Jonathan Foreman

Select another critic »
For 545 reviews, this critic has graded:
  • 42% higher than the average critic
  • 4% same as the average critic
  • 54% lower than the average critic
On average, this critic grades 6.6 points lower than other critics. (0-100 point scale)

Jonathan Foreman's Scores

  • Movies
  • TV
Average review score: 56
Highest review score: 100 Apocalypse Now Redux
Lowest review score: 0 The Master of Disguise
Score distribution:
545 movie reviews
    • 66 Metascore
    • 75 Jonathan Foreman
    Warm and charming and often witty, it's as good a romantic comedy as has come out for some time, with an endearing, perfectly pitched central performance that's a four-square triumph for Zellweger.
    • New York Post
    • 75 Metascore
    • 75 Jonathan Foreman
    Though On the Run is a welcome reminder that effective thrillers don't have to be noisy or dumb, the film does contain slightly jarring moments of inadvertent humor.
    • 77 Metascore
    • 75 Jonathan Foreman
    The most enjoyable western comedy since "Blazing Saddles."
    • 64 Metascore
    • 75 Jonathan Foreman
    Spectacular special effects and sets.
    • 83 Metascore
    • 75 Jonathan Foreman
    If you have the patience, its almost endless silences and extremely slow pacing eventually pay off.
    • 77 Metascore
    • 75 Jonathan Foreman
    What makes 8 Mile transcend the formulaic nature of its plot is the way it makes these rap competitions compelling even for those unfamiliar with rap music, and its scrupulous, loving rendition of a grim, wintry Detroit circa 1995.
    • 72 Metascore
    • 75 Jonathan Foreman
    Though never dull and often visually beautiful, this work of operatic sweep doesn't fulfill its own ambitions.
    • 74 Metascore
    • 75 Jonathan Foreman
    A beautifully filmed, scrupulously authentic but strangely evasive exercise in combat ultra-realism.
    • 79 Metascore
    • 75 Jonathan Foreman
    A charming, (mostly) briskly unsentimental love story, written, directed and acted with remarkable assurance.
    • 57 Metascore
    • 75 Jonathan Foreman
    Rescues a rarely performed tragedy and makes a brilliant case that it is the Shakespeare play for our time.
    • 46 Metascore
    • 75 Jonathan Foreman
    Much less mawkish and predictable than you might expect.
    • New York Post
    • 55 Metascore
    • 75 Jonathan Foreman
    It's an original, and a gamble, and one of those movies that works better than it should, despite considerable flaws of conception and execution.
    • 88 Metascore
    • 75 Jonathan Foreman
    Director Alfonso Cuaron ("A Little Princess") gets vivid, convincing performances from a fine cast, and generally keeps things going at a rapid pace.
    • 52 Metascore
    • 75 Jonathan Foreman
    The film's tongue is so firmly in cheek that, without being a spoof like "Dragnet" or "The Brady Bunch Movie," it has more in common with the "Austin Powers" films.
    • New York Post
    • 55 Metascore
    • 75 Jonathan Foreman
    Although the jokes aren't as consistently funny as those in "Lock, Stock," once again writer-director Ritchie demonstrates a deeply pleasurable combination of verbal flair and visual wit while conveying the genuine, intimidating hardness of the English working class and its love of language.
    • New York Post
    • 79 Metascore
    • 75 Jonathan Foreman
    A far more impressive and affecting piece of filmmaking and storytelling than most movies put out by Hollywood this year, and offers, as a bonus, a glimpse into a fascinating, contradictory society.
    • 73 Metascore
    • 75 Jonathan Foreman
    Part sitcom, part comedy of manners - but it lacks the courage to deal honestly with class and ethnicity.
    • 87 Metascore
    • 75 Jonathan Foreman
    An extraordinary documentary about an extraordinary man that brings to urgent life potentially dry questions of American foreign policy in the 1960s.
    • 57 Metascore
    • 75 Jonathan Foreman
    It turns into something that is much smarter, and in a gentle, low-key way, tougher and funnier than you expect.
    • 83 Metascore
    • 75 Jonathan Foreman
    A sophisticated, stylish, fast-moving piece of work.
    • New York Post
    • 73 Metascore
    • 75 Jonathan Foreman
    A gorgeously photographed, sun-baked fable.
    • 59 Metascore
    • 75 Jonathan Foreman
    The pace slackens a little after the first hour, but the photography by Remi Adefarasin and music by Magnus Fiennes keep the emotion stoked.
    • 75 Metascore
    • 75 Jonathan Foreman
    Often darkly funny and very well acted, it's a pleasingly subtle, Hitchockian thriller with dark comic overtones.
