Jon Frosch

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The Hollywood Reporter, Village Voice
For 98 reviews, this critic has graded:
  • 39% higher than the average critic
  • 3% same as the average critic
  • 58% lower than the average critic
On average, this critic grades 4.5 points lower than other critics. (0-100 point scale)

Jon Frosch's Scores

  • Movies
  • TV
Average review score: 61
Highest review score: 100 Marriage Story
Lowest review score: 20 The Only Living Boy in New York
Score distribution:
  1. Positive: 47 out of 98
  2. Mixed: 38 out of 98
  3. Negative: 13 out of 98
98 movie reviews
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    • 55 Metascore
    • 50 Jon Frosch
    The Good Liar
    For all its nasty twists and turns, its fake-outs and flashbacks and pile-up of double-crosses, this story of an elderly con man and the wealthy widow he targets feels fatally devoid of danger. Square, tame and tidy as the London-area house kept by Mirren’s primly elegant, creamy-complexioned septuagenarian, The Good Liar is a work of skill but little spark.
    • 74 Metascore
    • 80 Jon Frosch
    Lovesong
    It’s a quiet drama, full of unspoken hurt and free of histrionics, but it’s as raw and painful as a fresh wound.
    • 73 Metascore
    • 70 Jon Frosch
    The World to Come
    Much as I admired and was at times stirred by The World to Come, I'm convinced it would be a significantly stronger movie with 75 percent of the narration stripped away.
    • 73 Metascore
    • 90 Jon Frosch
    Sorry Angel
    While it has visual energy to spare, the movie is more relaxed and less flamboyantly playful than most of Honore’s other films, unfolding with naturalistic grace — precise but unfussy framing, fluid camera movements — and fewer New Wave-y winks and nods.
    • 73 Metascore
    • 70 Jon Frosch
    Honey Boy
    Honey Boy is not a self-justifying cri de coeur or a prankish exercise in narcissism, but a sensitive, sincere portrait of a child actor's dysfunctional upbringing and its devastating fallout.
    • 72 Metascore
    • 90 Jon Frosch
    CODA
    If you're going to make a film that sticks to the playbook, or playbooks, this is how to do it: CODA is a radiant, deeply satisfying heartwarmer that more than embraces formula; it locates the pleasure and pureness in it, reminding us of the comforting, even cathartic, gratifications of a feel-good story well told.
    • 72 Metascore
    • 70 Jon Frosch
    Love, Simon
    It’s an expertly carved chunk of cheese. But taken on its own, limited terms, Love, Simon is also a charmer — warm, often funny and gently touching, tickling rather than pummeling your tear ducts.
    • The Hollywood Reporter
      • Posted Feb 26, 2018
    • 71 Metascore
    • 70 Jon Frosch
    Lorelei
    Pablo Schreiber and Jena Malone hustle to overcome movie-ish dialogue and clichéd story dynamics, investing their life-bruised characters with authentic feeling. They're enough to make you care about the film — and the people in it — even at its clumsiest.
    • 71 Metascore
    • 70 Jon Frosch
    Brad's Status
    Brad's Status is good enough to make you wish it were even better: tighter, bolder, sharper. But it's a droll, affecting movie — and, in its exploration of a man's fantasies of success and fears of failure, his trudge through the weeds of pessimism toward optimism, a distinctly American one.
    • 70 Metascore
    • 70 Jon Frosch
    The Broken Circle Breakdown
    The Broken Circle Breakdown crashes as frequently as it soars, but the ache at its center feels real.
    • 70 Metascore
    • 70 Jon Frosch
    Double Lover
    Its tale of doubles, deception and desire allows Ozon to fool around with some of his favorite themes — the turbulent inner lives of complex women, the distance between appearance and reality, the essential unknowability of even our most intimate loved ones, the necessity of imagination in enduring everyday life.
    • 69 Metascore
    • 70 Jon Frosch
    Blue Jay
    Luckily, Blue Jay boasts a handful of fresh, piercingly poignant scenes that cut through the cloud of déjà vu. It also has a not-so-secret weapon in the formidable Paulson, who deserves much of the credit for whatever emotional punch the film delivers.
    • 68 Metascore
