Scott Foundas

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For 866 reviews, this critic has graded:
  • 55% higher than the average critic
  • 3% same as the average critic
  • 42% lower than the average critic
On average, this critic grades 0.7 points higher than other critics. (0-100 point scale)

Scott Foundas' Scores

  • Movies
  • TV
Average review score: 61
Highest review score: 100 The Queen
Lowest review score: 0 Wrong Cops
Score distribution:
866 movie reviews
    • 68 Metascore
    • 60 Scott Foundas
    Z for Zachariah is a handsome-looking film (shot in widescreen, on remote New Zealand locations, by veteran David Gordon Green d.p. Tim Orr) and it doesn’t lack for provocative ideas, though it never digs quite deep enough into any of them.
    • 42 Metascore
    • 60 Scott Foundas
    Pretty formulaic stuff: bland self-empowerment tinged with warm fuzzies in all the right places. But what makes this "Somebody" something is Pasquin's deft touch and understanding with the material.
    • 50 Metascore
    • 60 Scott Foundas
    Thanks to some accomplished hocus pocus and an appealing cast, this would-be “Ocean’s Eleven” of the magic world remains watchable throughout, even as it plods along without ever quite fulfilling its potential.
    • 44 Metascore
    • 60 Scott Foundas
    Southland Tales pilfers large chunks of its plot and visual style from Alex Cox’s "Repo Man," Kathryn Bigelow’s "Strange Days" and Shane Carruth’s Sundance-winning "Primer," and unlike the makers of those films, Kelly hasn’t digested his influences and made them his own -- he’s more like the slacker college kid who’s just enough of an intellectual poseur to bluff his way to an A. That said, Southland Tales isn’t entirely without its pleasures, chiefly The Rock.
    • L.A. Weekly
    • 31 Metascore
    • 60 Scott Foundas
    A cobwebbed, mummified horror entry that makes obvious, cartoonishly grotesque demands for attention.
    • 65 Metascore
    • 60 Scott Foundas
    McKinnon's direction is nothing if not atmospheric -- his best scenes unfold with a pungent languor that suggests the power of the backwoods to turn hours into days and days into years. If only the sum total were a movie more "In the Bedroom" than it is everything-but-the-kitchen-sink.
    • 77 Metascore
    • 60 Scott Foundas
    Assembled in a straightforward, television-style presentation that gets the better of it.
    • 65 Metascore
    • 60 Scott Foundas
    Things could be worse. At the end of the day, Indiana Jones and the Kingdom of the Crystal Skull is nothing if not consistent -- taking care of business solidly, professionally and without a lick of the genuine wonderment or inspiration that you can find in surplus in Jon Favreau's Spielberg-influenced "Iron Man."
    • 68 Metascore
    • 60 Scott Foundas
    The Place Beyond the Pines is a much bigger canvas, and scene by scene it can be riveting...But the disparate pieces never quite jell; the movie is all trees and no forest.
    • 49 Metascore
    • 60 Scott Foundas
    Swank's character and her performance are good enough to merit a movie of their own, instead of serving as fourth wheel to this lifeless ménage à trois.
    • 41 Metascore
    • 60 Scott Foundas
    A Red Dawn for the Tea Party era, Olympus Has Fallen is pretty ridiculously entertaining—or at least entertainingly ridiculous—for long stretches, dulled only by the realization that there are many parts of the country where this will play as less than total farce.
    • 81 Metascore
    • 60 Scott Foundas
    Came alive only in the presence of a supposed dead man -- specifically, the nefarious Lord Voldemort.
    • 62 Metascore
    • 60 Scott Foundas
    It can be thrilling to watch Stander and his gang of gentlemen bandits rack up the loot without ruffling their (or anyone else's) shirt collars. The movie isn't content to rest there, though; it wants to be a caper with a conscience.
    • 71 Metascore
    • 60 Scott Foundas