    • New York Post
    • 75 Metascore
    • 75 Jonathan Foreman
    Fascinating, beautifully photographed portrait of a vanished community.
    • New York Post
    • 80 Metascore
    • 75 Jonathan Foreman
    Doesn't have the emotional heft of his "Children of Paradise," but it's still moving.
    • New York Post
    • 65 Metascore
    • 75 Jonathan Foreman
    A wonderfully acted, strangely low-key prison movie.
    • New York Post
    • 58 Metascore
    • 75 Jonathan Foreman
    A quietly compelling documentary that is refreshing in both form and content.
    • 57 Metascore
    • 75 Jonathan Foreman
    Comes closer to what a Bond movie should be and once was.
    • 61 Metascore
    • 75 Jonathan Foreman
    Oddly undramatic.
    • 76 Metascore
    • 75 Jonathan Foreman
    Bleak, demanding stuff, and its hand-held documentary-style photography is harder on the stomach than "The Blair Witch Project."
    • 71 Metascore
    • 75 Jonathan Foreman
    It is often as powerful as it is elegantly shot. Unfortunately, Szabo tends to tell this rather predictable tale in an obvious yet uneven way.
    • 65 Metascore
    • 75 Jonathan Foreman
    Audiences may find that the deliberate, Kubrickesque pacing -- without his intellectual rigor -- causes them to tune out.
    • New York Post
    • 65 Metascore
    • 75 Jonathan Foreman
    A gleefully cunning comedy.
    • New York Post
    • 76 Metascore
    • 75 Jonathan Foreman
    This film of mistaken identity, murder, class envy and (bi)sexual tension doesn't live up to its own promise.
    • 43 Metascore
    • 75 Jonathan Foreman
    Cinematographer Darius Khonji does a superb job of conveying both the sensual beauty (there's a spectacular moonlight-on-the-water sex scene with Leo and the lovely Ledoyen), and the darkness of Richard's paradise lost.
    • New York Post
    • 69 Metascore
    • 75 Jonathan Foreman
    Generally delightful, and reminiscent of two vanished ages: when men were men, and when movies were movies.
    • 61 Metascore
    • 75 Jonathan Foreman
    Surprisingly smart and satisfying.
    • 48 Metascore
    • 75 Jonathan Foreman
    Greengrass' direction is uninspired, but there is powerful chemistry between a workmanlike Branagh and (real-life girlfriend) Bonham Carter. And her original, seductive and always believable turn as the difficult-but-lovable Jane raises the movie above all its flaws. [23 Dec. 1998, p.44]
    • New York Post
    • 65 Metascore
    • 75 Jonathan Foreman
    I was pleased by the forthright defense in Friendly Persuasion of Iranian cinema's use of children.
    • 55 Metascore
    • 75 Jonathan Foreman
    Beautifully shot and often moving.
    • New York Post
    • 71 Metascore
    • 75 Jonathan Foreman
    Never less than breezily entertaining.
    • 88 Metascore
    • 75 Jonathan Foreman
    The sequel's battle scenes -- especially the climactic assault on the Helm's Deep fortress by the armies of darkness -- easily put those of the "Star Wars" series to shame.
    • tbd Metascore
    • 75 Jonathan Foreman
    So unsparingly honest in the way it treats human cruelty and resilience that it makes fashionably bleak films like "In the Company of Men" and even "Boys Don't Cry" seem unforgivably trite or exploitative.
    • 46 Metascore
    • 75 Jonathan Foreman
    It isn't particularly subtle or original. But it's a good-natured late-summer romp fueled by Lawrence's manic shtick.
    • New York Post
    • 72 Metascore
    • 75 Jonathan Foreman
    This brisk, British-American co-production is one of the better political/historical documentaries to come out in some time.
    • 69 Metascore
    • 75 Jonathan Foreman
    The film is worth seeing for George Clooney's performance. More than ever he seems like a Clark Gable for our time.
    • 62 Metascore
    • 75 Jonathan Foreman
    It's a funny and occasionally poignant movie.
    • New York Post
    • 65 Metascore
    • 75 Jonathan Foreman
    All of the characters in this story of love, guilt and redemption feel like real people, facing real dilemmas, and you truly care about what happens to them
    • 84 Metascore
    • 75 Jonathan Foreman
    One of those rare recent films whose emotional power resonates long after you've left the theater.
    • 65 Metascore
    • 75 Jonathan Foreman
    A rare and welcome reminder of how original, provocative and moving a low-budget independent film can be.
    • 64 Metascore
    • 75 Jonathan Foreman
    As entertaining as it is amazingly faithful.
