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 Zombie! vs. Mardi Gras
Score distribution:
545 movie reviews
    • 41 Metascore
    • 63 Jonathan Foreman
    Prime date fare, but cotton-candy light and occasionally just a little too whimsical.
    • 47 Metascore
    • 63 Jonathan Foreman
    Adequately funny but predictable sitcom
    • 40 Metascore
    • 63 Jonathan Foreman
    There are a few ingenious zig zags in its otherwise by-the-numbers plot...but what keeps you interested... is the sheer movie-star presence of the actors in the lead roles.
    • New York Post
    • 64 Metascore
    • 63 Jonathan Foreman
    Slight but entertaining and occasionally touching.
    • 69 Metascore
    • 63 Jonathan Foreman
    Despite inadequate editing and overreliance on bad background music, The Girl Next Door doesn't disappoint.
    • 66 Metascore
    • 63 Jonathan Foreman
    Unpretentious and often witty, it's emotional punch is weakened by spotty performances, especially from Karin Viard in the lead role.
    • 66 Metascore
    • 63 Jonathan Foreman
    It's fascinating and moving all the same, both in its depiction of Iranian daily life and in its powerful portrait of female oppression.
    • 59 Metascore
    • 63 Jonathan Foreman
    One of the more entertaining documentaries to come along in some time.
    • New York Post
    • 54 Metascore
    • 63 Jonathan Foreman
    Too often seems like a slightly silly film.
    • New York Post
    • 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.
    • 78 Metascore
    • 63 Jonathan Foreman
    Ghobadi (himself an Iranian Kurd) takes some gorgeous shots against the snow, but his storytelling is uneven and often slow.
    • 75 Metascore
    • 63 Jonathan Foreman
    Undeniably powerful, grimly fascinating.
    • New York Post
    • 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
    • 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.
    • 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."
    • 67 Metascore
    • 63 Jonathan Foreman
    Moves at a leisurely pace, and it cries out for a narrator or even just an organizing principle.
    • 79 Metascore
    • 63 Jonathan Foreman
    The film's earthy frankness is refreshing.
    • New York Post
    • 53 Metascore
    • 63 Jonathan Foreman
    An engaging, bittersweet tale.
    • 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.
    • 50 Metascore
    • 63 Jonathan Foreman
    The girl you see stabbing and shooting prisoners and fellow trainees makes the killer from "La Femme Nikita" look like a wuss.
    • 52 Metascore
    • 63 Jonathan Foreman
    There's something oddly endearing about the Barenaked Ladies. And by the end of the movie, you begin to see just what it is that inspires such intense fan loyalty.
    • 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.
    • 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.
    • 86 Metascore
    • 63 Jonathan Foreman
    Poetic but tedious and all but plotless.
    • New York Post
    • 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.
    • 45 Metascore
    • 63 Jonathan Foreman
    As mechanical and predictable as a cuckoo clock, it shouldn't work half as well as it does.
    • 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.
    • 85 Metascore
    • 63 Jonathan Foreman
    This film is fighting the good fight, albeit in a rather heavy-handed way.
    • New York Post
    • 76 Metascore
    • 63 Jonathan Foreman
    Unashamedly vulgar and exuberantly politically incorrect.

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