    Although in many respects a more stylish, authentic, tougher-minded film than "Hotel Rwanda," director Michael Caton-Jones' respectable and well-intentioned Beyond the Gates (aka Shooting Dogs) still falls into the trap of filtering an inherently African story through the eyes of a noble white protagonist -- in this case, two of them.
    • 44 Metascore
    • 60 Scott Foundas
    If the movie never quite masters the feel of messy, grown-up life, it at least makes a few promising salvos in that direction... The actors help a lot.
    • 48 Metascore
    • 60 Scott Foundas
    Festooned with cute, mugging kids; lots of jazzy redos of beloved Christmas tunes on the soundtrack; and enough tug-at-your-heartstrings moments to make an entire theater feel warm on a blustery winter afternoon.
    • 64 Metascore
    • 60 Scott Foundas
    The problem, dare I say it, is that the movie just ... isn't ... that ... funny.
    • 49 Metascore
    • 60 Scott Foundas
    An unremarkable but entirely serviceable action quickie.
    • 66 Metascore
    • 60 Scott Foundas
    While the respectable result is a more meaningful film than just about anything Mandoki worked on during his 17 years in Hollywood ("Angel Eyes," "Message in a Bottle"), pic suffers from an overindulgence of triumph-over-adversity cliches and a meandering narrative.
    • 53 Metascore
    • 60 Scott Foundas
    McG's Marshall lies at the nexus of Thornton Wilder and Norman Rockwell -- it's David Lynch without the irony -- and if he overdoes things a touch, there’s nothing disingenuous about it.
    • 49 Metascore
    • 60 Scott Foundas
    The film's one indisputably great performance comes from Sewell, whose Marke is no mere cuckold, but a good, honorable man caught up in circumstances beyond his ken, and ultimately this Tristan & Isolde's most tragic figure.
    • 71 Metascore
    • 60 Scott Foundas
    Like this summer's other slapstick cause célèbre, "Pineapple Express," it's a comedy with as high or higher a body count as the movies it purports to be parodying, and the problem isn't the violence per se but rather the fact that neither movie ever finds a satisfactory balance between tongue-in-cheek and guts-in-hand.
    • 58 Metascore
    • 60 Scott Foundas
    Beneath the sitcom cutesiness and boldfaced sentimentality, the film manages to keep just enough reality coursing through to stay grounded.
    • 68 Metascore
    • 60 Scott Foundas
    Doesn't risk ruffling any feathers, and that's exactly what's wrong with it: It's less a satirical bite at the hand that feeds Guest than it is a toothless nibble, and it isn't particularly funny.
    • 49 Metascore
    • 60 Scott Foundas
    Pic’s monotone edges towards monotony by the end of the third act, but as no-budget calling-card features go, Frankenstein’s Army remains a grisly cut above.
    • 58 Metascore
    • 60 Scott Foundas
    A routine memory piece about long-buried family secrets that bubble back to the surface to wreak havoc.
    • 41 Metascore
    • 60 Scott Foundas
    Bruni Tedeschi holds all of pic’s myriad tangents in a delicate balance, no single one ever rising to the fore, no pressure felt to wrap everything — or anything — up in a tidy package at the end.
    • 53 Metascore
    • 60 Scott Foundas
    Less outre than "Gummo" and "Julien Donkey-Boy," Korine's most lavishly produced pic to date begins as a sweet-tempered tale of social misfits-turned-celebrity impersonators, but falls short of its ambition to say something meaningful about the obsessive nature of celebrity culture.
    • 81 Metascore
    • 60 Scott Foundas
    King Kong isn't terrible, but it's something that none of Jackson's previous movies ever was -- it's enervating.
    • tbd Metascore
    • 60 Scott Foundas
    If you haven’t come to see lots (and lots) of dance, you’ve come to the wrong place; and even if nothing in the second half of ABCD 2 quite reaches “Happy Hour” levels, D’Souza shoots and edits dance with a lot more savoir faire than most contemporary musical directors, mindful to keep the dancers’ entire bodies in frame, and cutting with a strong sense of spatial continuity.

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