Scott Foundas

Select another critic »
For 857 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 1 point higher than other critics. (0-100 point scale)

Scott Foundas' Scores

  • Movies
  • TV
Average review score: 61
Highest review score: 100 Goodbye to Language 3D
Lowest review score: 0 Reasonable Doubt
Score distribution:
857 movie reviews
    • 50 Metascore
    • 60 Scott Foundas
    Made up largely of vivid aerial shots of those folks doing the things they do, the film is a less philosophical, introspective look at contemporary surfing than Dana Brown's recent "Step Into Liquid," and is pitched at a smaller, niche audience.
    • 55 Metascore
    • 60 Scott Foundas
    The only history that bears a real influence on The Last Samurai is the history of Hollywood moviemaking, and the unfortunate way it has of turning extraordinary stories into hopelessly ordinary ones.
    • 57 Metascore
    • 60 Scott Foundas
    More often than not, Two Men Went to War resembles a feature-length episode of "Hogan's Heroes," with the brave but clumsy Brits continually managing to outfox the even more bungling Nazis.
    • 45 Metascore
    • 60 Scott Foundas
    As Willing moves the movie along its well-worn, Ruth Rendell–ish path, it accrues a certain fusty British charm, along with the requisite (and, for this reviewer, most satisfying) amounts of satanic symbolism, creepy mute children and abandoned gothic churches.
    • 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.
    • 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.
    • 64 Metascore
    • 60 Scott Foundas
    Most of the time Wedding Crashers is more genteel than it is outrageous (or funny), playing like an only slightly less benign spin on the tiresome fish-out-of-water farce that fueled the two Meet the Parents movies.
    • 23 Metascore
    • 60 Scott Foundas
    As before, there are moments, when Schneider is turned loose to do his anything-goes, creepy-funny shtick, that are crudely inspired.
    • 81 Metascore
    • 60 Scott Foundas
    Came alive only in the presence of a supposed dead man -- specifically, the nefarious Lord Voldemort.
    • 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.
    • 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.
    • 58 Metascore
    • 60 Scott Foundas
    The more things drag on, the more monotonous they become and, by the end, Hard Candy has devolved into a rather transparent game of one-upmanship in which Hayley and Jeff come across in almost equally repellent measure, their behaviors driven less by organic impulses than by their need to satisfy the script's elaborate series of reversals and counter-reversals.
    • 46 Metascore
    • 60 Scott Foundas
    Hoot is flatly directed by talk-show-host-turned-sitcom-director Wil Shriner, but the young actors are spirited and appealing, and the movie's low-key anti-establishment posture is vastly preferable to the knee-jerk fulminations of a Michael Moore.
    • 45 Metascore
    • 60 Scott Foundas
    After an hour of predictably sophomoric antics involving foulmouthed kids, compulsively self-pleasuring canines and the rampant objectification of women, Click turns into a surrealist death dream in which Sandler's masochistic impulses flower onscreen as never before.
    • 41 Metascore
    • 60 Scott Foundas
    The performers are a bright bunch, especially Snow (even if she's no sane person’s idea of a wallflower), Metcalfe, who has the cocksure swagger of a young Travolta, and McCarthy, who infuses her few scenes with a haggard dignity masquerading as optimism.
    • 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.
    • 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.
    • 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.
    • 37 Metascore
    • 60 Scott Foundas
    What makes the film transcend its limitations is Carell, whose square, "Father Knows Best" demeanor belies a supreme comic self-confidence and whose implacability in the face of the movie's CGI-intensive animal antics can be marvelous to behold.
    • 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
    • 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."
    • 64 Metascore
    • 60 Scott Foundas
    The problem, dare I say it, is that the movie just ... isn't ... that ... funny.
    • 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.
    • 83 Metascore
    • 60 Scott Foundas
    The visual effects are predictably excellent -- sometimes, in the case of a three-man free fall through space, unexpectedly lyrical -- but most of the movie's dramatic conflicts feel strictly pro forma.
    • 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.
    • 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.
    • 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.
    • 50 Metascore
    • 60 Scott Foundas
    Gets an ambitious, sometimes inspired but ultimately less than satisfying screen treatment from Roger Avary.
    • 61 Metascore
    • 60 Scott Foundas
    All the trappings of an energetic, extreme-sports adventure, but ends up more of a creaky "Pretty Woman" retread, with the emphasis on self-empowering schmaltz and with the big-wave surfing that gives pic its title seemingly an afterthought.
    • 77 Metascore
    • 60 Scott Foundas
    Assembled in a straightforward, television-style presentation that gets the better of it.

Top Trailers