Joshua Rothkopf

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For 887 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 2.2 points higher than other critics. (0-100 point scale)

Joshua Rothkopf's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 Hardcore Henry
Lowest review score: 20 The Canyons
Score distribution:
  1. Negative: 51 out of 887
887 movie reviews
    • 68 Metascore
    • 80 Joshua Rothkopf
    The film gets so many exquisite details just right—the vacuous party guests, Hayek’s slightly self-righteous pose, the happy clink of the wine glasses—that it’s a letdown to realize the movie doesn’t have a proper ending. You take it home with you and argue about it.
    • 68 Metascore
    • 80 Joshua Rothkopf
    It’s as pure an expression of Tarantino’s voice as he’s ever mustered—easy to savor, even if the aftertaste leaves a trace of nasty bitterness.
    • 68 Metascore
    • 80 Joshua Rothkopf
    You can't believe what you're watching: Compliance, true to its title, digs into the rarely explored subject of psychological acquiescence (behavioral scientist Stanley Milgram should get a cowriting credit), with common-sense dignity being the first casualty.
    • 68 Metascore
    • 80 Joshua Rothkopf
    Land Ho! avoids schmaltz to get at that rarest of male timber: rekindled hearts.
    • 68 Metascore
    • 60 Joshua Rothkopf
    Raw, messy and unkempt (as a domestic cancer drama should be), Saturday Night Live writer Chris Kelly’s feature debut is also a woe-is-me gay rom-com, a showdown between siblings and—at its best—an out-and-proud minimusical. If that sounds like too much, it is.
    • 68 Metascore
    • 60 Joshua Rothkopf
    Writer-director Von Trotta, an icon of the New German Cinema, doesn't have the technical chops for the fireworks you desire, so she settles for wan earnestness.
    • 68 Metascore
    • 80 Joshua Rothkopf
    Stopping just short of the devastating exposé it might have been (but plenty creepy).
    • 68 Metascore
    • 60 Joshua Rothkopf
    John Wick feels like action manna for its cleanly designed gun-fu sequences—ones you can actually follow—and brutal takedowns. But the revenge plotting is deeply dopey and we shouldn't have to choose one or the other.
    • 68 Metascore
    • 60 Joshua Rothkopf
    Alas, this is a film that builds to a backroom compromise on carbon emissions, not the most thrilling of dramatic structures. The serious issue of global warming won’t be minimized by a mediocre documentary, but it has yet to find a filmmaker inflamed with rage and visual passion.
    • 68 Metascore
    • 40 Joshua Rothkopf
    The more substantial material, including Spitzer's feuds with vindictive New York politician Joe Bruno and financier Ken Langone, gets short shrift.
    • 68 Metascore
    • 40 Joshua Rothkopf
    An eerie resurrection regains some good will, but we'll have to wait for Neshat to catch up with the art of storytelling.
    • 68 Metascore
    • 60 Joshua Rothkopf
    The middle section of the story is where Rise truly takes off, perhaps in ways that will have viewers forgiving the rest.
    • 68 Metascore
    • 60 Joshua Rothkopf
    Densely plotted by director Yuval Adler and Ali Wakad (the former Israeli, the latter Palestinian), this informant crime drama finds admirable complexity in the folds of its shifting allegiances — even if you’ve seen this dynamic done better in movies like "The Departed."
    • 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.
    • 68 Metascore
    • 80 Joshua Rothkopf
    Marcia Gay Harden is the picture’s treasure; watching her swell with concern at her daughter’s choices, you understand how hard it is to let go.
    • 68 Metascore
    • 60 Joshua Rothkopf
    The question of winning Ann sexually takes on an ugly character, and the film dumbs down fast. This is how the world ends: not with a bang but a wimp.
    • 68 Metascore
    • 60 Joshua Rothkopf
    Into Eternity has the grandeur of ominous suggestion, but might have benefitted from a director more creatively unbound-an Errol Morris ready to play around at the end of the world.
    • 63 Metascore
    • 60 Joshua Rothkopf
    Shutter Island is slumming: minor but enjoyably nuts.
    • 67 Metascore
    • 60 Joshua Rothkopf
    Workman’s study, complete with a fawning sit-down with Steven Spielberg, feels slightly awestruck: The films certainly deserve it, but you’ll want more of Welles’s Illinois schoolmate, rolling her eyes when the subject is described as “humble.”
    • 67 Metascore
    • 60 Joshua Rothkopf
    Given Armstrong’s squirminess on the couch, you’ll wish this profile had traded a portion of its deep background for a little in-the-moment boldness.
    • 67 Metascore
    • 80 Joshua Rothkopf
    The Family Fang goes deep into dysfunction, but even more impressively, it smuggles in the daredevilish art theories of the late Chris Burden and his ilk.
    • 67 Metascore
    • 60 Joshua Rothkopf
    Philip Seymour Hoffman and a ratlike Paul Giamatti are the competing spin doctors - you wish the whole movie were about them. And Marisa Tomei brings a hungry sense of scoopmaking to the (unavoidable?) role of a New York Times journalist who's seen it all.
    • 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.
    • 67 Metascore
    • 60 Joshua Rothkopf
    Working from autobiographical material, Sebastián Silva does wonders with these two dedicated performances — the ice king and the earth goddess, both of them neurotically detached from their sunny surroundings.
    • 67 Metascore
    • 60 Joshua Rothkopf
    If only the script had been content to stick with its let's-start-a-band verve. Like many a musical biopic, Nowhere Boy wants to explain away the man (as if a song like "In My Life" weren't explanation enough).
    • 67 Metascore
    • 60 Joshua Rothkopf
    Unlike recent, sharp-witted examples like The Lego Movie and Paddington, there’s zero interest in mocking or freshening up the material—think what Wes Anderson might have done with this—thus dooming the movie to nostalgic types only. It trudges along like that black, jagged stripe on our hero’s yellow polo: up and down, scene by scene.
    • 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.
    • 67 Metascore
    • 60 Joshua Rothkopf
    Hipsters is also a musical (in an intentionally naive "Absolute Beginners" vein), and while everything looks glinty and gorgeous, the story's political edge is dulled by excessive levity.
    • 67 Metascore
    • 60 Joshua Rothkopf
    Ultimately, points may be scored on the balance sheet of workplace exploitation - usually we see it go the other way around, gender-wise - but these conference-room banalities have been better explored elsewhere, and the effort here feels like a rough draft.
    • 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.

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