Joshua Rothkopf
Select another critic »
For 692 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 Gett: The Trial of Viviane Amsalem
Lowest review score: 20 Antichrist
Score distribution:
  1. Negative: 44 out of 692
692 movie reviews
    • 67 Metascore
    • 80 Joshua Rothkopf
    Michael Jackson was obviously shooting for the moon right before his death, as you can tell from these stunning bits of concert spectacle.
    • 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).
    • 69 Metascore
    • 80 Joshua Rothkopf
    The action scenes-blissfully easy to follow-are where Whedon makes the giant leap into the big leagues.
    • 73 Metascore
    • 80 Joshua Rothkopf
    Amazingly, Gere keeps it all together, via a kind of seething anti-rage that speaks reams to the character's survival instincts.
    • 79 Metascore
    • 80 Joshua Rothkopf
    A Most Violent Year, Chandor’s absorbing no-bull NYC drama, further clarifies what might be the most promising career in American movies: an urban-headed filmmaker attuned to economies of place and time, with an eye on the vacant throne of Sidney Lumet.
    • 80 Metascore
    • 80 Joshua Rothkopf
    Olsson requires us to connect the dots to today's struggles (a missed opportunity), but his discoveries are more than sufficient.
    • 75 Metascore
    • 80 Joshua Rothkopf
    Despite the unsubtlety of the movie’s stance, a dizzyingly complex portrait emerges: that of pissed-off museum neighbors, arrogant critics and even the NAACP’s dignified Julian Bond, articulating a racial component.
    • 80 Metascore
    • 80 Joshua Rothkopf
    Lanzmann’s feisty exchanges with Murmelstein, a brilliant talker, become an emotional symbol for the pursuit of slippery truth, while the filmmaker’s recently shot footage of Yom Kippur services show a way of life in robust continuation.
    • 57 Metascore
    • 80 Joshua Rothkopf
    If the documentary lacks anything, it's a firmer grasp of Springfield's own transformation, from "kind of a dick" (per ex–MTV jock Mark Goodman) during his heyday to a giving, appreciative showman. Call it humility, shaded with weird, two-way neediness. Jesse's girl may have dodged a bullet.
    • 82 Metascore
    • 80 Joshua Rothkopf
    The White Ribbon comes dangerously--wonderfully?--close to playing like an evil-kid flick.
    • 61 Metascore
    • 80 Joshua Rothkopf
    It's here, in a keenly captured Forest Hills, Queens, land of low-lit bars and manicured lawns, that Roadie soars as a gently comic drama about living the dream - or trying to.
    • 82 Metascore
    • 80 Joshua Rothkopf
    Ajami is Israel’s submission to the Oscars, and like the gritty "City of God" before it, it takes harrowing, tricky circumstances and illuminates them with Scorsesian snap.
    • 92 Metascore
    • 80 Joshua Rothkopf
    Clearly, Pixar’s genius for adventurous storytelling continues unabated.
    • 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.
    • 88 Metascore
    • 80 Joshua Rothkopf
    Whiplash scrapes the far edge of crazy passion. It never apologizes.
    • 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.
    • 78 Metascore
    • 80 Joshua Rothkopf
    There has to be room for this kind of plea, especially a work that, obliquely, captures so many largely unreported details: the night raids rounding up children, the torn-up olive trees and kids' soccer games in the battle zone.
    • 80 Metascore
    • 80 Joshua Rothkopf
    It’s wonderful to think that a movie is, for a change, ahead of you.
    • 68 Metascore
    • 60 Joshua Rothkopf
    Yet after the actorcentric fireworks of Cianfrance’s "Blue Valentine" (2010), it’s impressive to see him going after a wider sociopolitical scope, one that would have been better served by a less repetitive structure.
    • 44 Metascore
    • 60 Joshua Rothkopf
    The navel-gazing artist class that gave Williamsburg its character (now more of a marketable “brand”) has in Friedrich both a vigorous defender and, it must be said, something close to an angry parody of itself.
    • 75 Metascore
    • 60 Joshua Rothkopf
    Berlinger is fully invested here, but a little distance might have helped.
    • 78 Metascore
    • 60 Joshua Rothkopf
    Redemptively, the cast goes a long way: Jean Desailly is perfect as a jowly literary celeb deep in midlife crisis, while the aloof Françoise Dorléac is magnetic as his airline stewardess and all-too-scrutable love object.
    • 56 Metascore
    • 60 Joshua Rothkopf
    The metafriction between these classic dupes and today's idiots chafes uneasily.
    • 61 Metascore
    • 60 Joshua Rothkopf
    You sense the Demme-esque working-class comedy that might have been.
    • 74 Metascore
    • 60 Joshua Rothkopf
    Dree Hemingway, daughter of Mariel, commits to some unnecessary nudity, but also impresses with her subtlety.
    • 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.
    • 76 Metascore
    • 60 Joshua Rothkopf
    Unfortunately for us, Dern — only seen in flashback — isn’t the main character.
    • 67 Metascore
    • 60 Joshua Rothkopf
    Swaddled with a lacquer of nostalgia that passes for cultural insight, this one-night-in-sweatpants drama will make you yearn for a moratorium on teen movies-at least ones so aggressively dewy-eyed.
    • 69 Metascore
    • 60 Joshua Rothkopf
    No exchanges flare into true weirdness; rather, the mood is lingering and tentative. Undoubtedly, this is the movie's intent, but it's a fairly banal comment on foreign estrangement (or love) that could have used some roughing up.
    • 81 Metascore
    • 60 Joshua Rothkopf
    No one is going to explain any of this for you — and the slightly snobby implication of Upstream Color is that explanations are for suckers.

Top Trailers