Jonathan Foreman

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For 544 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 6.4 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 God, Sex & Apple Pie
Score distribution:
544 movie reviews
    • 49 Metascore
    • 63 Jonathan Foreman
    This otherwise undistinguished thriller about cloning is the most entertaining movie from the aging action star for some time.
    • New York Post
    • 62 Metascore
    • 63 Jonathan Foreman
    Uneven, self-conscious but often hilarious spoof.
    • 30 Metascore
    • 63 Jonathan Foreman
    Formulaic but surprisingly charming.
    • 79 Metascore
    • 63 Jonathan Foreman
    Thanks to a superb performance by Isabelle Huppert, it's compulsively, gruesomely watchable.
    • 54 Metascore
    • 63 Jonathan Foreman
    Too often seems like a slightly silly film.
    • New York Post
    • 37 Metascore
    • 63 Jonathan Foreman
    Sometimes hilarious but mostly sitcom-esque geezer comedy.
    • New York Post
    • 40 Metascore
    • 63 Jonathan Foreman
    Works unexpectedly well for its first three quarters.
    • New York Post
    • 64 Metascore
    • 63 Jonathan Foreman
    It's only because the performances are so vividly entertaining -- Mandvi and Puri are particularly good -- and the painstakingly reconstructed locations so lovely that the saggier sequences are tolerable.
    • 48 Metascore
    • 63 Jonathan Foreman
    One of the most thrilling - and authentic - mountain-climbing films in recent memory. Unfortunately, it's also burdened by one of those every-line-a-wretched-cliché Hollywood screenplays.
    • 59 Metascore
    • 63 Jonathan Foreman
    Francois Ozon, perhaps France's hottest director of the moment, is often better creating stylish visuals than dramatically credible situations, but Criminal Lovers is never boring.
    • New York Post
    • 85 Metascore
    • 63 Jonathan Foreman
    This film is fighting the good fight, albeit in a rather heavy-handed way.
    • New York Post
    • 60 Metascore
    • 63 Jonathan Foreman
    Unfortunately, the mind and motivation of Otomo -- remain a mystery.
    • 76 Metascore
    • 63 Jonathan Foreman
    Transcends ironic grunge-glamour and achieves a beguiling combination of dark comedy and genuine sweetness.
    • 72 Metascore
    • 63 Jonathan Foreman
    Surprisingly enjoyable, as adaptations of cult comic books go, thanks to a sense of humor all too rare in the genre, winning performances by Ron Perlman and Selma Blair, and a sweet romance of the kind that made "Spider-Man" a richer experience than its competitors.
    • 49 Metascore
    • 63 Jonathan Foreman
    Quickly morphs into a messy double message movie with motifs and clichés lifted from military courtroom films like "A Soldier's Story" and "A Few Good Men."
    • 65 Metascore
    • 63 Jonathan Foreman
    Ali
    Perhaps no movie could do Muhammad Ali justice. But this overlong but sketchy biopic by Michael Mann, in which style repeatedly tramples substance, actually does the great man a disservice.
    • 72 Metascore
    • 63 Jonathan Foreman
    For all its virtues, this is not a film to see on less than a good night's sleep.
    • 73 Metascore
    • 63 Jonathan Foreman
    Despite its visual brilliance, its all-round cleverness, and the way it demonstrates a profound understanding of genre, the Coen brothers' The Man Who Wasn't There doesn't quite come off.
    • 45 Metascore
    • 63 Jonathan Foreman
    As mechanical and predictable as a cuckoo clock, it shouldn't work half as well as it does.
    • 66 Metascore
    • 63 Jonathan Foreman
    Often charming and sweet, and always prettily photographed.
    • New York Post
    • 51 Metascore
    • 63 Jonathan Foreman
    Turns out to be a choppily written, unevenly acted exercise, no less shlocky and predictable than any of Hollywood's average second-string heterosexual comedies.
    • 58 Metascore
    • 63 Jonathan Foreman
    With uncommon ineptitude even by the standards of contemporary action flicks, Kyle's script submerges the inherently dramatic tale of the K-19 under a pile of clichés, while failing to tell you enough about the characters for their actions to make much sense.
    • 72 Metascore
    • 63 Jonathan Foreman
    Laughably predictable in its plotting, crude in its symbolism, ploddingly paced and often rendered almost comical by the heavy-breathing overacting of Johansson's supporting cast.
    • 68 Metascore
    • 63 Jonathan Foreman
    A lean, deftly shot, well-acted, weirdly retro thriller that recalls a raft of '60s and '70s European-set spy pictures. There are even moments when you hope it could turn into a modern "Charade."
