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
    • 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

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