Jonathan Foreman

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New York Post
For 546 reviews, this critic has graded:
  • 42% higher than the average critic
  • 4% same as the average critic
  • 54% lower than the average critic
On average, this critic grades 9.8 points lower than other critics. (0-100 point scale)

Jonathan Foreman's Scores

  • Movies
  • TV
Average review score: 56
Highest review score: 100 Crouching Tiger, Hidden Dragon
Lowest review score: 0 Zombie! vs. Mardi Gras
Score distribution:
  1. Positive: 285 out of 546
  2. Mixed: 103 out of 546
  3. Negative: 158 out of 546
546 movie reviews
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    • 85 Metascore
    • 50 Jonathan Foreman
    You Can Count on Me
    Visually flat and uninteresting and too often feels like a (leisurely paced) filmed play.
    • 35 Metascore
    • 50 Jonathan Foreman
    A Rumor of Angels
    A predictable tearjerker whose main redeeming feature is that you don't actually see any of the angels in the title.
    • 24 Metascore
    • 50 Jonathan Foreman
    The New Guy
    Uneven but occasionally hilarious teen comedy.
    • 77 Metascore
    • 50 Jonathan Foreman
    Panic
    Boasts some genuinely intelligent and funny sequences and some nicely painful scenes of domestic tension - as well as surprisingly strong performances from actors like Neve Campbell and Donald Sutherland.
    • New York Post
    • 30 Metascore
    • 50 Jonathan Foreman
    Where the Heart Is
    Hard-core chick shlock, weakened by odd shifts in tone and a slack pace, but elevated by a luminous performance by Natalie Portman.
    • 65 Metascore
    • 50 Jonathan Foreman
    Timecode
    In fact, for long stretches, especially during the first hour, it's as soporific as watching a bank of security cameras.
    • 76 Metascore
    • 50 Jonathan Foreman
    Djomeh
    Agonizingly slow-moving and talky, it consists primarily of conversations between two men in a truck.
    • 52 Metascore
    • 50 Jonathan Foreman
    Bring It On
    Essentially a feature-length commercial for both the growing sport of competitive cheerleading and ESPN2 .
    • New York Post
    • 74 Metascore
    • 50 Jonathan Foreman
    Divine Intervention
    Thereare moving moments in this over-hyped satire by the Israeli-Arab writer-director-actor Elia Suleiman, and it's fascinating to get a picture of daily life in prosperous Palestinian neighborhoods.
    • 73 Metascore
    • 50 Jonathan Foreman
    Our Lady of the Assassins
    Flat dialogue and stiff performances (especially by the street kids, like Ballesteros, turned into actors by Schroeder) don't help.
    • 58 Metascore
    • 50 Jonathan Foreman
    The Trench
    There isn't a line you haven't heard or a stock character you haven't encountered before.
    • New York Post
    • 73 Metascore
    • 50 Jonathan Foreman
    Love & Basketball
    Strong cast is defeated by a labored, screenplay in this overlong, clunky love story.
    • 32 Metascore
    • 50 Jonathan Foreman
    Someone Like You...
    Could hardly be more predictable.
    • New York Post
    • 72 Metascore
    • 50 Jonathan Foreman
    New Waterford Girl
    Under the direction of Allan Moyle ("Pump up the Volume"), Nairn, McCarthy and Balaban give confident, believable performances but overacting plagues the rest of the cast.
    • New York Post
    • 70 Metascore
    • 50 Jonathan Foreman
    A Moment of Innocence
    Some wonderful films have come out of Iran in the past few years, but A Moment of Innocence, by highly regarded director Mohsen Makhmalbaf, is too smug and too self-indulgent to count as one of them.
    • 69 Metascore
    • 50 Jonathan Foreman
    Eyes Wide Shut
    Eyes Wide Shut is Stanley Kubrick's Hindenberg.
    • 68 Metascore
    • 50 Jonathan Foreman
    Winter Sleepers
    A cold, emptily stylish exercise -- and one that sorely lacks the speed and vigor that made "Lola" run.
    • 68 Metascore
    • 50 Jonathan Foreman
    Heaven
    Turns out to be an exercise in flatulent pretension, puffed up with a bogus, empty "spirituality" and dependent on a plot filled with implausibilities.
    • 66 Metascore
    • 50 Jonathan Foreman
    Me You Them
    Hardly a deep examination of gender relations or character, but in its unsentimental way it's a tender and charming story of friendship and tolerance.
    • New York Post
    • 66 Metascore
    • 50 Jonathan Foreman
    La bûche
    Engaging in a soap operatic, rather glib way.
    • New York Post
    • 45 Metascore
    • 50 Jonathan Foreman
    Just Looking
    Generic memoir of lower-middle-class "white ethnic" life in the '50s.
    • 65 Metascore
    • 50 Jonathan Foreman
    The Turandot Project
    In general, it's a confusing, rather shapeless disappointment.
    • 65 Metascore
    • 50 Jonathan Foreman
    The End of the Affair
    It's hard to feel anything but disappointment and boredom by the time the picture grinds to a mystical ending.
    • New York Post
    • 64 Metascore
    • 50 Jonathan Foreman
    The Low Down
    The whole thing is shot in an irritating, self-conscious way.
    • 63 Metascore
    • 50 Jonathan Foreman
    Dancer in the Dark
    If it weren't for a terrific central performance by the Icelandic pop singer Bjork, Dancer in the Dark would be all but unwatchable.
    • New York Post
    • 15 Metascore
    • 50 Jonathan Foreman
    Tomcats
    Much of Tomcats is actually boisterously, crudely entertaining.
    • New York Post
    • 61 Metascore
    • 50 Jonathan Foreman
    Crazy/Beautiful
    Courageous, convincing performance by Dunst.
    • New York Post
    • 61 Metascore
    • 50 Jonathan Foreman
    Tell Me Something
    Familiar and predictable enough, especially if you have seen Hollywood serial-killer thrillers like "Se7en."
    • 61 Metascore
    • 50 Jonathan Foreman
    An Amazing Couple
    This second installment of Lucas Belvaux's acclaimed "Trilogy" is decidedly inferior to the first: a farce that simply isn't funny.
    • 59 Metascore
    • 50 Jonathan Foreman
    The Rundown
    The Rock deserves better than The Rundown, a brisk, good- hearted but predictable and uninspired - not to mention bone-crunchingly violent - action comedy.
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