Alison Foreman

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IndieWire, The A.V. Club
For 74 reviews, this critic has graded:
  • 60% higher than the average critic
  • 2% same as the average critic
  • 38% lower than the average critic
On average, this critic grades 0.8 points higher than other critics. (0-100 point scale)

Alison Foreman's Scores

  • Movies
  • TV
Average review score: 67
Highest review score: 100 Dario Argento Panico
Lowest review score: 16 Bride Hard
Score distribution:
  1. Positive: 44 out of 74
  2. Mixed: 25 out of 74
  3. Negative: 5 out of 74
74 movie reviews
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    • 62 Metascore
    • 42 Alison Foreman
    Abigail
    Yes, “Abigail” was conceived as a new take on “Dracula’s Daughter.” But as the finished product stands, that infamous origin story is as invisible as a vampiric reflection. Not only is Abigail routinely sidelined by a plot that fails to trust her skills, but the ostensible underpinnings to her character are as half-assed as one-sided fang.
    • 65 Metascore
    • 75 Alison Foreman
    The First Omen
    Stevenson’s spin on The Omen can tie its borderline NC-17 terror to a multi-decade genre legacy suddenly feasting on noticeably improved visual artistry and a narratively satisfying revamp of stale IP.
    • 78 Metascore
    • 83 Alison Foreman
    Oddity
    Oddity delivers a brilliant, bespoke, and tightly entertaining string of ideas that work stronger as a collection
    • 56 Metascore
    • 83 Alison Foreman
    Drive-Away Dolls
    Fiery, fiendish, and flawed, “Drive-Away Dolls” could do more and less, but delivers definitive prove that these atypical authors of lesbian film have something and want to use it.
    • 68 Metascore
    • 91 Alison Foreman
    Out of Darkness
    As a scathing metaphor for humanity’s original sin, Out of Darkness is a revelatory feast of cranial gore and heady philosophy — one that’s not only worthy of a trek to the movie theaters mid Oscars season, but that has Cumming snagging an early lead in the race for best horror debut of 2024.
    • 65 Metascore
    • 100 Alison Foreman
    Dario Argento Panico
    “Panico” is part love letter, part monster movie, and a fascinating reflection on what it means to let our inner demons run wild in our art.
    • 47 Metascore
    • 42 Alison Foreman
    The Seeding
    The mixed mulch bag of a movie is ultimately a disappointment in construction and conceit — a putrid desert flower that never fully blooms.
    • 39 Metascore
    • 42 Alison Foreman
    Founders Day
    The horror-comedy takes a mediocre stab at the meta jokes typical to post-“Scream” whodunnits, as well as blisters through more vague quips about American moderates than the old “Colbert Report.” They don’t land.
    • 77 Metascore
    • 67 Alison Foreman
    Thelma
    Writer/director Josh Margolin squeezes surprisingly funny freshness from the musty themes of aging, death, and lost autonomy in his poignantly written Thelma.
    • 43 Metascore
    • 42 Alison Foreman
    Night Swim
    There is absolutely an audience for this: one that will delight in watching Condon full-on battle a pool cover and cackle hearing Russell say, with his whole chest, “That pool is the best thing…THAT EVER HAPPENED TO ME.”
    • 55 Metascore
    • 67 Alison Foreman
    The Sacrifice Game
    It’s a genre blend that’s delightful, baffling, and surprisingly ruthless in its decisive direction with a holiday twist that isn’t necessary for the plot but certainly ties the zany concept together.
    • 75 Metascore
    • 75 Alison Foreman
    The Bob's Burgers Movie
    The Bob’s Burgers Movie can’t functionally change too much about the characters’ inside the animated snow globe that is its serialized namesake, so instead it picks them up, plays with them, and then puts them back like you would a Kuchi Kopi or Horselain.
    • 77 Metascore
    • 83 Alison Foreman
    Burden of Dreams
    Herzog’s singular vision and Blank’s brilliant capturing of that obsession seem especially worthy of consideration from the adventure film lovers who stay up late.
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