Joshua Rothkopf
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For 706 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 2.9 points higher than other critics. (0-100 point scale)

Joshua Rothkopf's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 Videocracy
Lowest review score: 20 I Spit on Your Grave
Score distribution:
  1. Negative: 44 out of 706
706 movie reviews
    • 67 Metascore
    • 60 Joshua Rothkopf
    Ultimately, points may be scored on the balance sheet of workplace exploitation - usually we see it go the other way around, gender-wise - but these conference-room banalities have been better explored elsewhere, and the effort here feels like a rough draft.
    • 57 Metascore
    • 60 Joshua Rothkopf
    The plot’s a bit complex for what amounts to a lot of running around — the movie can’t help but evoke the Bourne series along with a high-gloss hint of Skyfall, not wholly unpleasantly.
    • 67 Metascore
    • 60 Joshua Rothkopf
    Hipsters is also a musical (in an intentionally naive "Absolute Beginners" vein), and while everything looks glinty and gorgeous, the story's political edge is dulled by excessive levity.
    • tbd Metascore
    • 60 Joshua Rothkopf
    The doc's straining for a larger, Varda-esque metaphor about the sad humans on the sidelines is ill-advised.
    • 45 Metascore
    • 60 Joshua Rothkopf
    A largely sexless sex romp, has such a winning sense of middle-aged exhaustion to it that you might want to add a star or two, especially if you're familiar with the banalities of matrimonial bliss.
    • 50 Metascore
    • 60 Joshua Rothkopf
    There’s social satire for those who want it — don’t tell the rest of the neighborhood our daughter’s risen from the dead! — and a fine, simmering sense of apocalypse that turns this suburban community into a war zone. Still, it’s a lot of heavy lifting for what amounts to “he’s just not that into you,” mainly because you’re as ripe as a cadaver.
    • 81 Metascore
    • 60 Joshua Rothkopf
    Even at this short running time, there's a looseness to the kaleidoscopic adventure that becomes slightly wearying.
    • 62 Metascore
    • 60 Joshua Rothkopf
    Given the keys to the franchise and a role in the writing, Black has massively upped the verbal sparring and kept the broad inventiveness of comic-book malleability in mind. “I’m a mechanic,” Stark says to the boy in a moment of self-doubt. That’s 100% Black, that line, a tidy code of craft, and the jitters pass.
    • 63 Metascore
    • 60 Joshua Rothkopf
    A smart horror film will fatten its pigs before the slaughter, and the mock doc The Last Exorcism feeds its prize hog nicely.
    • 56 Metascore
    • 60 Joshua Rothkopf
    A fine sense of yuppie suffocation—Spin-class listlessness and workaholic disconnection—sets up this indie as a potential suburban satire.
    • 71 Metascore
    • 60 Joshua Rothkopf
    This disappointing dramatization, mounted with generic blandness by Jean-François Richet, makes no case for the man's larger significance, nor does any emotional digging at all. Such detachment was no doubt considered artistically shrewd-it's a big mistake.
    • 61 Metascore
    • 60 Joshua Rothkopf
    Watch the director's 1976 "The Tenant," and you'll know he can do more with less.
    • 55 Metascore
    • 60 Joshua Rothkopf
    Both overindulgent and the writer-director's most fascinatingly strange movie to date.
    • 68 Metascore
    • 60 Joshua Rothkopf
    The transformation that you anticipate never comes; the movie feels strangled.
    • 74 Metascore
    • 60 Joshua Rothkopf
    Young Aprile is a real find, investing what might have been a symbolic part with a visible sense of craft and patience (this isn’t merely cute-kid cinema), but it would be a shame not to mention the risks taken by Moore and Coogan, pushing difficult parts into daring registers of irresponsibility.
    • 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.
    • 46 Metascore
    • 60 Joshua Rothkopf
    you sense that "The Hangover" loomed large over this production. Still, Eve has a true flair for zingers, and the movie’s heart survives intact.
    • 61 Metascore
    • 60 Joshua Rothkopf
    None of it makes any sense, except within the high-octane logic of blowing stuff up onscreen. And, in case you’re wondering, sometimes that can be entertainment enough: Slack-jawed euphoria shoots like nitro through the film. (Please be careful in the parking lot afterward.)
    • 74 Metascore
    • 60 Joshua Rothkopf
    The problem here, though, is that the movie often feels fat instead of lean. A terribly purple folk score by Kate and Anna McGarrigle hypes the spiritual aspects of the Inuit way of life; you’ll die laughing on the tundra.
    • 65 Metascore
    • 60 Joshua Rothkopf
    When the movie remembers to be the drug-spiked, hard-R comedy you hope for, it’s more than just a fun romp (and, incidentally, superior to "Forgetting Sarah Marshall," the rom-com from which its Britpop libertine spins off).
    • 72 Metascore
    • 60 Joshua Rothkopf
    Had the big boy himself, Steven Spielberg, made his directorial debut with this slam-bang sci-fi thriller set in suburban 1979 (and not merely produced what amounts to an homage), he would have been celebrated as a gifted bringer of mayhem: a Michael Bay before there was one.
    • 63 Metascore
    • 60 Joshua Rothkopf
    This recut version appends a new interview with Polanski and Stewart, returning to the same hotel room to wax nostalgic. Essentially, they liked going fast and big; this film feels slow and minor.
    • 61 Metascore
    • 60 Joshua Rothkopf
    As with so many modern fantasy films, the sequences here seem designed to go viral on YouTube in a flash of coolness, not necessarily linger in the mind or heart.
    • 72 Metascore
    • 60 Joshua Rothkopf
    The film is weak on its essential indictment, vaguely suggesting a mood of battlefield boredom without quite pinpointing the pathology that would lead military men to squeeze the trigger pell-mell.
    • 37 Metascore
    • 60 Joshua Rothkopf
    A marvelous thought, credited to Orson Welles: You can handle shit with velvet gloves, but the gloves only get shittier; the shit doesn't get glovier. As wondrous as the regal Helen Mirren can be, it's a sad day when her queenly demeanor gets dunked in doo-doo.
    • 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.
    • 69 Metascore
    • 60 Joshua Rothkopf
    The most heart-wrenching thing about the film is watching Fanning’s transformation from idealist to wreck, the father’s free-thinking daughter turned into the mother’s double in the space of a dinner argument. It’s not quite enough for a film, but it is for one magnificent scene.
    • 69 Metascore
    • 60 Joshua Rothkopf
    Though wildly uneven, the film sometimes comes within screaming distance of the sick ironies of "Heathers." That's how loudly Goldthwait still knows how to yell.
    • 76 Metascore
    • 60 Joshua Rothkopf
    The filmmaker has fallen for some of indiedom’s worst clichés, including our main character’s sad stare out to the ocean, and soft camerawork that’s beginning to sound like a Klaxon: Hug me, hug me, hug me.
    • 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.

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