    • 69 Metascore
    • 63 Jonathan Foreman
    Despite inadequate editing and overreliance on bad background music, The Girl Next Door doesn't disappoint.
    • tbd Metascore
    • 63 Jonathan Foreman
    Visually unimpressive and laden with awkward dialogue; its primary interest doesn't lie in its storytelling but in its sociology -- in the window it opens onto a Muslim Middle Eastern society in transition.
    • 48 Metascore
    • 63 Jonathan Foreman
    Perfectly enjoyable swashbuckling, eye-catching entertainment.
    • 73 Metascore
    • 63 Jonathan Foreman
    The sheer loathesomeness of protagonist Stephen Glass as portrayed by Hayden Christensen makes Shattered Glass hard to watch.
    • 19 Metascore
    • 63 Jonathan Foreman
    A perfectly enjoyable sci-fi thriller.
    • 57 Metascore
    • 63 Jonathan Foreman
    It's hardly a dramatic story. You learn absolutely nothing about her personal life. But there is plenty of drama in that amazing, soulful voice and the songs she sang.
    • 75 Metascore
    • 63 Jonathan Foreman
    Undeniably powerful, grimly fascinating.
    • New York Post
    • 60 Metascore
    • 63 Jonathan Foreman
    Almost everything about Ice Age proves to be disappointingly generic.
    • 41 Metascore
    • 63 Jonathan Foreman
    Prime date fare, but cotton-candy light and occasionally just a little too whimsical.
    • 76 Metascore
    • 63 Jonathan Foreman
    Unfortunately, you are often distractingly aware that you are watching re-enactments of real events.
    • 77 Metascore
    • 63 Jonathan Foreman
    So daring and unsparing in its depiction of the psyche and experience of adolescent girls that it's hard to imagine an audience that wouldn't find it deeply provocative despite a slow pace.
    • 65 Metascore
    • 63 Jonathan Foreman
    Entertaining as he is, there are many times when you wish you'd been given a few more facts and numbers so you could understand what the young CEO and his colleagues were celebrating or bemoaning.
    • 76 Metascore
    • 63 Jonathan Foreman
    Almost too creepy to be poignant, and generally funny only in an uncomfortable, squirm-in-your seat way.
    • New York Post
    • 69 Metascore
    • 63 Jonathan Foreman
    Boisterously amusing.
    • 62 Metascore
    • 63 Jonathan Foreman
    Kevin Smith's attempt to combine sketchy low comedy with long-winded theological speculation results in a mostly unfunny and occasionally tedious mess.
    • New York Post
    • 51 Metascore
    • 63 Jonathan Foreman
    Even if this film may irritate some people who remember "the movement" differently, it's nevertheless a fascinating and often moving document of recent history.
    • New York Post
    • 62 Metascore
    • 63 Jonathan Foreman
    Egoyan treats the Armenian genocide and its aftermath as a metaphor for cruelty and denial -- an exercise in either pretension or timidity that exploits this tragedy.
    • 54 Metascore
    • 63 Jonathan Foreman
    Contains too many weak performances and predictable lines to succeed, but it's probably the best rave movie so far.
    • New York Post
    • 47 Metascore
    • 63 Jonathan Foreman
    Though shamelessly derivative and amoral, The Girl Next Door is nevertheless funnier and smarter than most of the pathetic dreck aimed at the nation's teens.
    • 47 Metascore
    • 63 Jonathan Foreman
    Long stretches of Mike Figgis' film are jaw-droppingly pretentious or painfully dull... Nevertheless, there are clever, funny, erotic and visually beautiful moments scattered throughout the film.
    • 74 Metascore
    • 63 Jonathan Foreman
    Boasts several fine performances and some elegant, eerie black-and- white photography.
    • New York Post
    • 40 Metascore
    • 63 Jonathan Foreman
    Visually stunning.
    • 73 Metascore
    • 63 Jonathan Foreman
    The very effectiveness of After the Life's depiction of its main characters makes its immediate predecessor seem that much more of a waste.
    • 43 Metascore
    • 63 Jonathan Foreman
    Very, very funny, albeit inferior in a number of ways to the original.
    • 80 Metascore
    • 63 Jonathan Foreman
    Like "Beneath the Veil," it gives a human face to those who have suffered from the Taliban's tremendous cruelty, and those who have been maimed in the war to end their rule.
    • 51 Metascore
    • 63 Jonathan Foreman
    Though not as witty or accomplished as you'd expect from its pedigree, "Le Divorce" provides welcome relief from the lame-brained trash Hollywood has foisted on the public this summer.
