Jonathan Rosenbaum

Jim Jarmusch's Dead Man sat on the top of then Chicago Reader critic Jonathan Rosenbaum's list of best films in 1996. According to Rosenbaum, his long review of the "acid western" grew into a book that was published in 2000 as part of the British Film Institute's great "film classics" series. Rosenbaum, now retired, devoted more ink to reviews than any of his peers, making him one of my favorite film critics, since he was able to explain in depth his assertions about films, not just give an show more opinion without backing it up. A book-length critique of a film, then, yields that many more insights, even if the book is only a slim 96 pages (what I see as a good length for one film, just like the 33-1/3 series devoted to important albums). Dead Man, like other Jarmusch films, requires some patience, the ability to absorb images that are lingered upon. Rosenbaum's book helps those who may lack the patience or who may have been puzzled by the film when it came out. But even for fans of the film, Rosenbaum gives plenty to ponder, much of it coming from his mind but also from interviews with Jarmusch. show less

Rosenbaum examines the often-heard explanation that the reason Hollywood movies are so dumb is because that is what the people want to see. Through a series of previously published essays (with new content in the introduction and conclusion), Rosenbaum suggests that the real reason Hollywood movies are so dumb is because it is easier for the film industry to make and sell them and easier for reviewers to write about them. Plus it makes them feel better for not seeking out foreign, arty, or show more difficult films themselves -- if we all know that the mass audience will never watch this movie, then why should we write about it?

Occasionally Rosenbaum gets a little repetitive (particularly in his dislike of certain film critics and Harvey Weinstein), his constant pointing to France is a little tiring, and I don't always agree with his views on certain films or directors. Still, this book is fun in its polemicism, and worth reading just to be able to shake your fist along with Rosenbaum at those creepy advertising dudes and dumb film writers who don't even like films.

[Full review here: http://spacebeer.blogspot.com/2008/05/movie-wars-2000.html ] show less

Essential to a structured understanding of film criticism and collector culture as this century deepens, addressing with broad clarity issues that should've been tackled as early as the mid-90s, before everyone got all down in the dumps about the state of modern film consumption, criticism and community. To all KGers, CGers, PTPers, cinephiles at large: ignore Rosenbaum, heir apparent to Daney and Bazin, to your own deficiency.

Book-length volume of Rosenbaum's film criticism, collected from around the 1994-1996 era. I admire Rosenbaum as a critic, but I'm not entirely sure these short pieces, taken together, quite add up to a book. Arguments recur, yes, but in a way that betrays their piecemeal origins rather than working cumulatively.