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Jonathan Rosenbaum

Jonathan Rosenbaum

United States

The Organiser (1963)

Publish Date: August 14, 1997
"Marcello Mastroianni in one of his best roles (...) Directed by Mario Monicelli (...) with an exquisite handling of period (...) Arguably one of the great Italian films of the 60s"

Chicago Reader
Men in Black (MIB) (1997)

Publish Date: July 10, 1997
"[It] respects the ordinary viewer in a way that few recent commercial movies do (...) [It] takes the radical step of assuming that its audience is hip and smart, and it shines with that generous act of complicity."

Chicago Reader
A Judgement in Stone (1995)

Publish Date: February 13, 1997
"The brilliance of Chabrol's movie rests precisely in this dialectical ambivalence: one feels throughout that he has nothing but affection for the Lelievres, yet he also understands deeply the murderous class hatred of Sophie and Jeanne"

Chicago Reader
The White Balloon (1995)

Publish Date: March 7, 1996
"The film as a whole can be seen as both light and heavy--fun and easy to take as well as engrossing (...) 'The White Balloon' reinvents time and our moment-to-moment perception of it"

Chicago Reader
Joan the Maid 2: The Prisons (1994)

Publish Date: January 25, 1996
"'The Prisons' has high points of its own, but its emphasis on Joan's martyrdom tends to recall Rivette's 'The Nun'"

Chicago Reader
Joan the Maid 1: The Battles (1994)

Publish Date: January 25, 1996
"Rivette is doing things, especially with landscape and period detail (...) that he's never done before"

Chicago Reader
Four Rooms (1995)

Publish Date: January 18, 1996
"'Four Rooms' is rather interesting in spite of--or perhaps because of--its disturbing awfulness."

Chicago Reader
Hyenas (1992)

Publish Date: July 6, 1995
"It's certainly a serious adaptation, and you shouldn't miss it (...) Mambety doesn't just point to the evil but fully implicates himself in it"

Chicago Reader
Jackie Brown (1997)

Publish Date: January 15, 1995
"Quentin Tarantino puts together a fairly intricate and relatively uninvolving money-smuggling plot, but his cast is so good that you probably won't feel cheated."

Chicago Reader
Hoop Dreams (1994)

Publish Date: October 20, 1994
"Even if you're as bored by team sports as I am, you won't be able to tear your eyes away from this memorable cast of characters and the action-packed story, which speaks volumes about the way we live and think"

Chicago Reader
Natural Born Killers (1994)

Publish Date: August 25, 1994
"Truly awful (...) [A] delirious, monotonous feature-length music video"

Chicago Reader
A Streetcar Named Desire (1951)

Publish Date: November 18, 1993
"A must-see (...) Kazan used the sets to create some powerful effects (…) Rating: *** (out of 4)"

Chicago Reader
Federico Fellini's 8½ (1963)

Publish Date: May 6, 1993
"Exhilarating, stocktaking original (...) The most gorgeous and inventive thing he's ever made"

Chicago Reader
The Beautiful Troublemaker (1991)

Publish Date: January 30, 1992
"Rivette cunningly keeps shifting the film's emphasis so that sometimes we're immersed in the sketch in progress and other times the work itself becomes a mere backdrop to the emotional state of Marianne."

Chicago Reader
L'Atalante (1934)

Publish Date: March 28, 1991
"Masterpiece (...) 'L'Atalante' is one of the supreme achievements in the history of cinema (...) The sensuality of Vigo's work as a whole (...) has a special aura and potency."

Chicago Reader
La Religieuse (The Nun) (1966)

Publish Date: November 29, 1990
"'The Nun' seems better every time I see it (...) Masterpiece"

Chicago Reader
Honey, I Shrunk the Kids (1989)

Publish Date: June 22, 1989
"While the plot abounds in improbabilities and even a few absurdities, and the special effects are uneven, the poetics of the basic idea really pay off"

Chicago Reader
Indiana Jones and the Last Crusade (1989)

Publish Date: June 1, 1989
"This is nothing new in the Lucas-Spielberg canon; it isn't even anything new in movies. It's a standard psychoanalytical truism"

Chicago Reader
Stavisky (1973)

Publish Date: May 11, 1989
"The power of Resnais' evocative editing is as strong as ever (...) The shimmering, romantic images and rhythms are often spellbinding and haunting"

Chicago Reader
The South (1983)

Publish Date: April 28, 1988
"It seems to form a nearly perfect whole as it is: a brooding tale (...) mysterious and resonant, with the poetic ambience of a story by Faulkner."

Chicago Reader

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