    • 45 Metascore
    • 75 Jonathan Foreman
    It is worth catching The Singing Detective to see the brilliant Robert Downey Jr. in another extraordinary performance... Unfortunately, the film itself doesn't really work despite its lineage.
    • 68 Metascore
    • 75 Jonathan Foreman
    Visually gorgeous despite its low budget, The Terrorist is a haunting film.
    • 66 Metascore
    • 63 Jonathan Foreman
    Unpretentious and often witty, it's emotional punch is weakened by spotty performances, especially from Karin Viard in the lead role.
    • 51 Metascore
    • 63 Jonathan Foreman
    The originality and intelligence that made Smith's "Clerks" and "Chasing Amy" such refreshing pleasures are all but absent.
    • 79 Metascore
    • 63 Jonathan Foreman
    Before the slightly surreal (self-consciously so) climax, there are some fine set pieces, including a disastrous dinner party that amply showcases Rivette's wonderfully light directorial touch.
    • 55 Metascore
    • 63 Jonathan Foreman
    Despite its treacly sentimentality, predictability and gutless evasiveness about the power of the church in 1950s Ireland, Evelyn manages to be an enjoyable piece of family entertainment.
    • 75 Metascore
    • 63 Jonathan Foreman
    A lovely, intelligent film from Spain about recognizable human beings with real-life problems.
    • 56 Metascore
    • 63 Jonathan Foreman
    Energetic, often very funny comedy filled with sharp, vivid performances by a terrific ensemble cast.
    • New York Post
    • 79 Metascore
    • 63 Jonathan Foreman
    The film's earthy frankness is refreshing.
    • New York Post
    • 60 Metascore
    • 63 Jonathan Foreman
    Wilde's masterpiece, The Importance of Being Earnest, may be the best play of the 19th century. It's so good that its relentless, polished wit can withstand not only inept school productions, but even Oliver Parker's movie adaptation.
    • 40 Metascore
    • 63 Jonathan Foreman
    They may not have made another "Back to the Future," but to their credit, the makers of Clockstoppers don't patronize or underestimate their pre-teen audience nearly as much as has become customary.
    • 63 Metascore
    • 63 Jonathan Foreman
    Still worth watching for Dong Jie's performance -- and for the way it documents a culture in the throes of rapid change.
    • 63 Metascore
    • 63 Jonathan Foreman
    But even if The Cat's Meow is unsubtle and overlong, in its jaundiced way it convincingly captures a fascinating period in Hollywood history.
    • 44 Metascore
    • 63 Jonathan Foreman
    Graham is funny and adorable in this endearing little romantic comedy.
    • New York Post
    • 32 Metascore
    • 63 Jonathan Foreman
    Less an updated version of the Dostoevsky novel than an unusually somber Hollywood teen love story.
    • New York Post
    • 62 Metascore
    • 63 Jonathan Foreman
    It feels less predictable and derivative than it is, thanks to Gus Van Sant's deft direction and two fine central performances.
    • New York Post
    • 68 Metascore
    • 63 Jonathan Foreman
    Quirky and good-natured, it makes the most of an unknown but able and refreshingly international cast. And for a low-budget indie, it looks remarkably good and moves along with real snap.
    • 77 Metascore
    • 63 Jonathan Foreman
    A languid but refreshingly real depiction of female adolescence.
    • 84 Metascore
    • 63 Jonathan Foreman
    If you've never seen a "masala" musical, you may find Lagaan hilariously bad. Cartoony acting, dreadful dialogue, obvious dubbing, and meandering but ultrapredictable plots are simply part of the Bollywood package, along with six musical numbers and a bizarre mixture of romance, comedy and melodrama.
    • 10 Metascore
    • 63 Jonathan Foreman
    Initially amusing but finally sour sex comedy.
    • New York Post
    • 59 Metascore
    • 63 Jonathan Foreman
    One of the more entertaining documentaries to come along in some time.
    • New York Post
    • 78 Metascore
    • 63 Jonathan Foreman
    Ghobadi (himself an Iranian Kurd) takes some gorgeous shots against the snow, but his storytelling is uneven and often slow.
    • 40 Metascore
    • 63 Jonathan Foreman
    There are a few ingenious zig zags in its otherwise by-the-numbers plot...but what keeps you interested... is the sheer movie-star presence of the actors in the lead roles.
    • New York Post
    • 50 Metascore
    • 63 Jonathan Foreman
    The girl you see stabbing and shooting prisoners and fellow trainees makes the killer from "La Femme Nikita" look like a wuss.
