Scott Foundas

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For 869 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 0.6 points lower than other critics. (0-100 point scale)

Scott Foundas' Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 100 United 93
Lowest review score: 0 Grind
Score distribution:
869 movie reviews
    • 45 Metascore
    • 50 Scott Foundas
    Serviceable, wholly uninspired.
    • 43 Metascore
    • 50 Scott Foundas
    The vaporous Wonderland never moves beyond its grungily romanticized view of the past.
    • 71 Metascore
    • 50 Scott Foundas
    Intolerable Cruelty seems the kind of movie that results from two essentially erudite, anarchic talents playing down to the masses.
    • 32 Metascore
    • 50 Scott Foundas
    As kitsch, however, it's pretty enjoyable. Jolie and Owen perform with such conviction, and the film -- blissfully unaware of its own badness -- takes its paperback-romance shenanigans with such goofy gravity, that it's easy to get caught up in the whole, soap-opera thrust of the thing.
    • 70 Metascore
    • 50 Scott Foundas
    As lead Columbine investigator Kate Battan has herself put it, “Everybody wants a quick answer. They want an easy answer so that they can sleep at night and know this is not going to happen tomorrow.” And now they have Gus Van Sant's Elephant.
    • 57 Metascore
    • 50 Scott Foundas
    As both book and film, The Human Stain comes to vividest life in its extended flashbacks, which offer the most compelling exploration of Roth's perennial themes of self-loathing and reinvention.
    • 47 Metascore
    • 50 Scott Foundas
    Nearly wall-to-wall climax -- an unwieldy, two-plus-hours third act of a movie, guided by the principle (incubated by "Reloaded" and fully grown here) that too much is never too much.
    • 55 Metascore
    • 50 Scott Foundas
    What neither Howard nor his screenwriter, Ken Kaufman, seem to realize is that The Missing is that much bleaker and more unsettling when its horrors spring forth from the land itself and from the souls of wayward men.
    • 38 Metascore
    • 50 Scott Foundas
    Given her (Halle Berry) biggest part since winning Oscar, she responds with a zeal that's more than the movie deserves.
    • 70 Metascore
    • 50 Scott Foundas
    Gets stuck in a rut. Hearing Santa say “f---” isn't nearly as funny the 50th time as it is the first 49.
    • 60 Metascore
    • 50 Scott Foundas
    The real-life calendar girls were actual human beings, and here they're merely comic patsies, lacking the distinctive personalities that made the men of "The Full Monty" so endearing, their final act of revelation so peculiarly dignified.
    • 49 Metascore
    • 50 Scott Foundas
    The Reckoning proceeds with such leaden literal-mindedness that it never seems more than a stodgy (and, at times, blatantly silly) paperback affair.
    • 60 Metascore
    • 50 Scott Foundas
    Terrifically terrible, Spartan could well be Mamet's first true comedy. Only the movie thinks it's a nail biter.
    • 64 Metascore
    • 50 Scott Foundas
    Beyond that surface grit, Intermission is still a fairly saccharine collage of self-redemptive gestures and happy endings that, true to its title, only fitfully compels.
    • 56 Metascore
    • 50 Scott Foundas
    The whole movie is curiously distant and flat, like a museum object encased in extra-thick glass.
    • 50 Metascore
    • 50 Scott Foundas
    The film skews young, to be sure, and it isn't as memorable as the new Disney classics of the early 1990s, but there's still plenty here to hold the interest of viewers of all ages: delightful performances (particularly by Dench, plowing Angela Lansbury terrain), zinging comic dialogue and a soundtrack that's a wealth of sonorous riches.
    • 57 Metascore
    • 50 Scott Foundas
    The director of 13 Going on 30, Gary Winick, was unable to infuse this material with either the sustained screwball cadences of his earlier "Tadpole" or an emotional resonance comparable to that of his superb "The Tic Code."
    • 77 Metascore
    • 50 Scott Foundas
    As factoids do-si-do with testimonials from the likes of drinking buddy Sean Penn and fan-boy Bono, the movie all but becomes the very A&E Hagiography for which Bukowski would have had little or no patience.
    • 59 Metascore
    • 50 Scott Foundas
    Though harmless and amusing, this Quebecois comedy set in an impoverished fishing village is a bit too festooned with provincial humor and a bit too short on memorable perfs or feel-good climaxes to break out commercially beyond French-speaking Canadian territories.
    • 39 Metascore
    • 50 Scott Foundas
    What Stone has delivered instead is no folie de grandeur, but rather the last thing one would have expected from him: an honorable failure.
    • 66 Metascore
    • 50 Scott Foundas
    It's "Rain Man" with ageism substituted for autism.
    • 56 Metascore
    • 50 Scott Foundas
    The Chorus is sham art and questionable entertainment, but at the very least it sends you whistling out of the theater.
    • 64 Metascore
    • 50 Scott Foundas
    On a storytelling level, Robots is in dire need of an upgrade.
    • 66 Metascore
    • 50 Scott Foundas
    The movie is affectionate without exactly being infectious, and Browne, who begins his film with the Michael Moore–esque revelation that Americans bowl in greater numbers than they vote, disappoints by not devoting more attention to bowling in its amateur incarnations.
    • 56 Metascore
    • 50 Scott Foundas
    Unfortunately, whenever Ledger isn't onscreen, Lords of Dogtown takes a spill.
    • 55 Metascore
    • 50 Scott Foundas
    Jolie has a gangly inelegance that suggests a giraffe trying to hang wallpaper -- but the entire movie is predicated on a spark between its prettier-than-thou stars that seems to have bypassed the screen and ignited in the tabloids instead.
    • 43 Metascore
    • 50 Scott Foundas
    Though the story hardly lacks for event as it traces Khayyam's ascension from the peasantry to the royal court, the period costumes and sets look to be on loan from Medieval Times, as do most of the actors, and the boxy, harshly lit compositions make everything feel even more cardboard.
    • 36 Metascore
    • 50 Scott Foundas
    Rebound is a sports comedy so by-the-numbers that you don't really have to watch it -- you can just check in on it every once in a while between trips to the concession stand and the bathroom.
    • 58 Metascore
    • 50 Scott Foundas
    Far too often, Douglas indulges his preference for the superficial over the substantive: The plentiful performance footage -- shot in overproduced, music-video fashion -- overwhelms the film, as do White’s purplish, faux-poetic musings.
    • 50 Metascore
    • 50 Scott Foundas
    Nary an original idea abounds in The Island.

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