Joshua Rothkopf
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For 710 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 2.7 points higher than other critics. (0-100 point scale)

Joshua Rothkopf's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 Attack the Block
Lowest review score: 20 Stake Land
Score distribution:
  1. Negative: 45 out of 710
710 movie reviews
    • 61 Metascore
    • 60 Joshua Rothkopf
    Lane, experiencing her career heyday, is sweet enough to have you rooting for her, even if her journey to the winner's circle is an odds-on favorite.
    • 60 Metascore
    • 60 Joshua Rothkopf
    The fine cast takes the movie as far as it will comfortably go, until Bahrani gets a case of Great American Play–itis.
    • 68 Metascore
    • 60 Joshua Rothkopf
    Into Eternity has the grandeur of ominous suggestion, but might have benefitted from a director more creatively unbound-an Errol Morris ready to play around at the end of the world.
    • 81 Metascore
    • 60 Joshua Rothkopf
    At Berkeley works beautifully as a picture of compromised activism; viewers who summon the patience to commit to its indulgences won’t feel shortchanged, even if next year’s freshmen are.
    • 49 Metascore
    • 60 Joshua Rothkopf
    Hollywood does this too; truth be told, Russia’s high-tech whitewash goes down smooth like vodka.
    • 42 Metascore
    • 60 Joshua Rothkopf
    Uncourageously, the plot gets a case of cold feet, looping back to half-written family members left in the dust. But when it’s being wild, the drama has nearly enough character to pass for distinct.
    • 66 Metascore
    • 60 Joshua Rothkopf
    This film could have done with a few more mouth beats and unlikely moments of extracurricular celebrity.
    • 67 Metascore
    • 60 Joshua Rothkopf
    If only the script had been content to stick with its let's-start-a-band verve. Like many a musical biopic, Nowhere Boy wants to explain away the man (as if a song like "In My Life" weren't explanation enough).
    • 73 Metascore
    • 60 Joshua Rothkopf
    Maybe this is a good time to mention that the director is Richard Linklater, usually a lot more versatile. Try to imagine a version of Linklater’s "School of Rock" that didn’t pivot on the manic music teacher played by Jack Black but instead, perhaps, on his boring roommate.
    • 66 Metascore
    • 60 Joshua Rothkopf
    The film feels naive for an audience that's ready for some harder truths.
    • 50 Metascore
    • 60 Joshua Rothkopf
    There's no suspense, even as Galifianakis's bone-dry earnestness sometimes kicks the movie into a realm of stealth drama.
    • 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.
    • 61 Metascore
    • 60 Joshua Rothkopf
    Renner and scientist Rachel Weisz are sympathetic enough (although lacking in Matt Damon's all-American approachability), and the movie flies along briskly.
    • 43 Metascore
    • 60 Joshua Rothkopf
    It ends where you want it to begin.
    • 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.
    • 77 Metascore
    • 60 Joshua Rothkopf
    Too much of the doc takes our taste for granted; Alice Cooper, Henry Rollins and others won’t persuade you that Death could have been huge, nor does a clichéd last-act reunion show. But the film’s alternating inquiry — into family love, slow compromise and, yes, death — resonates strongly.
    • 45 Metascore
    • 60 Joshua Rothkopf
    Like the vampires that cavort throughout it, this horror-comedy doesn’t have much chance of surviving the harsh light of scrutiny--but as a loopy, antiserious lark, it should prove plenty alive on the midnight-movie circuit.
    • 64 Metascore
    • 60 Joshua Rothkopf
    Just as soon as that rarest Lebowskian blend of casual pursuit and big-world conspiracy begins to emerge from the fog, Cold Weather appears to lose its nerve (or run out of money).
    • 76 Metascore
    • 60 Joshua Rothkopf
    Watching the new film is like getting upsettingly full on insubstantial tapas: You would never say no to just one more, but there’s better.
    • 35 Metascore
    • 60 Joshua Rothkopf
    Watts’s work is extraordinary, sometimes keying off the same illicit register as "Mulholland Drive"; she risks being goofy, awkward and bratty.
    • 49 Metascore
    • 60 Joshua Rothkopf
    The profusion of Dudes is - pardon the apt pun - game-changing. By turns a fierce megalomaniac and a Lebowskian monk, Bridges supplies more soul than any sci-fi sequel deserves.
    • 46 Metascore
    • 60 Joshua Rothkopf
    Unfortunately, a new problem rears its head: It seems no young audience member can be trusted to enjoy a thoughtful story without a heroic, borderline-obnoxious surrogate (here, he's voiced by Zac Efron) zooming around on a scooter, bonking villainous heads and saving the day.
    • 71 Metascore
    • 60 Joshua Rothkopf
    A middling entry in the growing genre of tragic, never-quite-made-it rocker docs, this doesn't have a bona fide genius at its core (The Devil and Daniel Johnston), nor a compelling clash of Spinal Tap–ready egos (Anvil! The Story of Anvil).
    • 83 Metascore
    • 60 Joshua Rothkopf
    A manufactured kid-in-jeopardy climax and Blake’s rehab stint blow the mood. Until then, this is great American acting.
    • 59 Metascore
    • 60 Joshua Rothkopf
    A certain Hollywood self-absorption is on display here, but the family’s depressing story merits Mariel’s vigilant defensiveness.
    • 66 Metascore
    • 60 Joshua Rothkopf
    The Way Back then takes its time, creeping through gorgeous locations in Bulgaria, Morocco and Pakistan, and basically feeling like a two-hour-plus version of the desert scene from "The Good, the Bad and the Ugly."
    • 66 Metascore
    • 60 Joshua Rothkopf
    Cigarettes are sucked hungrily by all involved, old and young, in the trashscape of this depressing Australian crime film - a movie that heaps so much dank atmosphere on its suburbanites, you can't help but sigh with relief when events turn to serial killing (finally?).
    • 57 Metascore
    • 60 Joshua Rothkopf
    Zippy and saturated with soft-core nudity, The Look of Love isn’t hard to watch, especially when statuesque Tamsin Egerton enters the picture as a redheaded dancer who captures Raymond’s heart.
    • 65 Metascore
    • 60 Joshua Rothkopf
    Night Catches Us surges awkwardly in its latter third, suddenly aware that a promising setup isn't enough. Regardless, here is an honorable attempt to address a complex chapter of African-American pride, one that's usually hidden under hairdos and wah-wah pedals.
    • 36 Metascore
    • 60 Joshua Rothkopf
    The performances, especially from the bed partners, are complex; even if you weren’t wanting for an exposé of adult-entertainment violence, here it is.

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