Joshua Rothkopf

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For 858 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 Keep the Lights On
Lowest review score: 20 The Back-up Plan
Score distribution:
  1. Negative: 50 out of 858
858 movie reviews
    • 75 Metascore
    • 80 Joshua Rothkopf
    This isn’t a straight documentary — part of what makes the film so suggestive is the idea that we’re seeing a double performance pitted against our own prurient interests. As for the movie’s final scene, you won't witness something as confrontational all year: a yowl from beyond the grave. It’s a small piece of revenge for a lost soul.
    • 75 Metascore
    • 60 Joshua Rothkopf
    Based on a banned short story from the 1920s, Caterpillar might be read as a reaction to hawkish nationalism, but it's more a cry for the unknown soldier in the kitchen and bedroom.
    • 74 Metascore
    • 60 Joshua Rothkopf
    It helps that Milo (Hader) and Maggie (Wiig) are cranky adult siblings, sharing a whip-crack shorthand that longtime skit partners know how to muster effortlessly.
    • 74 Metascore
    • 100 Joshua Rothkopf
    You must see Oklahoma City, if only to know the enemy. They’re not stuck at the airport.
    • 74 Metascore
    • 60 Joshua Rothkopf
    The film is vigorous exercise for those who prefer their mysteries knowing and knotty.
    • 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.
    • 74 Metascore
    • 80 Joshua Rothkopf
    Tirola’s punchy timeline hits the breaks at the ’80s flameout, wobbling in its handling of self-destructive editor Doug Kenney. But until the defunct Lampoon starts magically reappearing in your mailbox, this excellently titled pic will do nicely.
    • 74 Metascore
    • 60 Joshua Rothkopf
    If The Woodmans has something profound to say-and it does, unwittingly-it's that art can't raise a child solo.
    • 74 Metascore
    • 60 Joshua Rothkopf
    Young Aprile is a real find, investing what might have been a symbolic part with a visible sense of craft and patience (this isn’t merely cute-kid cinema), but it would be a shame not to mention the risks taken by Moore and Coogan, pushing difficult parts into daring registers of irresponsibility.
    • 74 Metascore
    • 80 Joshua Rothkopf
    Amy Berg’s deeply sympathetic documentary on Janis Joplin — a singer whose shredded wail tapped reservoirs of pain — gets so much right, it feels like a major act of cultural excavation.
    • 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.
    • 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
    • 60 Joshua Rothkopf
    The problem here, though, is that the movie often feels fat instead of lean. A terribly purple folk score by Kate and Anna McGarrigle hypes the spiritual aspects of the Inuit way of life; you’ll die laughing on the tundra.
    • 74 Metascore
    • 80 Joshua Rothkopf
    Even as the trio heads into a complicated dance of multiple infidelities, In the Shadow of Women never villainizes any of them.
    • 74 Metascore
    • 80 Joshua Rothkopf
    Suleiman can be criticized for failing, ever so slightly, at crafting an overall structure-his latest, based on his dad's diary and other memories, is an autobiographical story of exile and return that skips like a stone over water, fleetly but not so deeply. Still, this is a welcome example of kitsch wedded to serious indictment.
    • 74 Metascore
    • 80 Joshua Rothkopf
    In the film’s second half, the two characters have roughly swapped social positions — Mindy is about to get married — but their sexual attraction (never fully expressed) remains a palpable thing. Try this one.
    • 74 Metascore
    • 60 Joshua Rothkopf
    His rock music gets a decent airing, but you wish more of the man’s perversity came through: his intimidating ego, the way he could exhaust his bandmates. And seriously, where is “Valley Girl” and his amazing kids? Not bitchin’ at all.
    • 74 Metascore
    • 60 Joshua Rothkopf
    The film aims for the stars but might have gone stratospheric if it cooled its jets ever so slightly.
    • 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.
    • 74 Metascore
    • 60 Joshua Rothkopf
    Sully is so square, it’s a wonder it even gets airborne. Hanks’s walking iceberg never thaws; the actor is never as vulnerable as he was in Captain Phillips.
    • 74 Metascore
    • 80 Joshua Rothkopf
    Into the Abyss is too self-admiring of its own loose ends to come to the indictment that would put it in the company of "The Thin Blue Line," but these personalities stay in your head - which is the whole point.
    • 74 Metascore
    • 60 Joshua Rothkopf
    The movie's first hour happens to be its most absorbing. Director Alexei Popogrebsky sets up the quiet tensions between his two generationally divided characters like a chess match pocked with occasional power grabs.
    • 74 Metascore
    • 60 Joshua Rothkopf
    The movie isn’t adventurous, but I’m sure glad it exists.
    • 74 Metascore
    • 60 Joshua Rothkopf
    Dree Hemingway, daughter of Mariel, commits to some unnecessary nudity, but also impresses with her subtlety.
    • 73 Metascore
    • 60 Joshua Rothkopf
    For all his brilliance with choreography, Woo is flummoxed by the thousands of actual human extras, though there’s no denying his commitment to the finer points of battle tactics (yawn).
    • 73 Metascore
    • 80 Joshua Rothkopf
    Even if you’re not boned up on your classic Ozu family tragedies, see it before Spielberg does his remake.
    • 73 Metascore
    • 60 Joshua Rothkopf
    Tuschi leans too far into an admiring position, and you thirst for some commonsense critique. It's all a bit rich.
    • 73 Metascore
    • 80 Joshua Rothkopf
    Forgive this film its marvelous moodiness — someone needs to go there once in a while.
    • 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.
    • 73 Metascore
    • 100 Joshua Rothkopf
    How perfectly perverse: In a summer crammed with sequels, remakes, '80s nostalgia and the frustrated sense of "What else y'got?" comes the most original nightmare in years.

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