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 points lower than other critics. (0-100 point scale)

Jonathan Foreman's Scores

  • Movies
  • TV
Average review score: 55
Highest review score: 100 The Endurance
Lowest review score: 0 Zombie! vs. Mardi Gras
Score distribution:
544 movie reviews
    • 46 Metascore
    • 50 Jonathan Foreman
    A slack-paced, surprisingly bland affair, filled with jokes that sound like they should be funny but aren't.
    • New York Post
    • 70 Metascore
    • 50 Jonathan Foreman
    Strong cast is defeated by a labored, screenplay in this overlong, clunky love story.
    • 48 Metascore
    • 50 Jonathan Foreman
    There's not a moment in it that feels fresh or authentic or inspired. But neither is it offensive.
    • 38 Metascore
    • 50 Jonathan Foreman
    Doesn't press all its obvious lessons, and there are actually a few surprises -- and even a couple of moving and interesting moments -- before an all too predictable resolution.
    • 35 Metascore
    • 50 Jonathan Foreman
    A predictable tearjerker whose main redeeming feature is that you don't actually see any of the angels in the title.
    • 44 Metascore
    • 50 Jonathan Foreman
    Although Vatel is trying to say something about freedom and gilded cages, it feels more like a behind-the-scenes look at the high-end catering business.
    • New York Post
    • 21 Metascore
    • 50 Jonathan Foreman
    Feels much more like a very, very long, music video, albeit one made for an audience that gets off on high-tech firepower rather than nearly-naked babes.
    • New York Post
    • 31 Metascore
    • 50 Jonathan Foreman
    It's moody and atmospheric. But with the exception of a few cool moments that remind you of Ferrara at his best, it's dull and written with little attention paid to basic storytelling.
    • 74 Metascore
    • 50 Jonathan Foreman
    Thereare moving moments in this over-hyped satire by the Israeli-Arab writer-director-actor Elia Suleiman, and it's fascinating to get a picture of daily life in prosperous Palestinian neighborhoods.
    • 76 Metascore
    • 50 Jonathan Foreman
    Agonizingly slow-moving and talky, it consists primarily of conversations between two men in a truck.
    • 66 Metascore
    • 50 Jonathan Foreman
    Hardly a deep examination of gender relations or character, but in its unsentimental way it's a tender and charming story of friendship and tolerance.
    • New York Post
    • 59 Metascore
    • 50 Jonathan Foreman
    One of those films that takes up a potentially fascinating subject only to fumble it.
    • 25 Metascore
    • 50 Jonathan Foreman
    Unoriginal but effective raunchy drag comedy.
    • 47 Metascore
    • 50 Jonathan Foreman
    It's a film pregnant with comic possibility that ought to be much funnier than it is.
    • 52 Metascore
    • 50 Jonathan Foreman
    Tendency to pretentiousness.
    • 46 Metascore
    • 50 Jonathan Foreman
    One of those exercises in romantic whimsy that misses its mark: It's alternately sappy and uncomfortably harsh.
    • 47 Metascore
    • 50 Jonathan Foreman
    The documentary equivalent of a Southern Gothic novel.
    • 49 Metascore
    • 50 Jonathan Foreman
    The first half-hour of Jeepers Creepers is so frightening that it's almost a relief when the movie subsequently collapses into silliness.
    • 43 Metascore
    • 50 Jonathan Foreman
    Its faults -- banal dialogue, ludicrous and uninspired plotting, dull but vicious fight scenes -- make you realize just how much the summer action movie has declined in the last few years.
    • 30 Metascore
    • 50 Jonathan Foreman
    Hard-core chick shlock, weakened by odd shifts in tone and a slack pace, but elevated by a luminous performance by Natalie Portman.
    • 61 Metascore
    • 50 Jonathan Foreman
    Familiar and predictable enough, especially if you have seen Hollywood serial-killer thrillers like "Se7en."
    • 42 Metascore
    • 50 Jonathan Foreman
    Recycles the teen romantic comedies of the last few years...and it's easily the worst of the lot.
    • New York Post
    • 72 Metascore
    • 50 Jonathan Foreman
    Under the direction of Allan Moyle ("Pump up the Volume"), Nairn, McCarthy and Balaban give confident, believable performances but overacting plagues the rest of the cast.
    • New York Post
    • 24 Metascore
    • 50 Jonathan Foreman
    Uneven but occasionally hilarious teen comedy.
    • 65 Metascore
    • 50 Jonathan Foreman
    In general, it's a confusing, rather shapeless disappointment.
    • 25 Metascore
    • 50 Jonathan Foreman
    Pretentious and trite.
    • New York Post
    • 68 Metascore
    • 50 Jonathan Foreman
    Turns out to be an exercise in flatulent pretension, puffed up with a bogus, empty "spirituality" and dependent on a plot filled with implausibilities.
    • 58 Metascore
    • 50 Jonathan Foreman
    There isn't a line you haven't heard or a stock character you haven't encountered before.
    • New York Post
    • 64 Metascore
    • 50 Jonathan Foreman
    The whole thing is shot in an irritating, self-conscious way.
    • 36 Metascore
    • 50 Jonathan Foreman
    Despite a script that occasionally calls for some embarrassingly awkward lines, Kollek's cast generally acquits itself well.

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