Joshua Rothkopf
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For 698 reviews, this critic has graded:
  • 44% higher than the average critic
  • 3% same as the average critic
  • 53% 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
  • TV
Average review score: 63
Highest review score: 100 Marina Abramovic: The Artist Is Present
Lowest review score: 20 Antichrist
Score distribution:
  1. Negative: 44 out of 698
698 movie reviews
    • 72 Metascore
    • 60 Joshua Rothkopf
    Simply skip the first part entirely: "Killer Instinct" bulges with a disconnected jumble of nightclub attacks and fence-clipping escapes you've seen better elsewhere. Yet a tide change happens with the superior Public Enemy No. 1, which takes the subject's raging ego as its cue.
    • 60 Metascore
    • 60 Joshua Rothkopf
    It exists in fits and starts: a Blade Runner–esque moment of rainy contemplation on a hotel balcony; some weird sexual tension with a lizard girl (statuesque Svetlana Khodchenkova) who steals away Wolverine’s healing powers.
    • 52 Metascore
    • 60 Joshua Rothkopf
    Now, with this underwhelming sequel, Spain proves it can stand toe to toe with any nation in the manufacture of unnecessary follow-ups.
    • 45 Metascore
    • 60 Joshua Rothkopf
    The film wants to be inspiring, when it might have been cosmic-a far greater ambition. Tossing boats and dreamers, the huge waves perform beautifully.
    • 53 Metascore
    • 60 Joshua Rothkopf
    LaMarque foregrounds her scenario’s awkwardness—it never quite feels like a comedy—and the pair of male suitors she brings in (Jake Johnson and Ron Livingston) are, refreshingly, as unfixed as her main character. But you still wish Kazan had more to work with.
    • 56 Metascore
    • 60 Joshua Rothkopf
    Unknown is probably the movie "The Tourist" wanted to be, if it had a pulse. Its sheer momentum makes Neeson and Kruger more attractive than even Johnny Depp and Angelina Jolie.
    • 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.
    • 78 Metascore
    • 60 Joshua Rothkopf
    It probably would have helped if Walker (who credits two other codirectors) had chosen just one of those avenues for deeper study; her doc has a vertiginous way of feeling arty and ephemeral at one moment, humane and maybe too earthbound the next.
    • 65 Metascore
    • 60 Joshua Rothkopf
    The sincere director, Oliver Schmitz, injects too much movie into his movie; life (above all) would have been enough.
    • 59 Metascore
    • 60 Joshua Rothkopf
    Even though Unfriended begins to cheat, springing loud noises and gory cutaways that can’t be explained, there’s a rigor to its dopey, blood-simple conception that you might smile at.
    • 52 Metascore
    • 40 Joshua Rothkopf
    None of this is particularly well wrought, and only a bizarre gas mask worn by the séance leader counts as an inspired (if slightly silly) touch.
    • 42 Metascore
    • 40 Joshua Rothkopf
    While Transcendence has tons of money to spend on unpersuasive digital effects and dronelike music, it shows little interest in exploring the potentially tricky benefits of a computer-enhanced intellect; it’s not even in the enjoyable realm of starkly ridiculous Cold War thrillers like "Colossus: The Forbin" Project.
    • 48 Metascore
    • 40 Joshua Rothkopf
    Director Peter Webber, who once mined social unease from the painterly "Girl with a Pearl Earring," is out of his depth; this is a movie in desperate need of a no-nonsense Howard Hawks.
    • 48 Metascore
    • 40 Joshua Rothkopf
    Admission’s comedy has walls built around it; director Paul Weitz (About a Boy), normally a softener of harsh edges, might have been stymied by Fey’s snappy persona.
    • 31 Metascore
    • 40 Joshua Rothkopf
    A new Red Dawn could have been so much more fun had it thrown a properly out-of-bounds tea party. (It lacks the signature brawn of original director John Milius, a guns-first libertarian.)
    • 40 Metascore
    • 40 Joshua Rothkopf
    Like all advertisements, this scripted movie is a perfect fantasy: expertly coordinated, simplistic (the bad guys like yachts and bikini girls while our heroes have loving families) and more than a little scary.
    • 72 Metascore
    • 40 Joshua Rothkopf
    You doubt Wiseman's sense of pacing. Still, he must have had a good time shooting.
    • 43 Metascore
    • 40 Joshua Rothkopf
    Only Hélène Cattet and Bruno Forzani, directors of 2009’s stylish Amer, emerge intact with “O Is for Orgasm,” a surging montage of fluid colors and moans.
    • 59 Metascore
    • 40 Joshua Rothkopf
    To the movie's small credit, there's very little grasping for larger significance: It's a dumb horror film, complete with a sexy female lust object (Kaboom's Mesquida) undraping for a shower scene.
    • 61 Metascore
    • 40 Joshua Rothkopf
    The film plays like something Boyle could kick out in his sleep, all his supercool devices listlessly deployed in service of a mediocre wet dream.
    • 81 Metascore
    • 40 Joshua Rothkopf
    Shockingly dull.
    • 55 Metascore
    • 40 Joshua Rothkopf
    Filmed with the somber pretentiousness of a "Babel," the movie never quite converts its premise into something grander (never mind believable). Meanwhile, the world starts to riot, yet their bed is warm. Will love save the day? Unfortunately for us, our sense of smell remains intact.
    • 57 Metascore
    • 40 Joshua Rothkopf
    This is the ultimate sin of the film, generically helmed by lad-auteur Guy Ritchie: Logic seems to be thrown out the window in order to make room for clashes on a partially completed Tower Bridge. It’s way too elementary.
    • 55 Metascore
    • 40 Joshua Rothkopf
    It's too bad V/H/S starts off on such a high note. Mainly, the omnibus film feels undercooked, even on the grounds of its forced technological setup.
    • 45 Metascore
    • 40 Joshua Rothkopf
    For a movie with a critique of mediocrity well within its grasp, this one settles for an embrace of it, barely breaking a sweat.
    • 55 Metascore
    • 40 Joshua Rothkopf
    The whole movie feels like a case of the sweats, putting you in desperate need of the chicken soup of recognizable human behavior.
    • 46 Metascore
    • 40 Joshua Rothkopf
    A soundtrack of churning rock songs by the Kills is as close as this misfire gets to authentic grrrl power, borrowed as it is.
    • 56 Metascore
    • 40 Joshua Rothkopf
    What was Clint thinking? (Or Martin Scorsese, when he made "Shutter Island," for that matter.)
    • 48 Metascore
    • 40 Joshua Rothkopf
    One would be better off experiencing Woodley via her heartbreaking turn in last year's "The Spectacular Now," a drama that actually has more to say about nightmarish cliques and individuality than any lackadaisical slide into future schlock.
    • 49 Metascore
    • 40 Joshua Rothkopf
    The set pieces are grand—gloriously dumb and never realistic enough to make you wince at the fact that billions of microscopic souls are dying before your eyes. Rather, you wince at everything else.

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