saving their allowance.
    • 65 Metascore
    • 60 Joshua Rothkopf
    The movie looks beautiful, its sublime b&w cinematography signaling a fading dream. And there are touching moments here that you rarely see in docs about professional musicians or celebrities in general.
    • 60 Metascore
    • 60 Joshua Rothkopf
    When a movie is this predicated on aping the Coen brothers (effectively, it should be added, in fits and starts), surprise won't be its strong suit.

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