Joshua Rothkopf

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For 843 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 2.2 points higher than other critics. (0-100 point scale)

Joshua Rothkopf's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 Carlos
Lowest review score: 20 Super
Score distribution:
  1. Negative: 50 out of 843
843 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.
    • 58 Metascore
    • 60 Joshua Rothkopf
    The central idea here is as durable and effective as a well-told fireside ghost story, but in the cold light of day, the film fades.
    • 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
    The movie ultimately feels both too glib and too hermetically sealed to resonate beyond its chaotic interiors.
    • 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.

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