Joshua Rothkopf
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For 683 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 Boyhood
Lowest review score: 20 Pompeii
Score distribution:
  1. Negative: 44 out of 683
683 movie reviews
    • 63 Metascore
    • 80 Joshua Rothkopf
    Spring Breakers is either an inspired satire of the youth movie or the most irresponsible comedy mainstream Hollywood will never make. The bros in your crowd will call it rad — and radical it is.
    • 82 Metascore
    • 80 Joshua Rothkopf
    Expressively (Berger knows his grammar), a white communion dress is dipped in black dye as her custodial grandmother passes away and an evil castle beckons.
    • 80 Metascore
    • 80 Joshua Rothkopf
    Room 237 asks that you bring your own noodles; as docs go, it leaves you with questions, some worry and rib-sticking satiation.
    • 58 Metascore
    • 80 Joshua Rothkopf
    To the Wonder is arty for sure, but for the first time, its maker is working with anxieties we all feel. Let’s hope this Malick sticks around for a while.
    • 62 Metascore
    • 80 Joshua Rothkopf
    42
    The style of the film, lush and traditional, is nothing special, but the takeaway, a daily struggle for dignity, is impossibly moving.
    • 62 Metascore
    • 80 Joshua Rothkopf
    Directors Joachim Rønning and Espen Sandberg are unusually committed to maritime mechanics, and the excitement grows as steadily as the sailors’ beards.
    • 76 Metascore
    • 80 Joshua Rothkopf
    Assayas evokes the atmosphere so vividly, you begin to breathe in his tale, rather than watch it.
    • 79 Metascore
    • 80 Joshua Rothkopf
    The film isn’t exactly rousing in its conclusion, but it’s always respectful: a serious ethical inquiry into matters of women’s choice, both imposed and seized upon. Check it out.
    • 68 Metascore
    • 80 Joshua Rothkopf
    Eventually it’s go time, and if The East loses a little steam on the grounds of action mechanics (a skill these plots always require), it’s never dumb on the subject of covert allegiances.
    • 76 Metascore
    • 80 Joshua Rothkopf
    Dirty Wars leaves some deeper questions unexplored, mainly the philosophical struggle between security and secrecy, but makes up grandly with raw data and one correspondent’s passion.
    • 66 Metascore
    • 80 Joshua Rothkopf
    The Bling Ring, Sofia Coppola’s deceptively shallow but ultimately fascinating latest, is animated by that spirit of we-don’t-give-a-f**k playfulness.
    • 65 Metascore
    • 80 Joshua Rothkopf
    Monsters University aces a two-part test—first, appealing to kids with gorgeous, hyperrealistic animation that teases out every pink hair on a beastly art student; then luring in parents with several knowing jokes about strumming your guitar on the quad or playing beer pong.
    • 73 Metascore
    • 80 Joshua Rothkopf
    Forgive this film its marvelous moodiness — someone needs to go there once in a while.
    • 76 Metascore
    • 80 Joshua Rothkopf
    The movie works beautifully by bringing forward the delicate subject of guilt via passivity.
    • 83 Metascore
    • 80 Joshua Rothkopf
    Blackfish, a troubling exposé of Sea World’s hazardous entertainment trade, does much to restore a realistic sense of danger, interviewing former park workers who detail their shoddy, nonscientific training, and chronicling the much-suppressed history of whale-on-human violence.
    • 82 Metascore
    • 80 Joshua Rothkopf
    Nothing about The Spectacular Now feels easy or After-School Special, although it tidies up too much (the personal essay should be retired as a device).
    • 66 Metascore
    • 80 Joshua Rothkopf
    Nothing here is new, but you can’t call expert craft like this warmed-over. Solidly satisfying with ruthless forward momentum, the film plays like a minor triumph.
    • 72 Metascore
    • 80 Joshua Rothkopf
    Having a backstage view of the momentous trip to China adds color, but the real takeaway here is a tone of dawning tragedy, sourness sneaking into even the most innocuous of visual records.
    • 80 Metascore
    • 80 Joshua Rothkopf
    It’s wonderful to think that a movie is, for a change, ahead of you.
    • 61 Metascore
    • 80 Joshua Rothkopf
    Maybe because the band enjoyed raves for its daring 2004 psychodrama, Some Kind of Monster, an experimental narrative is shoehorned in, involving a roadie (Dane DeHaan) doing bloody battle in a deserted city. Your heart sinks with every cutaway.
    • 96 Metascore
    • 80 Joshua Rothkopf
    Cuarón, a magician who brought personality to the Harry Potter series, is after pure, near-experimental spectacle.
    • 41 Metascore
    • 80 Joshua Rothkopf
    You’re really going for Rodriguez’s retrohappy splatter: Intestines tangle in helicopter rotors, heads pop in spring-loaded decapitations, and there’s even a new fake trailer up top. Little is believable, and that’s exactly as it should be.
    • 88 Metascore
    • 80 Joshua Rothkopf
    The rich atmosphere of the movie may be the sexiest thing about it: It’s no wonder these women breathe in the air of possibility and find themselves imbued with boldness.
    • 84 Metascore
    • 80 Joshua Rothkopf
    Only 20 minutes in and you’re not going to think of another lead who could pull off this kind of reckoning — tangy, furious and about to become whip-smart.
    • 65 Metascore
    • 80 Joshua Rothkopf
    Kuhns makes time for political insights, provocative montages of race riots cut with the movie’s hick militia, and the comments of owlish Romero himself, who recounts the shoot like the enthusiastic 27-year-old he was.
    • 54 Metascore
    • 80 Joshua Rothkopf
    Even if the music leaves you cold, there’s plenty of captivating awkwardness here, like Paul McCartney listlessly watching the monitors in his dressing room, or producer Harvey Weinstein solving a tech issue by calling Google exec Eric Schmidt in the audience.
    • 65 Metascore
    • 80 Joshua Rothkopf
    Often, Faust plays like a lost cousin to Andrei Tarkovsky’s haunted Stalker (1979), catnip for the slow-and-low crowd. Settle in, because this requires your charity, but you’ll dream it all back up the next night.
    • 76 Metascore
    • 80 Joshua Rothkopf
    A trip to America bears its share of exasperated hotel-room humor, but watch both actors lean into characters seeking redemption; their clash is invigorating, with a mature payoff that has two minds meeting and getting further along. It’s a tonic to all the Oscar-season showboating: Call it Best Duo.
    • 62 Metascore
    • 80 Joshua Rothkopf
    Writer-director Laura Colella hasn’t strayed far from home (these characters are her actual housemates, rechristened into fiction), but her project feels like a casual experiment gone wonderfully right.

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