Jonathan Rosenbaum
Select another critic »For 1,851 reviews, this critic has graded:
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42% higher than the average critic
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2% same as the average critic
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56% lower than the average critic
On average, this critic grades 3.7 points lower than other critics.
(0-100 point scale)
Jonathan Rosenbaum's Scores
- Movies
- TV
Average review score: | 61 | |
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Highest review score: | Paths of Glory | |
Lowest review score: | Bad Boys |
Score distribution:
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Positive: 900 out of 1851
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Mixed: 723 out of 1851
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Negative: 228 out of 1851
1851
movie
reviews
- By Date
- By Critic Score
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- Jonathan Rosenbaum
The film’s sophistication is compromised by the rather dumb plot, but some of the numbers—especially “Think Pink” and “Bonjour Paris”—are standouts.- Chicago Reader
- Posted Jun 7, 2022
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- Chicago Reader
- Posted May 5, 2022
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- Jonathan Rosenbaum
A significant influence on Peckinpah's The Wild Bunch, this grueling pile driver of a movie will keep you on the edge of your seat, though it reeks of French 50s attitude, which includes misogyny, snobbishness, and borderline racism.- Chicago Reader
- Posted Jul 1, 2020
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- Jonathan Rosenbaum
This packaged tour through the great man's career is unenlightening and obfuscating, despite an adept lead performance by Robert Downey Jr.- Chicago Reader
- Posted Jun 30, 2017
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- Jonathan Rosenbaum
This isn't a major Dante effort, but his ability to make a good-natured satire that allows an audience to read it several ways at once is as strong as ever, and many of the sidelong genre notations are especially funny.- Chicago Reader
- Posted Jun 29, 2017
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- Jonathan Rosenbaum
But the inspirational aspects of the tale--which mainly has to do with the determination of Close to form a vocal orchestra at the camp, despite the class divisions between the women--never quite carry the dramatic impact they're supposed to.- Chicago Reader
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- Jonathan Rosenbaum
Results are classy entertainment with little to interest women viewers but very shrewdly and cleverly put together, and probably more rewarding in long-range terms if you invest in Fox or Dreamworks than if you actually see the movie.- Chicago Reader
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- Jonathan Rosenbaum
This 2002 German documentary (in English) by Marta Kudlacek is the best portrait of an experimental filmmaker that I know.- Chicago Reader
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- Jonathan Rosenbaum
A few of the bad-taste gags are funny, and Carrey's grimaces have a certain inspired delirium, but this is a long way from the social comedy of Jerry Lewis.- Chicago Reader
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- Jonathan Rosenbaum
Like most of Lee’s work, this movie bites off a lot more than it can possibly chew, and it bristles with the worst kind of New York provincialism.- Chicago Reader
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- Jonathan Rosenbaum
This leads to some fairly amusing gags involving surreal ads for actual products (e.g., for Jaguar: “Sleek and smart. For men who'd like hand jobs from beautiful women they hardly know”). Moore's boss is so horrified by this development that he sends him to a sanitarium, at which point the movie takes an abrupt nosedive into the sort of tacky media lies it is supposedly attacking.- Chicago Reader
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- Chicago Reader
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- Jonathan Rosenbaum
The only problem I was faced with was trying to understand what exactly it was that I enjoyed, and how this movie differed from the play I'd read.- Chicago Reader
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- Jonathan Rosenbaum
One can have a reasonably amusing time with this predictable sequel, which is a bit longer on action and shorter on wit and character than the original (hence less good, in my opinion), but still diverting and harmless enough.- Chicago Reader
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- Jonathan Rosenbaum
Arguably Woody Allen's funniest movie. A riotous object lesson in how much dialogue can transform visuals, and Allen works wonders with it.- Chicago Reader
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- Jonathan Rosenbaum
The most obnoxious case of masculine swagger since Andrew Dice Clay, with just a tad of Paul Lynde thrown in for spice, Jim Carrey defies you not to bolt for the exit while playing the title hero in this 1994 comic mystery.- Chicago Reader
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- Jonathan Rosenbaum
This curious ecological parable was directed by George Miller (Babe: Pig in the City), who still has an eye and a sense of humor but on this particular outing can't get the script he wrote with three others to make much sense.- Chicago Reader
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- Jonathan Rosenbaum
Director Jonathan Demme's farcical and broad 1988 comedy, written by Barry Strugatz and Mark R. Burns, doesn't really work, but there are plenty of enjoyable compensations.- Chicago Reader
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- Jonathan Rosenbaum
This is a remarkably gripping, suggestive, and inventive piece of storytelling that, like Kubrick's other work, is likely to grow in mystery and intensity over time.- Chicago Reader
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- Jonathan Rosenbaum
The film runs for 134 minutes, but Lumet keeps things moving with his sharp eye (and ear) for New York detail and his escalating sense of liberal outrage.- Chicago Reader
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- Jonathan Rosenbaum
There's some excellent comedy early on involving the mutual incomprehension of Africans and Americans, though this eventually gives way to solemn, ethnocentric mush about one African's reading of the story of Jesus, demonstrating as usual that sustained subtlety is hardly Spielberg's forte.- Chicago Reader
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- Jonathan Rosenbaum
On the whole, the adaptation is faithful but some of the qualities of Dinesen's language are lost in translation or through abridgment, and the politics have been needlessly simplified.- Chicago Reader
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- Jonathan Rosenbaum
This is hilarious, deadly stuff, sparked by the cynical gusto of the two leads as well as the fascinating technical display of how TV "documentary evidence" can be digitally manufactured inside a studio.- Chicago Reader
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- Jonathan Rosenbaum
Awkward storytelling and spotty exposition reduce it to a string of rude shocks--not even the eventual denouement provides a lucid enough account of where this is all coming from.- Chicago Reader
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- Chicago Reader
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- Jonathan Rosenbaum
Everything seems to fall into place according to earlier Egoyan films, which suggests that you're likelier to enjoy this one if you haven't seen the others.- Chicago Reader
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- Jonathan Rosenbaum
Lacks the scariness, the mystery, and even much of the curiosity of Rivette's better work.- Chicago Reader
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- Chicago Reader
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- Jonathan Rosenbaum
The script by producer David Franzoni, John Logan, and William Nicholson is serviceable but not exactly inspired.- Chicago Reader
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- Jonathan Rosenbaum
Part of Morton's achievement is to present all four people through the viewpoints of the other three; Wagner can't do that, but the performances are so nuanced that the characters remain multilayered, and they're not the sort of people we're accustomed to finding in commercial films.- Chicago Reader
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