    • 61 Metascore
    • 63 Jonathan Foreman
    Fluffy, inconsistent, but enjoyable.
    • 51 Metascore
    • 63 Jonathan Foreman
    While Star Trek: Nemesis isn't nearly as good as the best Nicholas Meyer-written movies like "The Undiscovered Country," it is far from the worst, thanks to the topical issues it raises, the performances of Stewart and Hardy, and that essential feature -- a decent full-on space battle.
    • 33 Metascore
    • 63 Jonathan Foreman
    A lame, glossy and disastrously misconceived film about three ditsy sisters dealing with the death of their horrible father.
    • New York Post
    • 76 Metascore
    • 63 Jonathan Foreman
    Unashamedly vulgar and exuberantly politically incorrect.
    • 36 Metascore
    • 63 Jonathan Foreman
    A cute, often very funny romantic comedy and an effective vehicle for Matthew Perry.
    • 46 Metascore
    • 63 Jonathan Foreman
    By far the best and cutest thing about How the Grinch Stole Christmas is the dog Max.
    • New York Post
    • 53 Metascore
    • 63 Jonathan Foreman
    It too often looks and feels like a high-concept home movie, thanks to cinematography that's crude and ugly even by the standards of documentary video. But Group is also a remarkably believable piece of improvised theater.
    • 44 Metascore
    • 63 Jonathan Foreman
    Has its heart in the right place -- and in a season filled with somber or goopy Oscar contenders, it makes a perfectly decent date movie.
    • 67 Metascore
    • 63 Jonathan Foreman
    Moves at a leisurely pace, and it cries out for a narrator or even just an organizing principle.
    • 35 Metascore
    • 63 Jonathan Foreman
    Branagh's attempt to meld Shakespeare's densely verbal early comedy with Broadway show tunes fails, thanks to stunt casting, poor singing and dancing, and the incompatibility of the two art forms.
    • 66 Metascore
    • 63 Jonathan Foreman
    There's some lumpy writing and uneasy acting, but it's easy to see why this charming, inventive film won prizes at festivals in Berlin, San Francisco and Newport, R.I.
    • New York Post
    • 45 Metascore
    • 63 Jonathan Foreman
    Has moments that are eerily beautiful and genuinely moving -- and some that are surprisingly vulgar.
    • 57 Metascore
    • 63 Jonathan Foreman
    Much has, and will, be made of the grisly scenes throughout the film.
    • New York Post
    • 36 Metascore
    • 63 Jonathan Foreman
    Much of the resulting material is very funny, though there are a few times when the filmmakers patronize or mock their subjects in a way that makes you uncomfortable.
    • 62 Metascore
    • 63 Jonathan Foreman
    Peter Farrelly is angry at Miramax for marketing his and his brother Bobby's new film as a follow-up to their surprise smash hit, "There's Something About Mary."
    • 44 Metascore
    • 63 Jonathan Foreman
    Exciting stuff in its primitive, predictable way.
    • 47 Metascore
    • 63 Jonathan Foreman
    Adequately funny but predictable sitcom
    • 77 Metascore
    • 63 Jonathan Foreman
    The filmmakers' smug Bay Area bigotry is all too obvious in gratuitous, mocking swipes at Heidi's Southern background.
    • 68 Metascore
    • 63 Jonathan Foreman
    A relentlessly grim, rather heavy-handed drama of family dysfunction.
    • 37 Metascore
    • 63 Jonathan Foreman
    Doesn't live up to the promise of its trailers.
    • 72 Metascore
    • 63 Jonathan Foreman
    Takes you on a fascinating and picturesque journey into a relatively unfamiliar culture.
    • 59 Metascore
    • 63 Jonathan Foreman
    Its plot and political symbolism manage to be both over-familiar and confusingly muddled.
    • 73 Metascore
    • 63 Jonathan Foreman
    Elegantly photographed family saga that brims with period detail. Unfortunately, the underlying story is less than compelling,
    • 69 Metascore
    • 63 Jonathan Foreman
    A witty and quietly charming road comedy.
    • New York Post
    • 48 Metascore
    • 63 Jonathan Foreman
    The gleeful teen-horror spoof that proves that the Farrelly brothers have no monopoly on outrageous, politically incorrect comedy.
    • 40 Metascore
    • 63 Jonathan Foreman
    Bland, occasionally funny.
    • 64 Metascore
    • 63 Jonathan Foreman
    Fascinatingly, many of the interviewees disagree vehemently about Holmes' personality: some of his co-stars and colleagues found him repellently abusive and selfish.
