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 0.4 points higher than other critics. (0-100 point scale)

Scott Foundas' Scores

  • Movies
  • TV
Average review score: 61
Highest review score: 100 Where the Wild Things Are
Lowest review score: 0 Wrong Cops
Score distribution:
866 movie reviews
    • 35 Metascore
    • 50 Scott Foundas
    Even Cohen can't dull the loony romanticism of the movie’s finale and, to his credit, stages one truly spectacular bit of action midway through, when Biel bails out behind enemy lines and narrates each harrowing moment of her earthward plummet.
    • 47 Metascore
    • 50 Scott Foundas
    The Skeleton Key takes its time making a slow, creeping ascent, but once it starts plummeting downward, Softley keeps things moving at a furious pace, and both Hudson and Rowlands enjoy surrendering themselves to the grandiloquent lunacy of it all.
    • 48 Metascore
    • 50 Scott Foundas
    The Great Raid cries out for the kind of B-movie industriousness that Dahl brought to his early, low-budget films noirs (Kill Me Again, Red Rock West and The Last Seduction), but instead it has dreams of sugarplum Oscars dancing in its head, and never stops mistaking spectacle for the truly spectacular.
    • 71 Metascore
    • 50 Scott Foundas
    Between them, first-time screenwriter Carl Ellsworth and director Wes Craven don't come up with a single clever way to generate suspense, and the movie's onboard atmosphere is so phony.
    • 67 Metascore
    • 50 Scott Foundas
    The result is 90 minutes in the company of some of the nicest and most boring people you can imagine ever having a movie made about them.
    • 33 Metascore
    • 50 Scott Foundas
    Starts out as an inspired test case for the continued necessity of the Second Amendment, and only near the end does it lose some of its tightly concentrated focus.
    • 58 Metascore
    • 50 Scott Foundas
    Curiously, Jarhead transforms Swofford himself (played by Jake Gyllenhaal) from the book’s duty-bound youth, desperate to live up to his father's military legacy, into an enigmatic voyeur whose feelings and motivations are rarely made clear.
    • 53 Metascore
    • 50 Scott Foundas
    If the great movie musicals are the ones that transport us to some heady superreality, the only place Rent takes us to is the Nederlander Theatre.
    • 71 Metascore
    • 50 Scott Foundas
    Compulsively watchable, with its fair share of effective sledgehammer shocks; it just isn't very good.
    • 52 Metascore
    • 50 Scott Foundas
    The musical film version of The Producers is, for better or worse, a faithful record of the stage production, adhering to the same if-it-ain't-broke-don't-fix-it philosophy that informed the recent "Rent."
    • 57 Metascore
    • 50 Scott Foundas
    The movie cries out for the bawdy, rompy air that filled Richard Lester's "Three Musketeers" movies, and what it gets instead is the same dispassionate "professionalism" that has made Hallström a steady fixture in a Hollywood that could do with an infusion of Casanova's own virile lifeblood.
    • 69 Metascore
    • 50 Scott Foundas
    Well before The New World's two-and-one-half hours are up, Malick's tree-hugging reveries have become suffocating, no matter the unquestionable tastefulness with which they're rendered -- more painterly vistas, more Wagner (and a little Mozart, too), ravishing re-creations of 17th-century London. Surely, only a Philistine could find any fault with this, or believe, perchance, that Malick's famous poetic beauty had turned poetically fatal.
    • 58 Metascore
    • 50 Scott Foundas
    Glory Road keeps its focus frustratingly narrow. There's a nugget of an interesting idea here...But first-time director James Gartner's movie is less a study of race than it is a fast break of underdog clichés and "inspirational" speeches.
    • 45 Metascore
    • 50 Scott Foundas
    She’s the Man amounts to little more than softcore porn for the tween set, with aesthetics ripped from the pages of the Abercrombie & Fitch catalog and virtually every scene revolving around Viola/Sebastian’s crafty escape from some impromptu disrobing.
    • 45 Metascore
    • 50 Scott Foundas
