Jonathan Foreman

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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
    • 74 Metascore
    • 38 Jonathan Foreman
    Heavy-handed, predictable and almost completely unbelievable.
    • New York Post
    • 27 Metascore
    • 38 Jonathan Foreman
    Good-natured but mostly unfunny.
    • 35 Metascore
    • 38 Jonathan Foreman
    The screenplay by Zekri (based on Jorge Amado novel) is crude stuff, and director Ossama Fawzi gets such cartoonish performances from his cast, it's hard to care about the characters.
    • 39 Metascore
    • 38 Jonathan Foreman
    Boasts exceptionally attractive locations, but its painfully amateurish plotting, dialogue and acting -- combined with slack pacing -- make this Beijing-set indie romance something of a trial.
    • 56 Metascore
    • 38 Jonathan Foreman
    Fake-sounding dialogue, some over-deliberate performances and five amazingly trite linked stories.
    • New York Post
    • 34 Metascore
    • 38 Jonathan Foreman
    The film is clearly an unfinished work and one that feels like a ragged assemblage of parts from at least two entirely different movies all with the same cast.
    • New York Post
    • 40 Metascore
    • 38 Jonathan Foreman
    A cast almost talented enough to distract you from Ted Griffin's gimmicky screenplay.
    • New York Post
    • 38 Metascore
    • 38 Jonathan Foreman
    A strange Gallic imitation of a Woody Allen comedy, replete with a neurotic older hero.
    • 41 Metascore
    • 38 Jonathan Foreman
    The result is an intermittently instructive and amusing jumble that might have been seen as daring and "transgressive" in both form and content if it had been released, say, three decades ago.
    • 28 Metascore
    • 38 Jonathan Foreman
    The acting, camera work and writing are all crude and amateurish, even by the standards of student films.
    • 47 Metascore
    • 38 Jonathan Foreman
    Boring and irritating, and also mildly offensive in its ignorant depiction of both Judaism and Catholicism.
    • 60 Metascore
    • 38 Jonathan Foreman
    Smug, often tedious, and comically crude.
    • New York Post
    • 56 Metascore
    • 38 Jonathan Foreman
    Honest but also derivative and crude.
    • 47 Metascore
    • 38 Jonathan Foreman
    Takeshi's elliptical directorial style here is overwhelmed by the script's crudeness and lack of narrative power.
    • 55 Metascore
    • 38 Jonathan Foreman
    A test of endurance, and not just because you need a rather stronger word than "explicit" to describe this long-unreleased, self-consciously provocative film.
    • 62 Metascore
    • 38 Jonathan Foreman
    A misguided exercise - a crude merger of "Fiddler on the Roof" and "Schindler's List" that somehow reminds you of "Hogan's Heroes."
    • 42 Metascore
    • 38 Jonathan Foreman
    So tedious it's almost worth watching to see just how bad acting, inadequate direction and most important, a criminally crass and unimaginative screenplay can make so little out of a proven idea.
    • 68 Metascore
    • 38 Jonathan Foreman
    Best watched while doing a crossword or reading the paper.
    • New York Post
    • 43 Metascore
    • 38 Jonathan Foreman
    A profound disappointment, given its cast and source material.
    • 31 Metascore
    • 38 Jonathan Foreman
    Partly a schmaltzy, by-the-numbers romantic comedy, partly a shallow rumination on the emptiness of success -- and entirely soulless.
    • 39 Metascore
    • 38 Jonathan Foreman
    It strains belief that nuclear weapons couldn't kill off the dragons, but three people with crossbows could.
    • 12 Metascore
    • 38 Jonathan Foreman
    So patchy in its laughs, so calculated in its grossness and so lacking in genuine comic exuberance, it makes you look at "Road Trip" in an admiring new light.
    • 44 Metascore
    • 38 Jonathan Foreman
    A noisy, amateurish mess that doesn't work on any level - an extended, clich-ridden MTV video set to anachronistic bad music.
    • 64 Metascore
    • 38 Jonathan Foreman
    There is hardly a moment during this overlong, stunningly smug exercise in moral self-satisfaction when you actually care about a character, real or invented.
    • New York Post
    • 48 Metascore
    • 38 Jonathan Foreman
    For the most part, it's both sitcomishly predictable and cloying in its attempts to be poignant.
    • 33 Metascore
    • 38 Jonathan Foreman
    It's hoary and clunky even by the low standards of contemporary thrillers.
