For 637 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
Average review score: 62
Highest review score: 100 Exit Through the Gift Shop
Lowest review score: 20 Lottery Ticket
Score distribution:
  1. Negative: 43 out of 637
637 movie reviews
    • 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.
    • 74 Metascore
    • 60 Joshua Rothkopf
    The movie isn’t adventurous, but I’m sure glad it exists.
    • 51 Metascore
    • 60 Joshua Rothkopf
    Moodysson hasn’t exactly descended to "Babel"-level pabulum with Mammoth, his first foray into English; these characters are too fascinatingly thorny, and he still has a supple way with a pulse-throbbing dance tune.
    • 73 Metascore
    • 60 Joshua Rothkopf
    For all his brilliance with choreography, Woo is flummoxed by the thousands of actual human extras, though there’s no denying his commitment to the finer points of battle tactics (yawn).
    • 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.
    • 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.
    • 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.
    • 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.
    • 34 Metascore
    • 60 Joshua Rothkopf
    The surprising thing here is how smoothly this over-iced cake goes down.
    • 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.
    • 74 Metascore
    • 60 Joshua Rothkopf
    The film is vigorous exercise for those who prefer their mysteries knowing and knotty.
    • 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.
    • 65 Metascore
    • 60 Joshua Rothkopf
    There's lots of volume in these tunes--the soundtrack is killer--and at least everyone gets their rocks off.
    • 39 Metascore
    • 60 Joshua Rothkopf
    Alas, it all comes off as hit and myth, mainly due to our leaden, buzz-cut hero, Perseus (Avatar’s Worthington, no Harry Hamlin), and zero sparks of heavenly-body chemistry or humor.
    • 57 Metascore
    • 60 Joshua Rothkopf
    The doc dutifully allows for these varying viewpoints, but in a mode that’s not especially captivating, despite a guitar score by Brokeback Mountain’s Gustavo Santaolalla.
    • 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.
    • 40 Metascore
    • 60 Joshua Rothkopf
    The Good Heart dilutes Cox’s gravitas with quirk.
    • 78 Metascore
    • 60 Joshua Rothkopf
    She has real sympathy--characters that might have been brittle, mockable creations in another writer-director’s hands gain resonance here. But the filmmaker also might have very little to say apart from the way guilt enters into life, and then suddenly recedes.
    • 43 Metascore
    • 60 Joshua Rothkopf
    The meal here is mainly nostalgia, larded with a thick sauce of irony.
    • 53 Metascore
    • 60 Joshua Rothkopf
    Can they really be setting up a sequel at the end, with Robin as an outlaw? Let’s hope so--that’s the movie you actually wanted.
    • 66 Metascore
    • 60 Joshua Rothkopf
    The esteemed director, Ken Loach, isn’t really a fantasist--and it shows.
    • 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).
    • 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.
    • 65 Metascore
    • 60 Joshua Rothkopf
    So even though the science fair was something your other classmates did while you mastered Pitfall!, the sights in Whiz Kids will no doubt stir you.
    • 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.
    • 52 Metascore
    • 60 Joshua Rothkopf
    Now, with this underwhelming sequel, Spain proves it can stand toe to toe with any nation in the manufacture of unnecessary follow-ups.
    • 65 Metascore
    • 60 Joshua Rothkopf
    Crisply and efficiently, we're transported to the realm of the kidnapping thriller--and if Brit writer-director J Blakeson knew how to sustain tension for another hour and change, we'd be heralding the next Jonathan "Sexy Beast" Glazer.
    • 66 Metascore
    • 60 Joshua Rothkopf
    Though play with fire she might, couldn't screenwriter Jonas Frykberg have played with a little button called DELETE? There's no reason why a two-hour movie should feel like three, nor require quite so much fidelity to Larsson's plot curlicues.
    • 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.
    • 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.