Joshua Rothkopf
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For 648 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 2.9 points higher than other critics. (0-100 point scale)

Joshua Rothkopf's Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 100 Lincoln
Lowest review score: 20 Red Lights
Score distribution:
  1. Negative: 43 out of 648
648 movie reviews
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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
    • 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.
    • 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.
    • 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).
    • 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.
    • 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.
    • 69 Metascore
    • 60 Joshua Rothkopf
    A quintet of actors carve out a beautiful, ill-fated geometry in John Wells's layoff drama, which might play like a retort to "Up in the Air" if it didn't have shortcomings of its own.
    • 49 Metascore
    • 60 Joshua Rothkopf
    The profusion of Dudes is - pardon the apt pun - game-changing. By turns a fierce megalomaniac and a Lebowskian monk, Bridges supplies more soul than any sci-fi sequel deserves.
    • 43 Metascore
    • 60 Joshua Rothkopf
    It ends where you want it to begin.
    • 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.
    • 55 Metascore
    • 60 Joshua Rothkopf
    The film definitely gets it up, but has some commitment issues.
    • 88 Metascore
    • 60 Joshua Rothkopf
    Firth is exceptional in letting us into his dissolving pride.
    • 65 Metascore
    • 60 Joshua Rothkopf
    Night Catches Us surges awkwardly in its latter third, suddenly aware that a promising setup isn't enough. Regardless, here is an honorable attempt to address a complex chapter of African-American pride, one that's usually hidden under hairdos and wah-wah pedals.
    • 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.
    • 71 Metascore
    • 60 Joshua Rothkopf
    Some moments are so deliciously shivery-our heroes' breath condensing in the air like in John Carpenter's "The Thing"-that you wish the film were naughtier and less nice.
    • 66 Metascore
    • 60 Joshua Rothkopf
    The Way Back then takes its time, creeping through gorgeous locations in Bulgaria, Morocco and Pakistan, and basically feeling like a two-hour-plus version of the desert scene from "The Good, the Bad and the Ugly."
    • 72 Metascore
    • 60 Joshua Rothkopf
    The funny thing? It all works reasonably well, especially if you have a yen for the urbane register of city kids and their amazingly cool parents.
    • 47 Metascore
    • 60 Joshua Rothkopf
    Gus Van Sant directs his players just shy of mush; he's a filmmaker capable of brilliant dares (Milk, Paranoid Park) and shocking whiffs (Finding Forrester, the pointless remake of Psycho). This one's kind of in the middle.
    • 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.
    • 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.
    • 45 Metascore
    • 60 Joshua Rothkopf
    A largely sexless sex romp, has such a winning sense of middle-aged exhaustion to it that you might want to add a star or two, especially if you're familiar with the banalities of matrimonial bliss.
    • 53 Metascore
    • 60 Joshua Rothkopf
    Superb limb-erasing effects and lush cinematography are bonuses, though not so much the cloying presence of American Idol's Carrie Underwood.