Joshua Rothkopf
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For 680 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
  • TV
Average review score: 63
Highest review score: 100 Blue Jasmine
Lowest review score: 20 Skyline
Score distribution:
  1. Negative: 44 out of 680
680 movie reviews
    • 74 Metascore
    • 60 Joshua Rothkopf
    The film is vigorous exercise for those who prefer their mysteries knowing and knotty.
    • 46 Metascore
    • 60 Joshua Rothkopf
    you sense that "The Hangover" loomed large over this production. Still, Eve has a true flair for zingers, and the movie’s heart survives intact.
    • 65 Metascore
    • 60 Joshua Rothkopf
    There's lots of volume in these tunes--the soundtrack is killer--and at least everyone gets their rocks off.
    • 39 Metascore
    • 60 Joshua Rothkopf
    Alas, it all comes off as hit and myth, mainly due to our leaden, buzz-cut hero, Perseus (Avatar’s Worthington, no Harry Hamlin), and zero sparks of heavenly-body chemistry or humor.
    • 57 Metascore
    • 60 Joshua Rothkopf
    The doc dutifully allows for these varying viewpoints, but in a mode that’s not especially captivating, despite a guitar score by Brokeback Mountain’s Gustavo Santaolalla.
    • 56 Metascore
    • 60 Joshua Rothkopf
    It makes you laugh in fits and starts, but more often it feels toothless and exhausted, the kind of project that exists to give Ray Liotta work.
    • 40 Metascore
    • 60 Joshua Rothkopf
    The Good Heart dilutes Cox’s gravitas with quirk.
    • 78 Metascore
    • 60 Joshua Rothkopf
    She has real sympathy--characters that might have been brittle, mockable creations in another writer-director’s hands gain resonance here. But the filmmaker also might have very little to say apart from the way guilt enters into life, and then suddenly recedes.
    • 43 Metascore
    • 60 Joshua Rothkopf
    The meal here is mainly nostalgia, larded with a thick sauce of irony.
    • 53 Metascore
    • 60 Joshua Rothkopf
    Can they really be setting up a sequel at the end, with Robin as an outlaw? Let’s hope so--that’s the movie you actually wanted.
    • 66 Metascore
    • 60 Joshua Rothkopf
    The esteemed director, Ken Loach, isn’t really a fantasist--and it shows.
    • 65 Metascore
    • 60 Joshua Rothkopf
    When the movie remembers to be the drug-spiked, hard-R comedy you hope for, it’s more than just a fun romp (and, incidentally, superior to "Forgetting Sarah Marshall," the rom-com from which its Britpop libertine spins off).
    • 45 Metascore
    • 60 Joshua Rothkopf
    Like the vampires that cavort throughout it, this horror-comedy doesn’t have much chance of surviving the harsh light of scrutiny--but as a loopy, antiserious lark, it should prove plenty alive on the midnight-movie circuit.
    • 65 Metascore
    • 60 Joshua Rothkopf
    So even though the science fair was something your other classmates did while you mastered Pitfall!, the sights in Whiz Kids will no doubt stir you.
    • 37 Metascore
    • 60 Joshua Rothkopf
    A marvelous thought, credited to Orson Welles: You can handle shit with velvet gloves, but the gloves only get shittier; the shit doesn't get glovier. As wondrous as the regal Helen Mirren can be, it's a sad day when her queenly demeanor gets dunked in doo-doo.
    • 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.
    • 65 Metascore
    • 60 Joshua Rothkopf
    Crisply and efficiently, we're transported to the realm of the kidnapping thriller--and if Brit writer-director J Blakeson knew how to sustain tension for another hour and change, we'd be heralding the next Jonathan "Sexy Beast" Glazer.
    • Time Out New York
    • 66 Metascore
    • 60 Joshua Rothkopf
    Though play with fire she might, couldn't screenwriter Jonas Frykberg have played with a little button called DELETE? There's no reason why a two-hour movie should feel like three, nor require quite so much fidelity to Larsson's plot curlicues.
    • 63 Metascore
    • 60 Joshua Rothkopf
    A smart horror film will fatten its pigs before the slaughter, and the mock doc The Last Exorcism feeds its prize hog nicely.
    • 71 Metascore
    • 60 Joshua Rothkopf
    This disappointing dramatization, mounted with generic blandness by Jean-François Richet, makes no case for the man's larger significance, nor does any emotional digging at all. Such detachment was no doubt considered artistically shrewd-it's a big mistake.
    • 68 Metascore
    • 60 Joshua Rothkopf
    The transformation that you anticipate never comes; the movie feels strangled.
    • 61 Metascore
    • 60 Joshua Rothkopf
    The film's mood is so somber and minimal, it might be confused for deep. Had the plot (meager and one-last-job-predictable) zipped along, that wouldn't feel like such a problem.
    • 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.
    • 43 Metascore
    • 60 Joshua Rothkopf
    It ends where you want it to begin.
    • 59 Metascore
    • 60 Joshua Rothkopf
    A completely unnecessary sequel, plays a lot like "The Godfather, Part III"-lush, self-parodic and cut adrift from urgency.
    • 58 Metascore
    • 60 Joshua Rothkopf
    Despite a roster of off-kilter documentarians each directing an episode, Freakonomics only partly delivers the sense of traipsing into uncharted territory.
    • 61 Metascore
    • 60 Joshua Rothkopf
    Lane, experiencing her career heyday, is sweet enough to have you rooting for her, even if her journey to the winner's circle is an odds-on favorite.
    • 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).
    • 56 Metascore
    • 60 Joshua Rothkopf
    The 3-D effects, so promising on paper, don't really add much-and, worse, there's a overreliance on slow-motion, which kills the fun.
    • 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.

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