    • 79 Metascore
    • 63 Jonathan Foreman
    Inside Beautiful People, . . . there's a terrific film trying to get out.
    • New York Post
    • 29 Metascore
    • 63 Jonathan Foreman
    There are times when the urban dialect is so thick, you wish the film came with subtitles.
    • New York Post
    • 45 Metascore
    • 63 Jonathan Foreman
    It's only when you're leaving the theater that her spell wears off and you realize just how bad the movie, directed by Andy Tennant, really is.
    • 71 Metascore
    • 63 Jonathan Foreman
    The whole film could use a jolt of caffeine, and a lugubrious woodwind score doesn't help.
    • 53 Metascore
    • 63 Jonathan Foreman
    Indeed, for all its jokiness, this isn't the film for anyone who suffers from even the mildest fear of ugly, scuttling, jumping creatures with spindly, furry legs that have a habit of hiding in your shoes.
    • 52 Metascore
    • 63 Jonathan Foreman
    Sweet, often poignant little film.
    • 79 Metascore
    • 63 Jonathan Foreman
    No "Crouching Tiger." It lacks the richness of theme and performance that made Ang Lee's film so emotionally satisfying. In fact, watching Iron Monkey makes you realize just how Western and literary the sensibility of "Crouching Tiger" was.
    • 53 Metascore
    • 63 Jonathan Foreman
    An engaging, bittersweet tale.
    • 91 Metascore
    • 63 Jonathan Foreman
    So minimalist in characterization and dialogue that the plot all but evaporates -- and so does any dramatic power.
    • New York Post
    • 36 Metascore
    • 63 Jonathan Foreman
    Its bawdy honesty eventually gives way to convention, sentimentality and a frustratingly silly ending.
    • 61 Metascore
    • 63 Jonathan Foreman
    Ed Radtke's film-fest favorite does at least boast some fine acting, excellent photography and an authentic feel for life on the highway.
    • 75 Metascore
    • 63 Jonathan Foreman
    Meanders along in a confused, confusing way for what feels like hours.
    • New York Post
    • 51 Metascore
    • 63 Jonathan Foreman
    It's an odd mixture of an unsentimental, darkly humorous take on mental illness with the usual Hollywood loony-bin cliches.
    • New York Post
    • 52 Metascore
    • 63 Jonathan Foreman
    As the plot loses steam, director Mark Pellington (whose paranoid thriller "Arlington Road" was one of the worst movies of 1999) tends to rely on cheap tricks to maintain suspense, although the final catastrophe is very nicely done.
    • 57 Metascore
    • 63 Jonathan Foreman
    The filmmakers have an pleasurably accurate sense of the embarrassments that darken early adolescence and of the amazing cruelty of teenage girls.
    • 55 Metascore
    • 63 Jonathan Foreman
    Its abundant laughs are heavily reliant on the chemistry of stars Ben Stiller and Owen Wilson - who show once again that they're as fine a comic team as Hollywood has ever produced.
    • 64 Metascore
    • 63 Jonathan Foreman
    Slight but entertaining and occasionally touching.
    • 65 Metascore
    • 63 Jonathan Foreman
    If you're starved for on-screen nudity and sex garnished with art-film trappings -- The price you'll pay is putting up with the director's relentless Euro-pretension, manifested in a tediously contrived plot crammed with absurd coincidences, clunky symbolism and soap-operatic melodrama.
    • 55 Metascore
    • 63 Jonathan Foreman
    By far the best single performance in the film - and it is really, really terrific, utterly believable and moving - is by Emma Thompson. To the extent that there is genuine feeling in the movie that doesn't feel slickly manipulative, it's in the scenes involving her character.
    • 56 Metascore
    • 63 Jonathan Foreman
    There are affecting scenes, and not all of Cacoyannis' additions to the Chekhov text detract from the effect of its moving brilliance.
    • 66 Metascore
    • 63 Jonathan Foreman
    It's fascinating and moving all the same, both in its depiction of Iranian daily life and in its powerful portrait of female oppression.
    • 79 Metascore
    • 63 Jonathan Foreman
    Despite the high quality of the acting, Spring Forward is for the most part sleepy, long-winded stuff.
    • New York Post
    • 78 Metascore
    • 63 Jonathan Foreman
    Never much more than hagiography that lets the context of its hero's death remain confused.
    • 86 Metascore
    • 63 Jonathan Foreman
    Poetic but tedious and all but plotless.
    • New York Post
    • 52 Metascore
    • 63 Jonathan Foreman
    There's something oddly endearing about the Barenaked Ladies. And by the end of the movie, you begin to see just what it is that inspires such intense fan loyalty.

Top Trailers