Scott Foundas

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For 868 reviews, this critic has graded:
  • 55% higher than the average critic
  • 2% same as the average critic
  • 43% lower than the average critic
On average, this critic grades 0.4 points lower than other critics. (0-100 point scale)

Scott Foundas' Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 100 Sicario
Lowest review score: 0 Grind
Score distribution:
868 movie reviews
    • 68 Metascore
    • 80 Scott Foundas
    This meticulously well-made picture is disarmingly funny at times - not least during the ballet of bloody absurdity that is the assassination itself - but also subdued and straight-faced, with one eye planted on 1979 and the other on the violent student demonstrations looming in the distance.
    • 75 Metascore
    • 80 Scott Foundas
    A somewhat shaggy, frequently hilarious romantic comedy that, like much of Apatow’s best work, delicately balances irreverent raunch with candid insights into the give-and-take of grown-up relationships.
    • 66 Metascore
    • 80 Scott Foundas
    At its best, Behind the Mask offers some, um, cutting insights about mass-media blood lust and the cult of the serial killer, and in Baesel, who is by turns charming, manic and thoroughly scary, it has a gifted young actor who clearly relishes a role he can sink his pitchfork into.
    • 57 Metascore
    • 80 Scott Foundas
    One of the best part 3's ever made, and Rodriguez's knack for concocting the most imaginatively deranged children's entertainments since "Willy Wonka and the Chocolate Factory" remains unassailed.
    • 74 Metascore
    • 80 Scott Foundas
    At the picture’s best, it recalls Michael Winterbottom's "24 Hour Party People" in its tribute to the music of the times and the way in which that music provided a voice to a generation of social misfits.
    • 61 Metascore
    • 80 Scott Foundas
    The cast is brilliant, not least of all Reilly -- vaguely despicable, smooth as an oil slick and altogether mesmerizing in the most impressive screen performance he's yet given.
    • 75 Metascore
    • 80 Scott Foundas
    Holmes may not have the polished technique of a formally trained actress, but she has an innate capacity for drama, and whether or not she can go on to play roles further removed from her own experience, she’s electrifying in this one.
    • 83 Metascore
    • 80 Scott Foundas
    Familiar in its general trajectory, but unusually raw and ragged in its emotional architecture, Mond’s fraught portrait of a mother and son in crisis sports a pair of knockout performances by Cynthia Nixon and “Girls” alumnus Christopher Abbott.
    • 73 Metascore
    • 80 Scott Foundas
    At once playful and thorough, the documentary is also stacked teased-hair high with wicked performance footage.
    • 77 Metascore
    • 80 Scott Foundas
    In Jauja, Alsonso saves his most dazzling trick for last: a sudden plunge down a Lynchian rabbit hole that should, by all means, rupture the film’s hypnotizing atmosphere, but instead pulls the viewer in even deeper.
    • 64 Metascore
    • 80 Scott Foundas
    An utterly brazen mix of screwball comedy, film noir and sharp social commentary that hits its own strange bullseye more often than not, Bozon’s third full-length feature (and first since 2007’s WWI musical, “La France”) benefits immeasurably from actors willing to go as far out on a limb as their intrepid director.
    • 67 Metascore
    • 80 Scott Foundas
    The more vital subject of Mr. Holmes turns out to be our need for stories themselves and, in particular, the role of fiction as an escape from the pain and loss of everyday life.
    • 65 Metascore
    • 80 Scott Foundas
    Take it or leave it, Alverson’s fourth feature is singular stuff, and it reconfirms the director as one of the truly bold voices in the all-too-homogenous U.S. indie film scene.
    • 76 Metascore
    • 80 Scott Foundas
    Consistently hilarious.
    • 68 Metascore
    • 80 Scott Foundas
    Infamous is the better Capote film, yes, but also the less easily digestible one, the more eccentric one and -- yes -- the gayer one.
    • 75 Metascore
    • 80 Scott Foundas
    The film’s appeal is at once sentimental and perverse: It’s not every day that you get to see a 92-year-old woman soloing on “Should I Stay Or Should I Go.” Not surprisingly, a feature remake is already in the works.
    • 67 Metascore
    • 80 Scott Foundas
    The film arrives at a familiar conclusion -- that war is hell -- but the getting there is made uniquely unsettling by Dumont's relentlessly anti-psychological disposition.
    • 87 Metascore
    • 80 Scott Foundas
    Those masters of small-scale realism, Belgian brothers Luc and Jean-Pierre Dardenne, have created yet another beautifully acted, exquisitely observed morality tale in The Child.
    • 72 Metascore
    • 80 Scott Foundas
    To be sure, we are in that authorial fantasy by which historical figures become shrewder, sharper and wittier than they surely were in life — the domain of Peter Morgan and Steven Spielberg’s “Lincoln.” But when the actors and the dialogue are this good, one scarcely objects.
    • 78 Metascore
    • 80 Scott Foundas
    Whereas "Nine Queens" was a movie of clockwork precision and blindsiding reversals, El Aura is more internalized and digressive but no less striking, in large part thanks to Darin's mesmerizing performance.
    • 84 Metascore
    • 80 Scott Foundas
    Wryly comic, sometimes heartbreaking and altogether original film about a thirtysomething Angeleno who pays a visit to his aging New York parents and finds himself unwilling or unable to leave.
    • 84 Metascore
    • 80 Scott Foundas
    A beautifully nuanced study in friendship and the irretrievability of the past.
    • 80 Metascore
    • 80 Scott Foundas
    "Old Joy" helmer Kelly Reichardt plays to her strengths in Wendy and Lucy, a modest yet deeply felt road movie about an idealistic young drifter, her faithful canine and the wide-open spaces of the Pacific Northwest.
    • 69 Metascore
    • 80 Scott Foundas
    Ranging over familiar material, but made vivid by Morris’ fecund associations and invigorating stylistic flourishes.
    • 75 Metascore
    • 80 Scott Foundas
    A bleak but powerful, carefully controlled detective thriller in which — as with all the best noirs — there are no real heroes or villains, only various states of compromise.
    • 72 Metascore
    • 80 Scott Foundas
    Brutally truthful, funny and touching in nearly equal measure.
    • 64 Metascore
    • 80 Scott Foundas
    It all sounds like a recipe for the most noxious liberal jerk-off movie since "Crash," but in the hands of writer-director Richard LaGravenese, Freedom Writers turns out to be a superb piece of mainstream entertainment -- not an agonized debate over the principles of modern education à la "The History Boys," but a simple, straightforward and surprisingly affecting story of one woman who managed to make a difference.
    • 75 Metascore
    • 80 Scott Foundas
    In the landscape of contemporary movie comedies, Kitchen Stories is like a rejuvenating blast of crisp Nordic air.
    • 71 Metascore
    • 80 Scott Foundas
    22 Jump Street hits far more often than it misses, and even when it misses by a mile, the effort is so delightfully zany that it’s hard not to give Lord and Miller an “A” for effort.
    • 69 Metascore
    • 80 Scott Foundas
    Provided you don't think too long or hard about it (and why ever would you?), Live Free or Die Hard is infectious good fun, and a tremendous encouragement to the middle aged.

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