Joshua Rothkopf

Select another critic »
For 915 reviews, this critic has graded:
  • 46% higher than the average critic
  • 3% same as the average critic
  • 51% 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: 65
Highest review score: 100 The Grand Budapest Hotel
Lowest review score: 20 The Canyons
Score distribution:
  1. Negative: 51 out of 915
915 movie reviews
    • 87 Metascore
    • 100 Joshua Rothkopf
    Either via clay dolls or fragile flesh, the truth is unmissable—as is Panh’s film itself.
    • 87 Metascore
    • 100 Joshua Rothkopf
    The most gratifying thing about the film is feeling Moodysson’s warmth return to him.
    • 84 Metascore
    • 100 Joshua Rothkopf
    Sprung from a 1982 French graphic novel and bearing its era’s trickle-down tensions, Snowpiercer is a headlong rush into conceptual lunacy — but you’ll love it anyway.
    • 92 Metascore
    • 100 Joshua Rothkopf
    A superior work of confrontational boldness, it might be the movie Oppenheimer wanted to make in the first place.
    • 76 Metascore
    • 100 Joshua Rothkopf
    Gilroy, vastly supported by cinematographer and Los Angeles specialist Robert Elswit (Boogie Nights, Magnolia), directs with the verve of a seasoned pro, even though Nightcrawler is his debut.
    • 79 Metascore
    • 100 Joshua Rothkopf
    It's a hypnotically perverse film, one that redeems your faith in studio smarts (but not, alas, in local law enforcement, tabloid crime reporting or, indeed, marriage).
    • 89 Metascore
    • 100 Joshua Rothkopf
    The film plays like a better episode of "Mad Men," pitch-perfect in its details yet fully lived-in: a universe of rolled-up shirt sleeves, sweat-laden brows and screams that don’t sound canned.
    • 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.
    • 90 Metascore
    • 100 Joshua Rothkopf
    The acting, especially from Menash Noy as an ineffectual attorney, is phenomenal, resulting in a feminist knockout told in inverse.
    • 75 Metascore
    • 100 Joshua Rothkopf
    As gritty as Heaven Knows What often feels, it’s leavened by empathy and poetic moments: desperate kisses, a passed-out couch nap lit by slanting sunbeams, the beautifully eerie synth music of Tomita. This isn’t an easy watch, but it validates every risk we want our most emboldened filmmakers to take.
    • 83 Metascore
    • 100 Joshua Rothkopf
    There’s a quiet fury to Johnny Guitar, best embodied by Mercedes McCambridge’s vicious Emma, who wants to drive Vienna out of town. It’s a film that climaxes with a gunfight between two women, while the men hide behind tree stumps.
    • 88 Metascore
    • 100 Joshua Rothkopf
    This film leaves you with the thrill of a good fight fought hard. It’s a scrappy, absorbing tribute to the pragmatic value of compromise, carefully proffered in pursuit of a greater good. America’s candidates would do well to take a page out of this doc’s book.
    • 81 Metascore
    • 100 Joshua Rothkopf
    The rollicking, space-opera spirit of George Lucas’s original trilogy (you can safely forget the second trio of cynical, tricked-up prequels) emanates from every frame of J.J. Abrams' euphoric sequel. It’s also got an infusion of modern-day humor that sometimes steers the movie this close to self-parody—but never sarcastically, nor at the expense of a terrific time.
    • 96 Metascore
    • 100 Joshua Rothkopf
    To say Lonergan has evolved further with his third feature would be an understatement: He toggles between his new plot’s years with the relaxed mastery of Boyhood’s Richard Linklater. Plus, he’s finally got a complex central performance that anchors his ambitions to cinema’s all-time great brooders.
    • 83 Metascore
    • 100 Joshua Rothkopf
    A hilarious, deeply relaxed comedy about male bonding, Richard Linklater’s baseball-minded latest ranks right up there with his masterpieces.
    • 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.
    • 83 Metascore
    • 100 Joshua Rothkopf
    It's more like confession, the director still seething and replaying Vertigo in his head, lost in the curves of his career. De Palma is a public therapy session that upturns all expectations.
    • 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.
    • 81 Metascore
    • 100 Joshua Rothkopf
    Jackie pummels you with grandeur, with its epic visions of the funeral and that terrible moment in the convertible (all of it rendered in pitch-perfect detail and a subtle 16-millimeter shudder). Yet the film's lasting impact is dazzlingly intellectual: Just as JFK himself turned politics into image-making, his wife continued his work when no one else could.
    • 67 Metascore
    • 100 Joshua Rothkopf
    The movie is a coming-of-age story, but whose age is coming? That's the profound question we're left with, in a stellar adaptation that balances gore with black humor, ethical quandary, hope and—yes—plenty of brains.
    • 77 Metascore
    • 100 Joshua Rothkopf
    The film isn’t heavy on earth science, yet these orange-tinted tide pools and shuddering protomammals indicate a strain of serious research. The world is a miracle and a gift in the movie’s eyes; it would be no small thing if audiences left with the same sense of wonderment.
    • 82 Metascore
    • 100 Joshua Rothkopf
    [Russ] Meyer could never make a psychodrama as sophisticated as Biller has now.
    • 63 Metascore
    • 100 Joshua Rothkopf
    If you can stomach the fear, go. Confident hands created this film. Its nightmare lingers for weeks.
    • 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.
    • 79 Metascore
    • 100 Joshua Rothkopf
    Scorsese has hit the rare heights of Ingmar Bergman and Carl Theodor Dreyer, artists who found in religion a battleground that often left the strongest in tatters, compromised and ruined. It’s a movie desperately needed at a moment when bluster must yield to self-reflection.
    • 74 Metascore
    • 100 Joshua Rothkopf
    You must see Oklahoma City, if only to know the enemy. They’re not stuck at the airport.
    • 86 Metascore
    • 100 Joshua Rothkopf
    Director Showalter does a beautiful job of twining Nanjiani and Romano’s similar slump — you smile at what a perfect almost-father and son they already are — and he steers Hunter to a rapprochement of uncommon complexity and grace. And we thought we were watching a Judd Apatow film.
    • 93 Metascore
    • 100 Joshua Rothkopf
    Call Me by Your Name has a choking emotional intensity that will be apparent to anyone who’s ever dared to reach out to another.
    • 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.
    • 78 Metascore
    • 100 Joshua Rothkopf
    It Comes at Night is a film of tense gradations, a chamber piece set at the twilight of humanity.

Top Trailers