    • New York Post
    • 40 Metascore
    • 38 Jonathan Foreman
    A particularly gross exploitation of the Holocaust for financial gain.
    • 57 Metascore
    • 38 Jonathan Foreman
    It lurches ineptly from lame comedy to hokey melodrama.
    • New York Post
    • 57 Metascore
    • 38 Jonathan Foreman
    It's no funnier than your average grade-school biology lesson and less pedagogically useful than your typical Farrelly brothers comedy.
    • 64 Metascore
    • 38 Jonathan Foreman
    A misfiring black comedy oddly reminiscent of all those bad 1990s movies about strippers getting killed at bachelor parties.
    • New York Post
    • 50 Metascore
    • 38 Jonathan Foreman
    Despite some genuinely funny scenes, American Desi turns out to be inferior to the as yet unreleased "ABCD" and even last year's "Chutney Popcorn."
    • 20 Metascore
    • 38 Jonathan Foreman
    This is a lazy, careless film that feels strangely unfinished.
    • 34 Metascore
    • 38 Jonathan Foreman
    Works just fine as a generic but fast-paced - and rather ugly - cop buddy flick.
    • New York Post
    • 42 Metascore
    • 38 Jonathan Foreman
    The demands of formula eventually stifle anything that even looks like inspiration or honesty.
    • 25 Metascore
    • 38 Jonathan Foreman
    One of those "Lifetime"-esque horror stories of evil husbands in the suburbs.
    • 47 Metascore
    • 38 Jonathan Foreman
    Despite its talented and/or attractive cast, Heartbreakers is an ugly movie: The kind that makes you feel slightly soiled afterwards.
    • New York Post
    • 60 Metascore
    • 38 Jonathan Foreman
    It proves once again that it doesn't matter if the camera is dancing a jig on the ceiling if the storytelling is no good.
    • 39 Metascore
    • 38 Jonathan Foreman
    One of those thriller-comedy combos that never get the balance quite right.
    • New York Post
    • 35 Metascore
    • 38 Jonathan Foreman
    Bedeviled by labored writing and slack direction.
    • 42 Metascore
    • 38 Jonathan Foreman
    James' character is a charmless, boring lump and it's very hard to care if he gets the girl or not.
    • 48 Metascore
    • 38 Jonathan Foreman
    In any case, the presence of O'Hara, Kline, Ramis, Black, Tomlin and John Lithgow (who plays Shaun's father) serve mainly to underline the feebleness of the screenplay and the slackness of the direction.
    • 32 Metascore
    • 38 Jonathan Foreman
    An awkward hybrid of genres that just doesn't work.
    • 14 Metascore
    • 38 Jonathan Foreman
    Helplessly clichéd, predictable and unaware of its own lameness, it could easily become a camp classic on the order of "Grease 2" and "Sergeant Pepper's Lonely Hearts Club Band."
    • 31 Metascore
    • 38 Jonathan Foreman
    An inferior factory product, cranked out with little care and less imagination, that seems all the dumber because it's pretending to be smart and topical.
    • New York Post
    • 64 Metascore
    • 38 Jonathan Foreman
    Neither convincing nor remotely dramatic.
    • 47 Metascore
    • 38 Jonathan Foreman
    Every good joke in the movie is to be found in those trailers.
    • New York Post
    • 30 Metascore
    • 38 Jonathan Foreman
    What follows is very gruesome indeed, though the footage of people being chased by hideous ghosts soon becomes rather dull.
    • 36 Metascore
    • 38 Jonathan Foreman
    Would be a perfectly decent B-action movie if it weren't shipwrecked in the last act by laughably ridiculous plotting and a lazily executed climax.
    • 48 Metascore
    • 38 Jonathan Foreman
    A shame that this indie's willingness to trade in stereotype leaves a sour taste in your mouth.
    • New York Post
    • 34 Metascore
    • 38 Jonathan Foreman
    Isn't as bad as the year's first abysmal Martian movie, "Mission to Mars," but it's pretty close.
    • 48 Metascore
    • 38 Jonathan Foreman
    The contrast between Chan's charm and physical prowess and Tucker's lack of same is even more dramatic in this tiresome, leaden sequel.
    • 23 Metascore
    • 38 Jonathan Foreman
    Has the cheesy, deadened feel of a straight-to-cable film.
    • 68 Metascore
    • 38 Jonathan Foreman
    One of those French films whose makers won't lower themselves to tell a story in a way that is entertaining or compelling.
