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 Virgin Suicides
Lowest review score: 0 Zombie! vs. Mardi Gras
Score distribution:
544 movie reviews
    • 61 Metascore
    • 50 Jonathan Foreman
    This second installment of Lucas Belvaux's acclaimed "Trilogy" is decidedly inferior to the first: a farce that simply isn't funny.
    • 55 Metascore
    • 50 Jonathan Foreman
    If Schwarzberg had chosen to concentrate on eccentrics, rural artists or people like his New York bike messenger, female aerobatic champion and California cliff dancer, "Heart and Soul" would have been a much more interesting film.
    • 34 Metascore
    • 50 Jonathan Foreman
    Resolves the romantic dilemma in the most artificial and unsatisfying way. A blaring swing score and some obvious dubbing do little to ease the pain.
    • 33 Metascore
    • 50 Jonathan Foreman
    Unfortunately, Impostor doesn't do much with its template, despite a remarkably strong cast.
    • 43 Metascore
    • 50 Jonathan Foreman
    A messy, woefully uneven chick flick.
    • 48 Metascore
    • 50 Jonathan Foreman
    It makes not just the "Thief of Baghdad" and the junky Ray Harryhausen movies of the '60s and '70s but even Disney's recent "Aladdin" seem positively multicultural by comparison.
    • 45 Metascore
    • 50 Jonathan Foreman
    Without a real story to go with the notion of Farm Belt "wiggas," the humor wears thinner and thinner until it disappears.
    • 45 Metascore
    • 50 Jonathan Foreman
    Slick but painfully precious, it strains to be darkly romantic but is bereft of genuine feeling.
    • 36 Metascore
    • 50 Jonathan Foreman
    An ultra-stylized, empty mess.
    • New York Post
    • 65 Metascore
    • 50 Jonathan Foreman
    In fact, for long stretches, especially during the first hour, it's as soporific as watching a bank of security cameras.
    • 33 Metascore
    • 50 Jonathan Foreman
    Travolta is terrific as a bad guy, making Saint almost sympathetic. His co-stars however, flounder in a sea of bad lines, with poor Romijn-Stamos getting stuck with the worst.
    • 51 Metascore
    • 50 Jonathan Foreman
    After a dreadfully clunky start, Left Luggage picks up and becomes quite moving.
    • New York Post
    • 44 Metascore
    • 50 Jonathan Foreman
    Recycles gags from various, more successful gross-out and romantic comedies, but without any zest or imagination.
    • 15 Metascore
    • 50 Jonathan Foreman
    Much of Tomcats is actually boisterously, crudely entertaining.
    • New York Post
    • 58 Metascore
    • 50 Jonathan Foreman
    Better than any automobile flick put out by Hollywood in a while and, thanks to some genuinely exciting moments, it is easily the most entertaining so far of this summer's big, brainless action movies.
    • 43 Metascore
    • 50 Jonathan Foreman
    Has some entertaining moments, thanks mainly to Bullock herself, who is surprisingly glamorous as well as endearing.
    • 45 Metascore
    • 50 Jonathan Foreman
    The sad truth is that TV series like "Dawson's Creek" do a better job with precocious teen dialogue.
    • 56 Metascore
    • 50 Jonathan Foreman
    More impressive than the sight of these acts on an eight-story screen is the excellent six-channel IMAX sound system.
    • New York Post
    • 55 Metascore
    • 50 Jonathan Foreman
    Crippled by lame storytelling.
    • 45 Metascore
    • 50 Jonathan Foreman
    Draggy and contrived.
    • 73 Metascore
    • 50 Jonathan Foreman
    Flat dialogue and stiff performances (especially by the street kids, like Ballesteros, turned into actors by Schroeder) don't help.
    • 61 Metascore
    • 50 Jonathan Foreman
    Courageous, convincing performance by Dunst.
    • New York Post
    • 29 Metascore
    • 50 Jonathan Foreman
    About two-thirds of the way through, a stupid, hyperbolic sensibility takes control of the project, running it screaming off the rails.
    • 68 Metascore
    • 50 Jonathan Foreman
    Eyes Wide Shut is Stanley Kubrick's Hindenberg.
    • 53 Metascore
    • 50 Jonathan Foreman
    Though it contains some very funny, cleverly written comic sketches, Human Traffic shares with other drug movies the problem that watching other people on drugs is not interesting.
    • New York Post
    • 59 Metascore
    • 50 Jonathan Foreman
    Merely a watery, poorly directed update of "Clueless."
    • 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
    • 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.
    • 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."
    • 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.

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