Joshua Rothkopf

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For 989 reviews, this critic has graded:
  • 47% higher than the average critic
  • 3% same as the average critic
  • 50% lower than the average critic
On average, this critic grades 1.7 points higher than other critics. (0-100 point scale)

Joshua Rothkopf's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 Dirty Harry
Lowest review score: 20 Stake Land
Score distribution:
  1. Negative: 53 out of 989
989 movie reviews
    • 41 Metascore
    • 40 Joshua Rothkopf
    It’s both stupefying and a little sad to realize that this is the movie Shyamalan wanted to make.
    • 68 Metascore
    • 60 Joshua Rothkopf
    Ben Is Back has seriousness in mind, but too much showmanship in the making.
    • 24 Metascore
    • 20 Joshua Rothkopf
    A completely charmless, laughs-free experience.
    • 68 Metascore
    • 60 Joshua Rothkopf
    An uneven but fascinating spectacle.
    • 61 Metascore
    • 40 Joshua Rothkopf
    Destroyer is a movie that confuses Kidman’s unmodulated funk for actual depth. In fairness, a brooding depression may be the reality of much police work, but onscreen it plays like a two-hour murder of our patience.
    • 61 Metascore
    • 80 Joshua Rothkopf
    The happy surprise, however, is that McKay has seasoned the meat in satisfying ways, salting it with wince-sharp performances and an almost experimental style of editing that creates an apocalyptic whirlwind. For those reasons alone, Vice feels particularly timely.
    • 58 Metascore
    • 40 Joshua Rothkopf
    Glib, underdeveloped dreck.
    • 66 Metascore
    • 80 Joshua Rothkopf
    Emily Blunt is hypnotically charming in the year's sweetest surprise—a big-hearted contact high.
    • 55 Metascore
    • 60 Joshua Rothkopf
    Jason Momoa's surf-bro superhero is a welcome addition to a ponderously serious genre, but his movie as a whole feels waterlogged.
    • 70 Metascore
    • 80 Joshua Rothkopf
    Viggo Mortensen and Mahershala Ali are masterful in this rousing period piece, alternating belly laughs with an unflinching view of a nation at war with itself.
    • 83 Metascore
    • 80 Joshua Rothkopf
    Free Solo is about getting dangerously close to the edge, where some people feel most alive. We get to experience that thrill secondhand, and that’s enough.
    • 80 Metascore
    • 80 Joshua Rothkopf
    The Old Man & the Gun plays like a long-winded joke with a sneaky punchline that warms you belatedly, like a shot of bourbon.
    • 66 Metascore
    • 80 Joshua Rothkopf
    impressively, the movie compensates with some fascinating father-son Drago tensions, the Russian oligarchs swarming, redemption at hand.
    • 61 Metascore
    • 60 Joshua Rothkopf
    Visually dull and intriguing in only the most generic sense, but still a showcase for the twin talents of Saoirse Ronan and Margot Robbie.
    • 32 Metascore
    • 40 Joshua Rothkopf
    This version will make you side with the Sheriff of Nottingham.
    • 61 Metascore
    • 60 Joshua Rothkopf
    There’s a whiff of inconsequence to Reitman’s take, fizzy and watchable though it is. It should be about the stealth weaponization of outrage (and of women)—a tragedy that’s leagues more sophisticated that this.
    • 75 Metascore
    • 80 Joshua Rothkopf
    Worthy is a marvel, transitioning from pasty wallflower to a glowering, unencumbered threat.
    • 76 Metascore
    • 80 Joshua Rothkopf
    Feels like the kind of movie that would have been designed for Meryl Streep or Sigourney Weaver back in the day, ragged yet sumptuous, filled with moments for devastating monologues yet never so obvious as to be self-aggrandizing.
    • 43 Metascore
    • 40 Joshua Rothkopf
    Once intriguingly strange, Lisbeth Salander returns as a boring action hero, her rough edges sanded down.
    • 71 Metascore
    • 80 Joshua Rothkopf
    Gay conversion therapy gets the indictment it deserves, from an insightful script based on a you-are-there tell-all, and an outstanding cast.
    • 43 Metascore
    • 40 Joshua Rothkopf
    Even this kind of WWIII escapism—it’s based on a 2012 novel by Don Keith and George Wallace called Firing Point—requires a sturdier hero than Gerard Butler, who finds himself in a time machine that delivers actors to rejected Tom Cruise projects.
    • 87 Metascore
    • 80 Joshua Rothkopf
    Two struggling souls come together to pull off a hoax on a world that's rejected them, in this powerhouse showcase for Melissa McCarthy and Richard E. Grant.
    • 66 Metascore
    • 60 Joshua Rothkopf
    The movie is nostalgia, pure and simple, unfettered by examination. Even its title is fuzzy and vague.
    • 63 Metascore
    • 80 Joshua Rothkopf
    Parents will feel heard by this movie in a way that few other films have tried. Everyone else should go for the kid, who's a rocket taking off. You want to be able to say you were there when it happened.
    • 84 Metascore
    • 100 Joshua Rothkopf
    It’s a lot of plot for one sitting, but Widows will remind you of how massively entertaining crime movies can be, especially when they’re animated by the spirit of cool-headed capability, on and offscreen.
    • 66 Metascore
    • 80 Joshua Rothkopf
    A punk call-to-arms about being yourself, this Joan Jett documentary vibrates with attitude and a true spirit of independence.
    • 35 Metascore
    • 40 Joshua Rothkopf
    Entertainingly, Hardy lets himself get jerked around, Evil Dead–style, but he’s never enough of a jerk—so much for that journo-snoop backstory—and Venom isn’t vicious enough to justify its own existence.
    • 87 Metascore
    • 80 Joshua Rothkopf
    How filmmaker Robert Greene got an entire town to ham it up remains a mystery, but his gift for inviting self-interrogation (also on display in his equally fascinating Kate Plays Christine, a 2016 hybrid about an actor’s plunge into the life of a suicidal newscaster) marks him as an innovator who may become a future Errol Morris.
    • 90 Metascore
    • 80 Joshua Rothkopf
    What makes The Favourite work are its women—who rule, both literally within the movie and outwardly, dominating our enjoyment.
    • 71 Metascore
    • 80 Joshua Rothkopf
    The subtle pleasure of watching Tyrel comes from raising an eyebrow at every inferred (implied?) slight.

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