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Jonathan Rosenbaum
Profile
Filmography
[4]
Reviews
Awards
Genres
Details
Credited with
Jonathan Rosenbaum
Film Critic
Himself
United States
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Latest published
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
Cruel Intentions
(1999)
"Fairly sexy and amusing (...) It's less pretentious than the artier adaptations of the same novel (...) and in some ways comes at least as close as they did to the overall spirit of the original"
Chicago Reader
The Prefab People
(1982)
"[It sums] up the painful, claustrophobic, and heartfelt depictions of marital discord found in his two previous features, 'Family Nest' and 'The Outsider', and finding even more to say."
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
Werckmeister Harmonies
(2000)
"A chilling, mesmerizing, intense account of ethnic cleansing (in spirit if not in letter) (...) This is essential viewing"
Chicago Reader
Damnation
(1988)
"The near miracle is that something so compulsively watchable can be made out of a setting and society that seem so depressive and petrified."
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
They Live
(1988)
"Carpenter's wit and storytelling craft make this fun and watchable, although the script takes a number of unfortunate shortcuts"
Chicago Reader
The Truman Show
(1998)
"Pretends to be daring while parroting what much of the TV industry already thinks about itself and its audience. But it's still pretty much fun to watch."
Chicago Reader
F. for Fake
(1973)
"Alternately superficial and profound (...) Michel Legrand supplied the wonderful score."
Chicago Reader
The Trial
(1962)
"Welles adroitly captures the experience of an unsettling and slightly hysterical dream throughout."
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
Family Nest
(1979)
"A blunt piece of Hungarian social realism (...) This is strong stuff"
Chicago Reader
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