    As in his previous "In Good Company," Weitz wants too much to like all of his characters, and he wants us to like them too. The result is a movie devoid of any threat, or many laughs, with barn door–broad performances.
    • 49 Metascore
    • 50 Scott Foundas
    Sentinel works overtime to suggest what a thrill-a-minute world its characters inhabit; but only during the last 20 minutes does the movie's pulse (or ours) raise above a flatline. The actors look uniformly unhappy to be there - except for Basinger, who seems lost in a lithium haze.
    • 75 Metascore
    • 50 Scott Foundas
    If this is what qualifies, as some critics have suggested, as an artistic advance for Mr. Park, let us pray for a hasty retreat.
    • 52 Metascore
    • 50 Scott Foundas
    Like the abominable "Napoleon Dynamite," director Jared Hess' second feature will doubtless capture the hearts and minds of 12-year-old boys everywhere, even if Nacho Libre sacrifices the earlier film's aggressive mean-spiritedness in favor of gentle slapstick lunacy.
    • 46 Metascore
    • 50 Scott Foundas
    Beerfest bubbles with the cheeky irreverence of early John Landis and David Zucker. Yet, like just about every other American screen comedy of the moment, it's far too long in the tooth, with a scattershot final half-hour that seems the work of an editor battling a bad hangover.
    • 52 Metascore
    • 50 Scott Foundas
    In a true-life sports tale like the recent "Invincible," you buy into all the inspirational clichés because the characters have inner lives and the movie is about something bigger; here, you keep hoping for something bad to happen to somebody just for the sake of balance.
    • 29 Metascore
    • 50 Scott Foundas
    Few surprises lie in store for connoisseurs of torture cinema, though unlike its 2003 predecessor, this Massacre owes less to Bay’s attention-deficient aesthetics than to the measured, Georgia O’Keefe-on-acid sensibility that guided Tobe Hooper and Kim Henkel’s much-cannibalized original.
    • 51 Metascore
    • 50 Scott Foundas
    Part dewey-eyed paperback romance, part acid-trip planetarium show, this extravagantly silly movie comes on like the second coming of "2001."
    • 89 Metascore
    • 50 Scott Foundas
    The Lives of Others wants us to see that the Stasi -- at least some of them -- were, like their Gestapo brethren, “just following orders." You can call that naive optimism on Donnersmarck's part, or historical revisionism of the sort duly lambasted by the current film version of Alan Bennett's "The History Boys." I, for one, tremble at the thought of what this young director does for an encore.
    • 41 Metascore
    • 50 Scott Foundas
    Only Williams makes any real emotional connection: I'm not sure I'd call his performance good, but there's something fascinating about seeing the man once heralded as "the black Clark Gable" three decades removed from heartthrob status, heavy and sullen-looking, weighed down by the burdens of time and age.
    • 35 Metascore
    • 50 Scott Foundas
    iInstead of a buoyant, imaginative superhero movie on the order of Sam Raimi's "Spider-Man" films or Bryan Singer's "Superman Returns," we get a lumbering, paint-by-numbers origin story.
    • 54 Metascore
    • 50 Scott Foundas
    For all its infectious, go-for-broke wackiness ATHFCMFFT never quite surpasses its opening sequence.
    • 66 Metascore
    • 50 Scott Foundas
    The concept here holds more promise than the execution.
    • 45 Metascore
    • 50 Scott Foundas
    The script, credited to "Twin Peaks" co-creator Mark Frost and longtime "Simpsons" writer Don Payne, unsuccessfully strives for hipster irreverence.
    • 64 Metascore
    • 50 Scott Foundas
    While the entertainment value of Cloverfield is highly negotiable, it's clear that Abrams has consciously aligned himself with those filmmakers who have used the template of a grade-B monster/invasion movie -- Don Siegel, George Romero, Steven Spielberg -- as a stealth vessel for social commentary.
    • 35 Metascore
    • 50 Scott Foundas
    It's a feature-length teaser for a never-to-be sci-fi franchise.

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