Alison Foreman

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For 9 reviews, this critic has graded:
  • 44% higher than the average critic
  • 0% same as the average critic
  • 56% lower than the average critic
On average, this critic grades 2.6 points lower than other critics. (0-100 point scale)

Alison Foreman's Scores

Average review score: 67
Highest review score: 100 Angelyne: Season 1
Lowest review score: 33 The Offer: Season 1
Score distribution:
  1. Positive: 5 out of 9
  2. Negative: 1 out of 9
9 tv reviews
    • 77 Metascore
    • 91 Alison Foreman
    Packed with fun-as-ever action, surprise cameos, and searingly salient commentary, The Boys season three ticks nearly all the boxes for those seeking on-screen catharsis amid real-world frustration, impatience, and grief.
    • 74 Metascore
    • 100 Alison Foreman
    In the end, scene by scene, tête-à-tête by tête-à-tête, rumor by rumor, the show makes that enigmatic face on billboards about as fully realized as you could hope.
    • 61 Metascore
    • 42 Alison Foreman
    This pairing [Jessica Biel and Melanie Lynskey] of strongly gendered performances would be fine if Candy used them to critique the virgin/harlot dichotomy. But as it stands, this series is a textbook example of how not to write women, reinforcing stereotypes instead of challenging them.
    • 80 Metascore
    • 83 Alison Foreman
    Through this churn of grief-stricken family turmoil and legal strategizing, The Staircase has begun a treacherous ascent toward saying something truly meaningful. It’s messy and massive in both scope and ambition. But whether that effort will be enough to justify retrying this case remains to be seen.
    • 73 Metascore
    • 67 Alison Foreman
    Season four part two offers plenty of reminders about what made this show work really well for a little while. Ozark might not be getting out clean. But it isn’t overstaying its welcome either.
    • 48 Metascore
    • 33 Alison Foreman
    Despite a stellar cast, equally good performances, and the rights to one of cinema’s greatest achievements (conveniently celebrating its 50th anniversary this year), The Offer mishandles its embarrassment of riches by rolling out a generic carousel of flat anecdotes that feel first and foremost like a Godfather-themed ad for Paramount+.
    • 60 Metascore
    • 50 Alison Foreman
    Despite the promise of a stunning natural setting and a big ol’ hole to throw things into, Watkins can’t quite come into his own. Even as the soapy interpersonal stories ramp up, there’s a nagging feeling Outer Range never goes far enough.
    • 78 Metascore
    • 91 Alison Foreman
    Slow Horses’s first season is chock full of characters, lines, and moments that will work brilliantly for fans of spy thrillers—not gritty spy thrillers, not action-packed spy thrillers, but straight-laced, classic, by-the-book ones. ... This conventional addition to an already crowded genre counts as a confirmed kill.
    • 65 Metascore
    • 42 Alison Foreman
    At its best, this painfully uninspired WeWork redux is a redundant, montage-heavy account of facts told more completely elsewhere. At its worst, WeCrashed is a clumsy, ill-advised memorialization of selfish behavior, inexplicably propping up Adam and Rebekah Neumann for yet another dose of outsized attention.

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