Scott Foundas
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For 795 reviews, this critic has graded:
  • 54% higher than the average critic
  • 2% same as the average critic
  • 44% lower than the average critic
On average, this critic grades 1.1 points higher than other critics. (0-100 point scale)

Scott Foundas' Scores

  • Movies
  • TV
Average review score: 61
Highest review score: 100 Bloody Sunday
Lowest review score: 0 Reasonable Doubt
Score distribution:
795 movie reviews
    • 46 Metascore
    • 30 Scott Foundas
    The movie rarely overcomes its terminal Scorsese- and Ferrara-isms, or fulfills the promise, evident in the film's early passages, that Montias might be a fine observer of local color with his own unique stories to tell.
    • 39 Metascore
    • 30 Scott Foundas
    Surprisingly unsexy, uninvolving affair.
    • 55 Metascore
    • 30 Scott Foundas
    The movie is so rigged to elicit the audience's empathy that it becomes difficult to watch; it's stifling.
    • 61 Metascore
    • 30 Scott Foundas
    Its characters are as flimsy and expendable as the title suggests, while only the most gullible of viewers (i.e., those who've never seen a David Mamet picture) will likely be duped by the painfully et cetera who's-conning-whom antics or the mounds of forced sentimentality under which they're ill-disguised.
    • 52 Metascore
    • 30 Scott Foundas
    This feels like a movie that was grown in a petri dish -- poked and prodded with all manner of overcooked symbolism and thesis statements, but fatally absent the genuine human emotions about which it incessantly prattles on.
    • 47 Metascore
    • 30 Scott Foundas
    The movie's chief liability, though, is Rose herself, who also co-scripted with first-time director Robert Cary and who registers several notches below Nia Vardalos on the totem of unlikely double-threats.
    • 70 Metascore
    • 30 Scott Foundas
    Where "Amores Perros" was a feast of energy, wit and imagination, 21 Grams is like a starvation diet -- a movie that wallows so profoundly in its own misery that watching it is like atoning for some sin you didn't commit.
    • 45 Metascore
    • 30 Scott Foundas
    Chandrasekhar is a master forger of images and situations from horror movies past, but unlike Wes Craven did in "Scream," he doesn't build on them in any way, and the result is the opposite of what's intended; the movie is stultifying.
    • 55 Metascore
    • 30 Scott Foundas
    This depressingly uninspired action-comedy (based on the 1975–79 TV series) is Hollywood’s latest McMovie -- name-brand recognition as raison d’être or, if you will, creative bankruptcy on a very large scale.
    • 46 Metascore
    • 30 Scott Foundas
    The ultimate test of one's tolerance for King's self-aggrandizing postulations about writer's block, obsessive fans and the potentially frightening manifestations of the writer's id...It's just plain lousy.
    • 43 Metascore
    • 30 Scott Foundas
    Both stars are atrocious -- but the real blame for this cosmically self-indulgent disaster lies with Kevin Smith, who directs like a proud father who can't stop showing you pictures of his kids. And here's the thing: The brats are ugly.
    • 24 Metascore
    • 30 Scott Foundas
    Kinnear and Romijn-Stamos appear to be vying for the title of filmdom's least-convincing married couple, while Robert De Niro, as the movie's modern-day Dr. Frankenstein, takes his own expert career slumming to a new depth -- he's become an evil clone of a once-great actor.
    • 56 Metascore
    • 30 Scott Foundas
    The thunderous clashes between armies of computer-generated Trojans and Mycenaeans, when they do arrive, feel decidedly un-epic, as though we were watching a child's toy-box war between plastic figurines. Which makes them perfectly in line with the rest of Petersen's artless approach.
    • 33 Metascore
    • 30 Scott Foundas
    Director Jessy Terrero's spasmodically funny air-travel parody unfailingly counters every one of its genuinely uproarious gags with at least two or three others rooted in retrograde racial panic.