    • New York Post
    • 25 Metascore
    • 38 Jonathan Foreman
    Hollywood movies are rarely as contemptuous of the audience as Dragonfly, with its half-witted, treacly New Age sappiness and its mechanical borrowings from other, better supernatural thrillers.
    • 38 Metascore
    • 38 Jonathan Foreman
    Alas, the laughs - courtesy of screenwriters J. Mackye Gruber and Eric Bress and director David R. Ellis - are unintentional.
    • 32 Metascore
    • 38 Jonathan Foreman
    Toomuch of the humor in Not Another Teen Movie is either lame (the school in the movie is called "John Hughes High") or lamely disgusting.
    • 45 Metascore
    • 38 Jonathan Foreman
    Large chunks of the film seem like a record played at the wrong speed: The tempo of the dialogue as delivered doesn't match the lines as written, and the filmmakers are too lazy or too inept to make their convoluted premise jibe with any recognizable idea of human nature.
    • 41 Metascore
    • 38 Jonathan Foreman
    Fitfully funny at best, it's a sophomoric, facetious road comedy.
    • 40 Metascore
    • 38 Jonathan Foreman
    It's a thinly disguised lecture about intolerance, spotted with historical inaccuracies and groaning with dialogue so dreadful that it makes a fine cast look ridiculous again and again.
    • 37 Metascore
    • 38 Jonathan Foreman
    Richard Jeffries' script tosses together bits of plot borrowed from such "bad things happen when you leave the city" classics as "Straw Dogs" and "Deliverance" without any awareness of how or why genre conventions work.
    • 45 Metascore
    • 38 Jonathan Foreman
    A lazy and uninspired knock-off of the hilarious 2002 movie "Road Trip."
    • 43 Metascore
    • 38 Jonathan Foreman
    It's muddled and shallow and obvious. Worse, it fails as entertainment, being so ineptly directed and written it often has the feel of a high school production by kids with more money and ambition than talent.
    • 39 Metascore
    • 38 Jonathan Foreman
    About three-quarters of the way through, Havana Nights suddenly becomes laugh-out-loud awful, with dreadful, lame lines delivered painfully badly - as if a different screenwriter and director had taken over for the movie's final act.
    • 32 Metascore
    • 38 Jonathan Foreman
    It isn't entirely clear if Games People Play is a spot-on but longwinded and excessively campy spoof of those TV "reality" game shows... or just a particularly ingenious and sleazy example of the genre.
    • 38 Metascore
    • 38 Jonathan Foreman
    What dooms Never Die Alone even as amoral pulp entertainment is the screenplay by neophyte James Gibson, which combines clichéd characters and a contrived plot with stale dialogue.
    • 31 Metascore
    • 38 Jonathan Foreman
    There are a few chuckles here and there, and there are odd wisps of cleverness in the script by Steve Adams, but for the most part, Envy is a film that doesn't know where it's going.
    • 56 Metascore
    • 38 Jonathan Foreman
    What really wrecks Wolfgang Petersen's Troy is some of the worst casting in recent Hollywood history: The lackluster ensemble hired by the director is overwhelmed by the generally impressive sets and crowd scenes, by the task of playing epic heroes and by David Benioff's rambling, tone-deaf screenplay "inspired by Homer's 'Iliad.'"
    • 66 Metascore
    • 38 Jonathan Foreman
    It's unfortunate that the people DuBowski profiles tend to be self-indulgent or otherwise unappealing. It's still more unfortunate that the film focuses more on relatively easy issues of acceptance.
    • 70 Metascore
    • 38 Jonathan Foreman
    May well be the dullest and most pointless version ever filmed, thanks to a stunningly bad lead performance by Ethan Hawke.
    • New York Post
    • 33 Metascore
    • 38 Jonathan Foreman
    Intermittently funny, often vulgar.
    • New York Post
    • 21 Metascore
    • 38 Jonathan Foreman
    Unfortunately, this version of the familiar formula lacks the inspiration, genuine wit and raunchy charm of 1998's outrageous "There's Something About Mary."
    • New York Post
    • 17 Metascore
    • 25 Jonathan Foreman
    Mostly ludicrous, but occasionally effective.
    • New York Post
    • 24 Metascore
    • 25 Jonathan Foreman
    It's all so insincere, you can almost imagine the filmmakers rubbing their hands together at the prospect of ripping off the public.
    • 48 Metascore
    • 25 Jonathan Foreman
    In the end, it is inadequate, juiceless storytelling that deprives Titan A.E. of any dramatic force.
