Joshua Rothkopf

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For 871 reviews, this critic has graded:
  • 45% higher than the average critic
  • 3% same as the average critic
  • 52% lower than the average critic
On average, this critic grades 2 points higher than other critics. (0-100 point scale)

Joshua Rothkopf's Scores

  • Movies
  • TV
Average review score: 64
Highest review score: 100 Marina Abramovic: The Artist Is Present
Lowest review score: 20 Let's Be Cops
Score distribution:
  1. Negative: 50 out of 871
871 movie reviews
    • 87 Metascore
    • 100 Joshua Rothkopf
    Redford, already a giant, has never been more suggestive. His character’s misadventure — might be a kind of cosmic penance. It’s the salvation of the moviegoing year.
    • 89 Metascore
    • 100 Joshua Rothkopf
    We are in the presence of a new classic.
    • 72 Metascore
    • 100 Joshua Rothkopf
    An epic, often funny testament to creative fearlessness.
    • 86 Metascore
    • 100 Joshua Rothkopf
    Defiantly intellectual, complex and true to the shifting winds of real-world governance, Lincoln is not the movie that this election season has earned-but one that a more perfect union can aspire to.
    • 74 Metascore
    • 100 Joshua Rothkopf
    Rare is the profile that captures so much oddness with so little judgment. You owe yourself a chance to be challenged.
    • 78 Metascore
    • 100 Joshua Rothkopf
    The grandeur of this movie is off the charts. For a certain kind of old-school film fan, someone who believes in shapely, classical proportions and an epic yarn told over time, it will be the revelation of the year.
    • 95 Metascore
    • 100 Joshua Rothkopf
    The details are gripping, presented with respect for an audience's intelligence.
    • 74 Metascore
    • 100 Joshua Rothkopf
    Funny and heartbreaking, this is a movie that would have made the '80s-era Jonathan Demme, attuned to American anxieties, blush with pride.
    • 96 Metascore
    • 100 Joshua Rothkopf
    Much of the movie’s revolutionary impact should be credited to the city itself: The Dakota looms menacingly, every bit the Gothic pile as any Transylvanian vampire’s mansion.
    • 75 Metascore
    • 100 Joshua Rothkopf
    Matthew McConaughey finally locates his perfect métier as the town's Fordian skeptic, a district attorney who smells a rat.
    • 68 Metascore
    • 100 Joshua Rothkopf
    Like the wood-grained farmhouse itself — a beautiful piece of production design by Julie Berghoff — The Conjuring has an analog solidity that makes the terror to come almost unbearable.
    • 81 Metascore
    • 100 Joshua Rothkopf
    The beauty of this movie, both a nostalgic romp and a futuristic scream, is its stubborn insistence on getting all the trapped-in-amber details right.
    • 94 Metascore
    • 100 Joshua Rothkopf
    Though it runs an epic five-and-a-half hours (it was made for French TV), Carlos books like no film since "Goodfellas." You will not be bored, ever.
    • 99 Metascore
    • 100 Joshua Rothkopf
    Moonlight takes the pain of growing up and turns it into hardened scars and private caresses. This film is, without a doubt, the reason we go to the movies: to understand, to come closer, to ache, hopefully with another.
    • 51 Metascore
    • 100 Joshua Rothkopf
    By allowing viewers to step into the shoes of a wall-climbing Jackie Chan, a parkour-sprinting Daniel Craig or a bullet-spraying Ahnold, it does something that live action has never attempted before. The carnage flies—it’s possible to miss a lot of it. But if action movies are meant to be stunning, Hardcore Henry can proudly take its place among the giants. Even better, it lets you stand with them.
    • 69 Metascore
    • 100 Joshua Rothkopf
    Wheatley, underplaying his stylishness, goes for a subtle national satire about geeks gone wild, and that’s the fun here: On as mild-mannered a vacation as two Brits might devise, a killer comes along—and, after a while, is politely welcomed in, the kettle simmering.
    • 82 Metascore
    • 100 Joshua Rothkopf
    The tunes, flooding every frame, remain perfect.
    • 91 Metascore
    • 100 Joshua Rothkopf
    Polley has gone further into the thorny subject of forgiveness than any of her peers. Her movies ache with ethical quandary; Stories We Tell aches the most.
    • 86 Metascore
    • 100 Joshua Rothkopf
    On purely formal grounds (the ones on which the genre lives or dies), Kent is a natural. She favors crisp compositions and unfussy editing, transforming the banal house itself into a subtle, shadowy threat.
    • 100 Metascore
    • 100 Joshua Rothkopf
    Unshakable, witty and deeply felt, the film will be paying emotional dividends for a long, long time.
    • 95 Metascore
    • 100 Joshua Rothkopf
    Masterfully addressing the American racial divide, past and present, director Raoul Peck’s six-years-in-the-making documentary, I Am Not Your Negro, is a galvanizing, ominous film, thrumming with a sense of history repeating itself.
    • 78 Metascore
    • 100 Joshua Rothkopf
    It Comes at Night is a film of tense gradations, a chamber piece set at the twilight of humanity.
    • 87 Metascore
    • 100 Joshua Rothkopf
    The movement of the story—from wrenching homesickness to blooming confidence and a smile on one’s stroll to work—elevates the movie into universal urban poetry.
    • 96 Metascore
    • 100 Joshua Rothkopf
    Too few films take on the art of arguing as a subject; we could certainly use more of them, but until then, Lumet’s window into strained civic duty will continue to serve mightily.
    • tbd Metascore
    • 100 Joshua Rothkopf
    Here's where it's easiest to see Clouzot's advantage over his more famous peer, as he combines nail-biting action scenes - calibrated to the millimeter - with a Hawksian command of earthy performances.
    • 86 Metascore
    • 100 Joshua Rothkopf
    To watch Bigelow’s expertly calibrated chaos during the riots’ escalation – nothing short of block-by-block guerilla warfare – is to witness something depressingly familiar to anyone who has seen the videos of today’s police brutality, of violently botched arrests and furious community responses, and worried that it would never get better.
    • 92 Metascore
    • 100 Joshua Rothkopf
    A superior work of confrontational boldness, it might be the movie Oppenheimer wanted to make in the first place.
    • 86 Metascore
    • 100 Joshua Rothkopf
    Andersen makes humorous hay out of the stark home designs of Richard Neutra — only suitable, it seems, for drug dealers.
    • 76 Metascore
    • 100 Joshua Rothkopf
    World on a Wire is the discovery of the season, rarely screened in America but very much a key chapter in Fassbinder's story--a step toward bigger budgets and slicker production values, yet clarifying of his core artistic legacy.
    • 82 Metascore
    • 100 Joshua Rothkopf
    Rarely leaning on the weepy families back home, this briskly paced triumph maintains a clear focus on human costs, with hope slipping away onboard while lives hang on the burp of a fax machine.

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