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 The Gallows
Score distribution:
  1. Negative: 45 out of 710
710 movie reviews
    • 55 Metascore
    • 60 Joshua Rothkopf
    Schepisi is deft with the social-strata stuff, introducing a large Gosford Park–like ensemble to tease out the central trio's dysfunction. So it's a shame that both book and film tilt away from the tart-tongued exchanges, giving increasing weight to a buried trauma that feels a little soggy.
    • 51 Metascore
    • 60 Joshua Rothkopf
    The way forward, both in Caouette's real-life situation and his development as an artist, remains unclear, yet that frustration makes it to the screen, in spiky waves that signal a vital personal quest.
    • 83 Metascore
    • 60 Joshua Rothkopf
    Director Paul Greengrass remains a genius of claustrophobia, yet his better films — "Bloody Sunday," "United 93" and "The Bourne Ultimatum" — all beat with a stronger sense of central identification. He doesn’t have as much to work with this time, and his solution is to slow down the pace. The result is more clarity, but also more monotony.
    • 41 Metascore
    • 60 Joshua Rothkopf
    Doomed love will never go out of style, but would it have killed director Carlo Carlei to inject the proceedings with some modern-day aloofness? Today’s version will likely become a cheat sheet for slacking students, but it won’t inspire them to open their hearts to the text.
    • 63 Metascore
    • 60 Joshua Rothkopf
    Subtle performances — especially from Bale and Affleck, both growing meaner in the absence of hope — transcend any structural weaknesses. The bottom drops out early for them, but their endgame is savagely captivating.
    • 77 Metascore
    • 60 Joshua Rothkopf
    This is meat-and-potatoes genre work, certainly superior to a Hollywood product like "Edge of Darkness," but not by much.
    • 62 Metascore
    • 60 Joshua Rothkopf
    Unfortunately, the draggy movie is one thing definitively, and that’s exactly like all of Reggio’s other films. His formal devices haven’t changed in 30 years, and the po-faced presentation, once hypnotically strange and cosmic, now feels like an overused gimmick.
    • 58 Metascore
    • 60 Joshua Rothkopf
    Giggles, not belly laughs, come frequently, and it’ll help if viewers love U.K. comics.
    • 56 Metascore
    • 60 Joshua Rothkopf
    It makes you laugh in fits and starts, but more often it feels toothless and exhausted, the kind of project that exists to give Ray Liotta work.
    • 76 Metascore
    • 60 Joshua Rothkopf
    So while his live-action scenes leave much to be desired, Khrzhanovsky fills the margins of A Room and a Half with glorious doodles: yawning cats penning love letters to former flings; spectral violins floating high above the city; spiky silhouettes pouring out of a truck to bring violence to the ghetto.
    • 80 Metascore
    • 60 Joshua Rothkopf
    Director Lauren Greenfield has a catty eye, but she's not after simple schadenfreude as the Siegels' time-share hotels are foreclosed, the kids have to fly coach [gasp], and poops go unscooped by a phalanx of laid-off servants.
    • 65 Metascore
    • 60 Joshua Rothkopf
    The images wash over you - lush, gorgeous, impeccably framed - just as they did in Ron Fricke's wordless meditation "Baraka" (1992).
    • 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.
    • 86 Metascore
    • 60 Joshua Rothkopf
    I'd trade much of The Master for one extraordinary moment played by the ever-improving Amy Adams, in front of the bathroom mirror with Hoffman.
    • 66 Metascore
    • 60 Joshua Rothkopf
    On the whole, it's passable stuff, a surprise, given how mechanical the masked character seemed.
    • 71 Metascore
    • 60 Joshua Rothkopf
    Outside of its cracked psychology (well conveyed by papa Bill Sage), We Are What We Are is horror leftovers, neither inedible nor piping hot.
    • 75 Metascore
    • 60 Joshua Rothkopf
    The film manages to span from feisty Wilson Pickett to Confederate-flag-flaunting Lynyrd Skynyrd, but if ever a music doc needed insight from the fans who went along for the ride and forgot their troubles, it’s this one.
    • 64 Metascore
    • 60 Joshua Rothkopf
    Best are the film's tender ghostly visitations from Dad, evoked with a minimum of artiness, and the authentic, impoverished locations.
    • 55 Metascore
    • 60 Joshua Rothkopf
    This version’s shadowy Las Vegas underworld and convenient adoring female coed (Brie Larson, who deserves better) play like clichés.
    • 49 Metascore
    • 60 Joshua Rothkopf
    Call it a strange and unintended benefit, then, that many of these generic characters work better as awkward adults than as teens.
    • 66 Metascore
    • 60 Joshua Rothkopf
    The general takeaway, occasionally swaddled in pot clouds and boisterous laughter, is that verse-slinging requires serious thought and planning.
    • 74 Metascore
    • 60 Joshua Rothkopf
    The film is vigorous exercise for those who prefer their mysteries knowing and knotty.
    • 63 Metascore
    • 60 Joshua Rothkopf
    You watch Dafoe's intelligent hands skillfully setting traps, building fires and squeezing triggers, and wonder if an entire movie might be made of such manly components. Probably not.
    • 64 Metascore
    • 60 Joshua Rothkopf
    Sometimes, the debunking is overshadowed by cringe-inducing graphics involving pills with little legs running toward a finish line.
    • 72 Metascore
    • 60 Joshua Rothkopf
    The tale itself is extraordinary, so why not let it do the talking? When Crime After Crime sifts through the facts, we feel the pull of justice; those moments might be enough.
    • 61 Metascore
    • 60 Joshua Rothkopf
    The film's mood is so somber and minimal, it might be confused for deep. Had the plot (meager and one-last-job-predictable) zipped along, that wouldn't feel like such a problem.
    • 71 Metascore
    • 60 Joshua Rothkopf
    With unexpected supernatural restraint, the movie approaches a religious parable; am I being unfair in wishing it had a touch more apocalyptic hysteria to it?
    • 62 Metascore
    • 60 Joshua Rothkopf
    More shakily, Payne’s obvious pathology isn’t probed as deeply as it should be. A jaunty musical score smooths over what might have been a tougher profile about an expert liar, to self included.
    • 73 Metascore
    • 60 Joshua Rothkopf
    There's a more courageous profile waiting to be made by someone who understands the man better.
    • 47 Metascore
    • 60 Joshua Rothkopf
    The movie has a centerfold sheen to it--and some lesbianic soft-core flirtation to match--as its plot dives deeply into "Twilight"-esque heavy-melo meltdown in the last act. Cody throws one too many losses at Needy; the screenwriter loses her satiric way about halfway through. But for a while, this has real fangs.

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