Scott Foundas

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For 867 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 0.2 points lower than other critics. (0-100 point scale)

Scott Foundas' Scores

  • Movies
  • TV
Average review score: 61
Highest review score: 100 Apocalypto
Lowest review score: 0 Come Out and Play
Score distribution:
867 movie reviews
    • 55 Metascore
    • 70 Scott Foundas
    Has a relaxed poeticism to it; it's a sweetly naive, adolescent Hemingway fantasy with a star-making performance by Shawn Hatosy and good ones from everyone else (including Caan).
    • 48 Metascore
    • 70 Scott Foundas
    Anchored by Eva Green’s fearsome performance as a Persian naval commander whose vengeful bloodlust makes glowering King Xerxes seem a mere poseur, this highly entertaining time-filler lacks the mythic resonances that made “300” feel like an instant classic, but works surprisingly well on its own terms.
    • 61 Metascore
    • 70 Scott Foundas
    Though high-octane stunts have always been the primary selling point here, Lin and veteran “Fast” screenwriter Chris Morgan have labored to add depth, dimensionality and inner conflict to the now-sprawling cast of recurring characters — so much so that, at times, “Furious 6” plays like a glossy gearhead melodrama.
    • 75 Metascore
    • 70 Scott Foundas
    A remarkably clear-eyed look back at a moment in which real revolution seemed possible - even probable - in America's streets.
    • 53 Metascore
    • 70 Scott Foundas
    An exceedingly good-natured Z-grade creature feature.
    • 74 Metascore
    • 70 Scott Foundas
    This always enjoyable tale of mysterious magic, imperiled princesses and square-jawed men of action proves longer on striking visuals than on truly engaging or memorable characters.
    • 67 Metascore
    • 70 Scott Foundas
    Furious 7 provides both a satisfying chapter in the movies’ preeminent gearhead soap opera and a tactful, touching memorial to Walker.
    • 68 Metascore
    • 70 Scott Foundas
    The movie surely owes something to Polanski, Cronenberg, et al., in its use of an apparently placid, upper-middle-class setting as the background for perverse horrors, but De Van's fearless, high-wire performance is uniquely its own.
    • 66 Metascore
    • 70 Scott Foundas
    Dog Days is in fact a bleak but deeply felt humanism -- a yearning that we might all learn to better love our neighbors and, perhaps more importantly, ourselves.
    • 63 Metascore
    • 70 Scott Foundas
    It’s a measure of Benson’s sure, skillful hand with actors that all the relationships in the movie — husband and wife, parent and child — feel lived-in and true, even when the dialogue strains too hard for the meaningful and poetic.
    • 83 Metascore
    • 70 Scott Foundas
    Sweet Dreams finds and sustains a delicate balance, seizing on small moments of hope in a place where the horrors of 1994 are in many ways still an open wound.
    • 62 Metascore
    • 70 Scott Foundas
    The Roost advances a nifty man-vs.-nature scenario that harks back to Fessenden's own "Wendigo" and provides a nice chaser to a summer movie season populated by cuddly penguins and benevolent cheetahs.
    • 71 Metascore
    • 70 Scott Foundas
    The pleasure of La Moustache is that it doesn't feel the need to explain itself at every turn. Part absurdist comedy about the institution of marriage, part paranoid Kafkaesque fantasy, it's a minor-key reverie on the way our own lives can sometimes feel alien to us.
    • 49 Metascore
    • 70 Scott Foundas
    It's a finely tuned Motor City engine: The action, including a nighttime car chase through a blinding snowstorm, is fast, brutal and efficient; the Motown soundtrack never cuts out; and as a gangster called Sweet, the British-Nigerian actor Chiwetel Ejiofor gives an electrifying performance.
    • 76 Metascore
    • 70 Scott Foundas
    Under Mangold’s sure if uninspired hand, the new Yuma is reasonably exciting and terse, and, like its predecessor, built around a memorable villain of ambiguous villainy.
    • 72 Metascore
    • 70 Scott Foundas
    In a boom time for movies about the scars of the battlefield, Half Moon reminds that the unending strife and religious fundamentalism of the Middle East kills not just people but culture too.
    • 59 Metascore
    • 70 Scott Foundas
    What propels the film forcefully along is Silverman, who pulls us down so deeply inside Laney’s sickness that everything else seems to fade away (much as it does in the character’s own life).
    • 47 Metascore
    • 70 Scott Foundas
    Surprisingly enjoyable, even if you'd hesitate to call it a complete success. Indeed, Figgis expects you to sit back and roll with the pleasurable moments.
    • 65 Metascore
    • 70 Scott Foundas
    This is the umpteenth movie I’ve seen this year about guys in their 30s who aren't quite sure what they want to do with their lives, and it's the only one that strikes a real chord, because it's neither an exaltation nor a condemnation of slackerdom, but rather just a sweet little fable about how sometimes the life that you think could be so much better is actually pretty damn good already.
    • 64 Metascore
    • 70 Scott Foundas
    This genuine curio gets surprising mileage from Houellebecq’s deft, self-effacing performance at the center of a lively comic ensemble.
    • 77 Metascore
    • 70 Scott Foundas
    Wetlands might have landed with the thud of empty shock value were Helen not such an innately engaging character, or Juri so commanding in the role.
    • 62 Metascore
    • 70 Scott Foundas
    Snicket's macabre tale of three newly orphaned siblings has been lavishly visualized. But for all its elaborate splendor, production pic lacks the feeling and imagination that have distinguished the best recent kidpics.
    • 69 Metascore
    • 70 Scott Foundas
    A delightfully intricate battle of wits and wills in which the question of who’s directing/seducing/torturing whom remains constantly shifting open to interpretation.
    • 61 Metascore
    • 70 Scott Foundas
    A modestly less quotable but generously funny new adventure for scotch-and-mahogany-loving 1970s newsman Ron Burgundy.
    • 79 Metascore
    • 70 Scott Foundas
    Billed as a silent film, Guy Maddin's Brand Upon the Brain! is actually closer to a live theatrical event -- a feature-length motion picture screened with the accompaniment of a live orchestra, plus Foley artists, sound effects technicians and assorted vocalists, too. Together, they provide the elaborate soundscape for a typically frenetic, Maddin-esque amalgam of the autobiographical, Freudian and willfully absurd.
    • 77 Metascore
    • 70 Scott Foundas
    The canniness of Bale’s performance (which may be the best of his young but brilliant career) is that he plays Dengler as a fundamentally kind and simple yet rather ingenious man.
    • 70 Metascore
    • 70 Scott Foundas
    It’s to the credit of the Russos that they give the characters such room to breathe in a movie that easily might have been about rushing from one gargantuan setpiece to the next.
    • 54 Metascore
    • 70 Scott Foundas
    It's not a great movie, or even a particularly good one, but it's spectacular. No expense has been spared. The technical crew reads like a roll call of Oscar-night regulars.
    • 53 Metascore
    • 70 Scott Foundas
    He Was a Quiet Man casts its own perversely funny spell thanks in large part to Slater, whose wonderfully shifty, beaten-down performance is easily his best in the 17 years.
    • 57 Metascore
    • 70 Scott Foundas
    If the movie is finally something of a failure as a romance, it's rarely less than a triumph of soulful imagination.

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