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Jonathan Rosenbaum
Profile
Filmography
[4]
Reviews
Awards
Genres
Films-TV
Credited with
Jonathan Rosenbaum
Film Critic
Himself
United States
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355
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41
Latest published
True Lies
(1994)
"The comedy is extremely broad (...) the action sequences are as well crafted as one can expect from Cameron, and the meaning is as root basic as anyone would wish."
Chicago Reader
Batman Forever
(1995)
"This mannered and mechanical spin-off, suitable for boys of five and under, gives us two male couples instead of a single hero and villain"
Chicago Reader
Poetic Justice
(1993)
"After a deceptively funny and offbeat beginning, the movie keeps restarting; each new start shows some promise, and Singleton's talent never really deserts him-but the parts don't come together to create a unified story."
Chicago Reader
Boyz N the Hood
(1991)
"[It] shows some genuine talent in handling character and action, and equal amounts of confusion and attitude when it comes to matters of gender and ghetto politics."
Chicago Reader
I Love Trouble
(1994)
"A rather anemic and forgettable $50-million action comedy (...) Roberts and Nolte seem to go together like oil and water"
Chicago Reader
Werckmeister Harmonies
(2000)
"A chilling, mesmerizing, intense account of ethnic cleansing (in spirit if not in letter) (...) This is essential viewing"
Chicago Reader
Midnight Run
(1988)
"Miraculously, De Niro and Grodin turn this sow's ear into a plausible vehicle for a buddy movie, and thanks to both of them, this movie springs to life."
Chicago Reader
Babette's Feast
(1987)
"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
Willow
(1988)
"This is pretty much the Lucas mixture as usual, this time in a Tolkien mode, with everything from the Old Testament to Kurosawa to Disney fed into a blender and turned into wallpaper."
Chicago Reader
War of the Worlds
(2005)
"The special effects are good, and Tom Cruise isn't bad (...) Spielberg's calculations turn out to be more prominent than any effects they could possibly produce"
Chicago Reader
Die Hard
(1988)
"A serviceable if rather overextended and overblown adventure thriller"
Chicago Reader
Born on the Fourth of July
(1989)
"[A] linear plot that doesn't allow us to see Kovic's conversion develop with any complexity"
Chicago Reader
The Doors
(1991)
"15 minutes of peace and love (if that much) and two hours of puritanical retribution (...) The movie does a pretty good job with period ambience"
Chicago Reader
Wall Street
(1987)
"Stone and Weiser keep much of this entertaining with rapid-fire ticker-tape dialogue and brisk pacing (...) The sensibility of this movie is so adolescent that it's hard to take it as seriously as the filmmakers intend us to."
Chicago Reader
The Bridges of Madison County
(1995)
"Despite all his craft and sincerity, [Eastwood] and screenwriter Richard LaGravenese can't quite turn Robert James Waller's cardboard best-seller into flesh and bone."
Chicago Reader
The Trial
(1962)
"Welles adroitly captures the experience of an unsettling and slightly hysterical dream throughout."
Chicago Reader
Journey Into Fear
(1943)
"RKO cut it almost as badly as 'The Magnificent Ambersons' (...) and what survives is basically a lot of claustrophobic atmosphere and some fair-to-middling suspense"
Chicago Reader
The Tragedy of Othello: The Moor of Venice
(1951)
"[It] may well be the greatest Shakespeare film (...) Held together by a remarkably cohesive style and atmosphere"
Chicago Reader
The Magnificent Ambersons
(1942)
"Welles makes the story even more powerful through his extraordinary mise en scene and some of the finest acting to be found in American movies"
Chicago Reader
F. for Fake
(1973)
"Alternately superficial and profound (...) Michel Legrand supplied the wonderful score."
Chicago Reader
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