    • 64 Metascore
    • 30 Scott Foundas
    If Napoleon Dynamite really is, as reported, a semiautobiographical exercise, it is one of the most astoundingly self-hating such exercises in memory.
    • 27 Metascore
    • 30 Scott Foundas
    Like "Life Is Beautiful" before it, Imagining Argentina juxtaposes horrific images of torture and humiliation against gooey optimism and thinks it's saying something profound about human resilience in the process.
    • 27 Metascore
    • 30 Scott Foundas
    What the movie needs is a director, and what it gets instead is Pitof, a French visual-effects maestro so much fonder of technological wizardry than of human flesh that he manages to turn even his slinky, sinuous star attraction into a digitized synthespian frolicking about endless CGI cityscapes.
    • 48 Metascore
    • 30 Scott Foundas
    There may, somewhere in the premise of Incantato, lie the inspiration for a fine farce, but under Avati's shaky stewardship, the picture is leaden and charmless.
    • 56 Metascore
    • 30 Scott Foundas
    The movie is monotonous, and by the time it gets to its climactic re-enactment of the Tate-LaBianca killings, it seems little more than the heir to "Survive!, The Zodiac Killer" and other unsavory 1970s horror cheapies that tried to turn a quick buck on real-life tragedy.
    • 31 Metascore
    • 30 Scott Foundas
    It's one of those rare movie failures that truly warrants being called ambitious.
    • 72 Metascore
    • 30 Scott Foundas
    As repellent and repellently opportunistic a piece of work as the various shock-horror provocations (The Isle, The Coast Guard) that helped to launch this worrisome career (Kim Ki-Duk).
    • 61 Metascore
    • 30 Scott Foundas
    Ladies in Lavender oscillates between scenes so relentlessly nice they make you want to scream and others - particularly those depicting the crush Dench develops on her new housemate - creepier than anything in "The Amityville Horror."
    • 35 Metascore
    • 30 Scott Foundas
    Honoré never gets beneath these characters' sunburned skins, and well before the end, the film tips irretrievably over into the realm of absurdity.
    • 31 Metascore
    • 30 Scott Foundas
    This appalling multiculti upgrade of the ’50s sitcom is about as funny as a bus accident.
    • 40 Metascore
    • 30 Scott Foundas
    Directing seems an unduly elegant term for what Hollywood hack du jour Tim Story (Barbershop, Taxi) does here -- the action scenes are so choppily constructed that their excitement disappears faster than the Invisible Woman.
    • 51 Metascore
    • 30 Scott Foundas
    In fairness, the movie isn't the absolute worst of its kind and there's a certain charm to Butcher's amiable, puppy-eyed performance. But Michael McGowan's direction is as flat as an asphalt road, and his script is gasping for air long before it enters the final stretch.
    • 41 Metascore
    • 30 Scott Foundas
    A steaming compost heap of high-art pretense and half-cocked psychoanalysis that almost makes you sorry Nicolas Roeg isn't making pictures anymore.
    • 11 Metascore
    • 30 Scott Foundas
    This anemic genre parody from two of the six writers of "Scary Movie" strives for the goofball precision of the brothers Zucker and, long before it reaches the end of its 70-odd minutes, gives you newfound respect for the comic genius of the brothers Wayans (two of the other writers of "Scary Movie").
    • 52 Metascore
    • 30 Scott Foundas
    An orgy of bloodletting and dismemberment that's more monotonous than shocking. Aja and Levasseur are to splatter what Liberace was to rhinestones: practitioners of gaud.
    • 62 Metascore
    • 30 Scott Foundas
    V for Vendetta is a dud - far too long at nearly two and a half hours, with flat, grungy visuals, choppy editing and no sense of urgency. But as a political work, it's something else - heavy-handed, reactionary and flat-out stupid. (For the record, Moore has publicly distanced himself from the film, saying it bears precious little resemblance to his original creation.)

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