    • 34 Metascore
    • 25 Jonathan Foreman
    It features well-below-par writing, acting, direction, special effects and music, while oozing a nauseating New Age sentimentality that undermines any tension in the underlying story.
    • 46 Metascore
    • 25 Jonathan Foreman
    There is something offensively lazy about the thinness of the Jaglom's movie-industry characters, the simplistic problems they face, and the clumps of clumsy, apparently improvised dialogue they have to deliver.
    • New York Post
    • 42 Metascore
    • 25 Jonathan Foreman
    It's hard to imagine how Shyer and script writer John Sweet could have brought this tale to the screen in a cruder, cornier or less interesting way.
    • 24 Metascore
    • 25 Jonathan Foreman
    Occasionally amusing, extremely gross, but mostly tedious.
    • 39 Metascore
    • 25 Jonathan Foreman
    During an endless, maudlin last act, it becomes more and more difficult not to laugh -- or barf -- as the protagonists tearfully come to terms with their issues.
    • 27 Metascore
    • 25 Jonathan Foreman
    An example of lazy, dumb and couldn't-care-less hack movie making.
    • New York Post
    • 70 Metascore
    • 25 Jonathan Foreman
    Resembles a period version of "The Rocky Horror Picture Show" - played dead straight.
    • 16 Metascore
    • 25 Jonathan Foreman
    Atrociously written.
    • 32 Metascore
    • 25 Jonathan Foreman
    A lobotomized attempt to make a no-budget John Waters movie, Men Cry Bullets is a painful reminder of just how bad indie cinema can be - especially when it plays with gender roles. It's desperately unfunny and dreadfully acted, written and directed.
    • 31 Metascore
    • 25 Jonathan Foreman
    As lifeless and unfunny as a corpse on a slab.
    • 34 Metascore
    • 25 Jonathan Foreman
    The film is only 91 minutes long, but it seemed to stretch out for days.
    • 46 Metascore
    • 25 Jonathan Foreman
    It's a film noir spoof, replete with hard-boiled narration, lounge-music soundtrack and dramatic black-and-white photography.
    • 34 Metascore
    • 25 Jonathan Foreman
    A smarmy, smirky but ultimately boring film.
    • 60 Metascore
    • 25 Jonathan Foreman
    You have to sit through 90 minutes that feel like three hours.
    • New York Post
    • 33 Metascore
    • 25 Jonathan Foreman
    Even the lovemaking scenes between two of Hollywood's most attractive stars -- often shot from above, like Cinemax soft porn -- are so unerotic, they make your skin crawl.
    • New York Post
    • 27 Metascore
    • 25 Jonathan Foreman
    There's no limit to Coyote Ugly's crass shamelessness.
    • New York Post
    • 52 Metascore
    • 25 Jonathan Foreman
    Sucker bait for the sort of credulous cinast who'll buy anything ugly and boring that looks like it's avant-garde...rancid stew of cheap shocks, sleaze and phony artiness.
    • 50 Metascore
    • 25 Jonathan Foreman
    Looks and feels like a bad imitation of "Trainspotting" without any of that film's wit or charm.
    • 32 Metascore
    • 25 Jonathan Foreman
    It's a film that reeks of stupidity and cynicism, one that makes you feel soiled just to have sat through it.
    • 47 Metascore
    • 25 Jonathan Foreman
    This crude, deeply dishonest documentary does no such thing. David Russell's fictional "Three Kings" does a much better job.
    • 51 Metascore
    • 25 Jonathan Foreman
    A surprisingly nasty fable about a particularly silly, very English brand of animal-rights extremism.
    • 40 Metascore
    • 25 Jonathan Foreman
    Relentlessly stupid.
    • 21 Metascore
    • 25 Jonathan Foreman
    The screenplay is packed with so many hilariously bad lines (it's hard to believe that writer-director Helgeland won an Oscar for co-writing "L.A. Confidential") that the movie would be perfect material for a resurrected version of the TV spoof "Mystery Science Theater."
    • 67 Metascore
    • 25 Jonathan Foreman
    Self-righteous, economically illiterate and sometimes flatly dishonest.
    • New York Post
    • 17 Metascore
    • 25 Jonathan Foreman
    A pathetically inane and unimaginative cross between "XXX" and "Vertical Limit," it could only harm the careers of everyone involved in its making - including top British stage actors Rufus Sewell and Rupert Graves.
    • 14 Metascore
    • 25 Jonathan Foreman
    This oddly scrambled new version eventually falls apart so badly you feel embarrassed for the people who made it.

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