    • 60 Jon Frosch
    The Meddler
    For all its relatability, the movie is safe and sitcomishly amusing rather than sharply funny, hitting the same genial notes over and over instead of building real comic momentum.
    • 67 Metascore
    • 90 Jon Frosch
    The Little Sister
    Vibrantly felt yet impressively controlled — and blessed with a stone-cold stunner of a central performance — The Little Sister is indeed an instant classic of the genre, as moving in its humanism as it is sexy.
    • 67 Metascore
    • 80 Jon Frosch
    A Woman's Life
    A Woman’s Life is, in its own way, something almost as gratifying: an elegant, enjoyable sophomore outing that proves the breakout was no fluke.
    • 67 Metascore
    • 80 Jon Frosch
    The King of Staten Island
    The King of Staten Island is nothing if not conventional in its arc and themes, and has some of the usual Apatow aggravations, but it's winning: relaxed, generous, suffused with warmth and a surprisingly delicate sorrow.
    • 67 Metascore
    • 50 Jon Frosch
    A Simple Favor
    A twisted tale of toxic female friendship, the film offers its share of pleasures: eye candy in human, sartorial and real-estate form, as well as the unmistakable flair of a director and performers who know their way around a piece of pop entertainment. But the result leaves you scratching your head.
    • 66 Metascore
    • 50 Jon Frosch
    Game Night
    There are chuckles here and there, but a striking absence of belly laughs; Girls Trip it’s decidedly not.
    • 66 Metascore
    • 60 Jon Frosch
    6 Balloons
    What stays with you is Jacobson’s grippingly understated lead turn, which promises a fruitful screen life beyond Broad City.
    • 65 Metascore
    • 70 Jon Frosch
    Bull
    This is an affecting, admirably disciplined first film, one that patiently enfolds you rather than pandering for your attention.
    • 65 Metascore
    • 70 Jon Frosch
    Plus One
    Plus One is nothing if not formulaic. ... But what Plus One lacks in originality it at least partially makes up for in warmth and watchability.
    • 62 Metascore
    • 80 Jon Frosch
    The Rental
    It's a confident, enjoyably nasty piece of work, unnerving enough to cure your FOMO about that canceled summer vacation.
    • 60 Metascore
    • 50 Jon Frosch
    The Light Between Oceans
    The film, poised awkwardly between costume-drama prestige and all-out schmaltz, is so busy sweeping us up in a swirl of music, scenery and beautiful, suffering faces that it forgets to do the actual work of earning our emotions.
    • 60 Metascore
    • 50 Jon Frosch
    Matthias & Maxime
    There’s nothing glaringly wrong with the new movie. ... What’s missing is the blazing urgency.
    • 60 Metascore
    • 80 Jon Frosch
    Anything
    A pleasingly quiet, small-scaled drama about love between strangers and siblings, solidarity between lonely Angelenos and the transformative power of kindness, Anything has much to recommend it.
    • 60 Metascore
    • 60 Jon Frosch
    Bad Moms
    Bad Moms milks the “women behaving badly” conceit with a single-mindedness that might be depressing if the movie didn’t have an ace up its sleeve: the glorious Hahn, who injects what could have been another insipid studio hack job with a bracing shot of personality.
    • 59 Metascore
    • 30 Jon Frosch
    My Zoe
    But while the film is effective on its own narrow terms, it lacks the spark of urgency, suppleness of tone and freshness of insight that would make it truly compelling.
    • 59 Metascore
    • 60 Jon Frosch
    Valley of Love
    A flawed but affecting two-hander that intrigues and frustrates in nearly equal measure.
    • 58 Metascore
    • 50 Jon Frosch
    A Bottle in the Gaza Sea (Une bouteille à la mer)
    Although smoothly directed, A Bottle in the Gaza Sea has little visual personality or dramatic urgency. What might have been a tough and adult take on a bond full of hope but thwarted by war plays more like an after-school special.
    • 58 Metascore
    • 40 Jon Frosch
    Duck Butter
    The movie is stuffed with talent and buffed with hipster-indie polish. It’s also frequently silly, only fitfully involving and often surprisingly banal despite its outré premise.
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