Jonathan Rosenbaum

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For 1,748 reviews, this critic has graded:
  • 42% higher than the average critic
  • 2% same as the average critic
  • 56% lower than the average critic
On average, this critic grades 3.1 points lower than other critics. (0-100 point scale)

Jonathan Rosenbaum's Scores

  • Movies
  • TV
Average review score: 61
Highest review score: 100 Intolerance
Lowest review score: 0 The Flintstones
Score distribution:
1748 movie reviews
    • 85 Metascore
    • 60 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.
    • 47 Metascore
    • 50 Jonathan Rosenbaum
    This packaged tour through the great man's career is unenlightening and obfuscating, despite an adept lead performance by Robert Downey Jr.
    • 45 Metascore
    • 60 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.
    • 54 Metascore
    • 30 Jonathan Rosenbaum
    A tiresome 1998 rip-off of The Hustler, with poker (in a New York Russian Mafia milieu) taking the place of pool, Matt Damon taking over for Paul Newman, and John Malkovich's scenery chewing supplanting Jackie Gleason's self-effacement.
    • 57 Metascore
    • 60 Jonathan Rosenbaum
    This keeps one reasonably amused, titillated, and brain-dead for a little over two hours.
    • 85 Metascore
    • 100 Jonathan Rosenbaum
    "Heathers" may view teenagers more caustically, but this movie, incomparably better, actually delivers the goods.
    • 77 Metascore
    • 90 Jonathan Rosenbaum
    The style is so eclectic that it may take some getting used to, but Van Sant, working from his own story for the first time, brings such lyrical focus to his characters and his poetry that almost everything works.
    • 73 Metascore
    • 70 Jonathan Rosenbaum
    The film is only superficially superficial, and it grows in meaning and resonance as it progresses.
    • 68 Metascore
    • 60 Jonathan Rosenbaum
    I can't yet decide whether the film works or not, but it certainly held me for its full two hours.
    • 52 Metascore
    • 20 Jonathan Rosenbaum
    At least (John) Waters cares about most of his freaks; for Lynch they're basically exploitation fodder for a puritanical "dark vision of the universe" that seems to come straight out of junior high, complete with giggles.
    • 79 Metascore
    • 80 Jonathan Rosenbaum
    It's unclear whether this macho thriller does anything to improve the state of the world or our understanding of it, but it certainly sets off enough rockets to hold us and shake us for every one of its 99 minutes.
    • 39 Metascore
    • 20 Jonathan Rosenbaum
    Maybe writers Josann McGibbon and Sara Parriott were thinking of Tracy and Hepburn--assuming they were thinking of anything--but not even Roberts's smile can put this one over.
    • 82 Metascore
    • 80 Jonathan Rosenbaum
    An entertaining comedy-thriller directed with bounce (if not much nuance) by Barry Sonnenfeld.
    • 73 Metascore
    • 80 Jonathan Rosenbaum
    If you think 85 minutes devoted to a "difficult" French philosopher is bound to be either abstruse or watered-down middlebrow stuff, think again.
    • 44 Metascore
    • 30 Jonathan Rosenbaum
    Essentially a one-trick pony.
    • 78 Metascore
    • 90 Jonathan Rosenbaum
    This may not have gotten much publicity, but it's a lot more engaging than most movies that have; Forster alone makes it unforgettable.
    • 66 Metascore
    • 40 Jonathan Rosenbaum
    The double crosses are so intricate and the cynicism so enveloping that it becomes increasingly difficult to care about the characters
    • 56 Metascore
    • 50 Jonathan Rosenbaum
    Pretty enjoyable as a piece of campy sleaze--especially for the first half hour, before the storytelling starts to dawdle.
    • 49 Metascore
    • 50 Jonathan Rosenbaum
    Well crafted and mindless in the best Hollywood tradition.
    • 49 Metascore
    • 40 Jonathan Rosenbaum
    Howard lacks the sense of film rhythm --required to make such an exercise work. Just about the only clear triumph here is an underplayed performance by Angie Dickinson, though Winger and Rosanna Arquette also provide welcome relief from Howard and Le Mat's self-indulgent carousing.
    • 71 Metascore
    • 70 Jonathan Rosenbaum
    A nervy as well as somber piece of work, not only for the way it confounds and even frustrates certain genre expectations, but also -- and especially -- for the way it confronts the viewer with the moral implications of that frustration.
    • 76 Metascore
    • 80 Jonathan Rosenbaum
    Fortunately, this time around the Ivy League characters project less of a glib sense of entitlement, making them more fun to watch, and Stillman himself gives more evidence of watching rather than simply listening.
    • 45 Metascore
    • 40 Jonathan Rosenbaum
    There's a mechanical desire to work in as many outlandish twists as possible, and shallow grotesquerie quickly takes over.
    • 56 Metascore
    • 40 Jonathan Rosenbaum
    Characters remain stuck in their cliche profiles, and the direction -- by music video specialist Michel Gondry -- doesn't improve matters.
    • 48 Metascore
    • 50 Jonathan Rosenbaum
    The modeling of human figures and the sense of depth are both impressive; the characters themselves are mainly idiotic.
    • 49 Metascore
    • 10 Jonathan Rosenbaum
    A lot of uninteresting and unpleasant people torture, abuse, and fire guns at a lot of other uninteresting and unpleasant people, in a repulsive, interminable would-be crime thriller.
    • 38 Metascore
    • 80 Jonathan Rosenbaum
    An entertainingly offbeat blend of 19th-century science fiction and Hope and Crosby Road comedies.
    • 27 Metascore
    • 30 Jonathan Rosenbaum
    When the cast is shown during the final credits repeatedly cracking up in blown takes, one would like to think they were laughing at some of the lines they were expected to deliver.
    • 49 Metascore
    • 50 Jonathan Rosenbaum
    A talking bulldog named Frank steals the show.
    • 64 Metascore
    • 70 Jonathan Rosenbaum
    Prior to its hyperbolic final act, this is one of Robert Altman's most skillful and least bombastic features in some time.

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