    • 30 Metascore
    • 63 Jonathan Foreman
    It's not to say that the adolescent humor isn't funny; some of it is hilarious. It's just that this movie lacks the overarching comic sensibility that made "Mary" and even Adam Sandler comedies like "Happy Gilmore" and "The Waterboy" so satisfying.
    • New York Post
    • 72 Metascore
    • 63 Jonathan Foreman
    But given the potentially gripping subject matter, the film is fatally underedited: Every scene feels too long.
    • New York Post
    • 62 Metascore
    • 63 Jonathan Foreman
    When it was first performed in theaters a couple of years after the L.A. riots took place, Twilight: Los Angeles must have been very powerful. Unfortunately, director Mark Levin's filmed version lacks that impact.
    • 59 Metascore
    • 63 Jonathan Foreman
    Unfortunately, you really only hear about prostitution from the side of the pimp.
    • New York Post
    • 75 Metascore
    • 63 Jonathan Foreman
    With its endless takes of characters silently waiting, say, or getting out of bed, this is the kind of film that can be seen only after a full night's sleep. But it is also clever, funny and sometimes moving.
    • 63 Metascore
    • 63 Jonathan Foreman
    While the film contains some terrific, realistically bloody battle scenes, it has a distinctly Germanic feel, both in its epic heaviness and in the peculiar way it revises the history of the American Revolution.
    • 49 Metascore
    • 63 Jonathan Foreman
    By far the best thing about Pitch Black is the cool-looking lighting and photography.
    • 58 Metascore
    • 50 Jonathan Foreman
    Represents a kind of progress. Where once only a few ultra-talented, lucky black filmmakers got to make big studio movies, now we have standard-issue Hollywood schlock that happens to be made by, about and for African-Americans.
    • 51 Metascore
    • 50 Jonathan Foreman
    It tries to be an update of "Fast Times at Ridgemont High" crossed with "Pygmalion," but while it has some funny and even original moments, it's too predictable to be "all that."
    • 52 Metascore
    • 50 Jonathan Foreman
    Essentially a feature-length commercial for both the growing sport of competitive cheerleading and ESPN2 .
    • New York Post
    • 46 Metascore
    • 50 Jonathan Foreman
    Not entirely bereft of chuckles, though it misses one comic opportunity after another (the best jokes are in the trailer).
    • 54 Metascore
    • 50 Jonathan Foreman
    Besson is unable to weave the comic scenes together with the serious gory ones, so both seem increasingly jarring and unbelievable.
    • 65 Metascore
    • 50 Jonathan Foreman
    It's hard to feel anything but disappointment and boredom by the time the picture grinds to a mystical ending.
    • New York Post
    • 54 Metascore
    • 50 Jonathan Foreman
    A gorgeously shot endurance test that is impossible to get through on anything less than a full night's sleep and a double shot of espresso.
    • 49 Metascore
    • 50 Jonathan Foreman
    Begins exceptionally well. Indeed, for at least its first half it's an unusually thoughtful, admirably underplayed piece of work of disorienting, rather harsh realism that builds its mysteries in pleasurably oblique and unpredictable ways.
    • 42 Metascore
    • 50 Jonathan Foreman
    But even that talent (Freeman) isn't enough to distract you from the general predictability of Spider or the absurdity of its elaborate last-minute plot twists.
    • New York Post
    • 55 Metascore
    • 50 Jonathan Foreman
    A rather crude affair that feels like a student film, due to performances that often lack conviction and would-be "street" dialogue that rings false.
    • 85 Metascore
    • 50 Jonathan Foreman
    Visually flat and uninteresting and too often feels like a (leisurely paced) filmed play.
    • 33 Metascore
    • 50 Jonathan Foreman
    A hokey, overblown and deeply unsatisfying movie.
    • New York Post
    • 42 Metascore
    • 50 Jonathan Foreman
    A crude, manic and embarrassingly unfunny satire that feels off from beginning to end.
    • New York Post
    • 48 Metascore
    • 50 Jonathan Foreman
    xXx
    Pumped-up, dumbed-down Bond, with tattoos instead of brains.
    • 54 Metascore
    • 50 Jonathan Foreman
    It's a lumpy and disorganized film that remains unsatisfying, perhaps because the fundamental oddness of having sex in public for money as a way of life remains just as mysterious at the end of the film as in the beginning.
    • 30 Metascore
    • 50 Jonathan Foreman
    Not a movie but a live-action agitprop cartoon so shameless and coarse, it's almost funny.

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