For 605 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 The Babadook
Lowest review score: 20 Aurora
Score distribution:
  1. Negative: 42 out of 605
605 movie reviews
    • 92 Metascore
    • 80 Joshua Rothkopf
    Clearly, Pixar’s genius for adventurous storytelling continues unabated.
    • 71 Metascore
    • 80 Joshua Rothkopf
    Refn has somehow found his way to an authentic English hard-man drama, anchored in a dynamite performance, even as it celebrates thug life.
    • 81 Metascore
    • 80 Joshua Rothkopf
    Hardly the heady stuff of "Frost/Nixon"--or then again, maybe exactly the same thing. This one’s more rude and fun.
    • 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.
    • 77 Metascore
    • 80 Joshua Rothkopf
    The movie does an uncommonly sensitive job probing the psychologies of blocked men, less so the urges of a widow who needs more than comforting words.
    • 82 Metascore
    • 80 Joshua Rothkopf
    The White Ribbon comes dangerously--wonderfully?--close to playing like an evil-kid flick.
    • 61 Metascore
    • 80 Joshua Rothkopf
    Given the dreck we’ve seen this summer, it’s nice to be reminded of the virtues of clean storytelling and cultural curiosity.
    • 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.
    • 71 Metascore
    • 80 Joshua Rothkopf
    His own worst enemy, Finkelstein has both trouble and tragic writ large on his brow.
    • 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.
    • 69 Metascore
    • 80 Joshua Rothkopf
    When you have an actor as suggestive as Kazan, swallowing up the lens with allure and complexity, your writer-director becomes superfluous.
    • 81 Metascore
    • 80 Joshua Rothkopf
    The movie isn’t quite suitable for the extremely young, but its apocalyptic tint may be catnip for smart preteens. They’ll breathe in the chilly air of a mysterious forest--the way forests should be.
    • 73 Metascore
    • 80 Joshua Rothkopf
    Still a mystery: Harlan’s own sense of guilt. But there’s plenty to go around.
    • 76 Metascore
    • 80 Joshua Rothkopf
    When Stiller indulges in moments of unfulfilled rage, this has real desperation.
    • 85 Metascore
    • 80 Joshua Rothkopf
    Almost as an afterthought to the ringingly true performances--and Marco Bellocchio’s unusually approachable direction--comes a deft analysis of fascism, likened to lovesickness, insanity and a gust of orchestral strings. It’s all of that and more, not to mention a lousy matchmaker.
    • 66 Metascore
    • 80 Joshua Rothkopf
    For those of us who find somber superhero movies faintly ridiculous, Kick-Ass is a one-film justice league.
    • 75 Metascore
    • 80 Joshua Rothkopf
    By movie’s end, you see flocks of umbrella-adorned commuters in a different light; and what’s often viewed as Japanese humility becomes a doorway to something huge and eternal. Bring the kids.
    • 79 Metascore
    • 80 Joshua Rothkopf
    Director Luca Guadagnino is having so much fun setting up the Kubrickian chill (even Barry Lyndon's Marisa Berenson is on hand) that when Emma and the much younger Antonio finally come together in warming Sanremo, their tryst almost sneaks up on you.
    • 85 Metascore
    • 80 Joshua Rothkopf
    Stripped to a minimum of editorializing (but, like "The Hurt Locker," flush with sympathy), this Afghanistan-shot war documentary takes its cues from the unblinking style of cinema verité.
    • 91 Metascore
    • 80 Joshua Rothkopf
    Watching the first hour of I Was Born, But… (unspooling with a bright, new piano score by Donald Sosin) might remind you of a subdued “Our Gang” skit, and not unpleasantly.
    • 74 Metascore
    • 80 Joshua Rothkopf
    Inception, though, is no "Avatar"--instead, it’s the movie that many wanted "Avatar" to be. In a roaringly fast first hour, we’re introduced to a new technology that allows for the bodily invasion of another person’s dreamworld.
    • 74 Metascore
    • 80 Joshua Rothkopf
    The man himself stares into Davis's lens, both confident and scared; for these moments alone, the movie is key.
    • 70 Metascore
    • 80 Joshua Rothkopf
    Walker integrates stranger-on-the-street testimony to further her general vibe of ignorance, thus pinpointing the true target of an agitated doc--our own blithe apathy.
    • 61 Metascore
    • 80 Joshua Rothkopf
    Director Nicolas Winding Refn, the prankster of last year's "Bronson," has never reduced his craft to such a sledgehammer of minimalism. Electric guitars drone on the soundtrack, bones crunch, and a mystical religiosity gathers around One-Eye; there's a midnight cult here for those who yearn for one.
    • 77 Metascore
    • 80 Joshua Rothkopf
    Nature smiles upon Alamar, just as it did on the simple, unfussy charms of "The Black Stallion" some 30 years ago.
    • 69 Metascore
    • 80 Joshua Rothkopf
    Life During Wartime slices deeply into its characters' weaknesses.
    • 85 Metascore
    • 80 Joshua Rothkopf
    Very little gets in the way of Lebanon's apocalyptic mood; if it turns its audience even slightly away from barbarism, it might have done its job.
    • 83 Metascore
    • 80 Joshua Rothkopf
    The strength of Animal Kingdom is its slow-building fatalism; the criminals' luck runs out, but then finds depressing extension via an out-of-left-field collaborator. It's a movie that has very little faith in authority, not even in Guy Pearce's righteous detective. The only law here is Darwin's.
    • 50 Metascore
    • 80 Joshua Rothkopf
    All of the performances are knockouts, especially The Visitor's Richard Jenkins as a damaged Texas spiritualist who steeps the movie in intimacy.
    • 76 Metascore
    • 80 Joshua Rothkopf
    His (Fatih Akin) new movie, an occasionally shouty comedy, is easily his most fun.