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 9.9 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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    • 73 Metascore
    • 50 Jonathan Foreman
    Love & Basketball
    Strong cast is defeated by a labored, screenplay in this overlong, clunky love story.
    • 48 Metascore
    • 50 Jonathan Foreman
    The Santa Clause 2
    There's not a moment in it that feels fresh or authentic or inspired. But neither is it offensive.
    • 38 Metascore
    • 50 Jonathan Foreman
    Raising Helen
    Doesn't press all its obvious lessons, and there are actually a few surprises -- and even a couple of moving and interesting moments -- before an all too predictable resolution.
    • 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.
    • 44 Metascore
    • 50 Jonathan Foreman
    Vatel
    Although Vatel is trying to say something about freedom and gilded cages, it feels more like a behind-the-scenes look at the high-end catering business.
    • New York Post
    • 21 Metascore
    • 50 Jonathan Foreman
    3000 Miles to Graceland
    Feels much more like a very, very long, music video, albeit one made for an audience that gets off on high-tech firepower rather than nearly-naked babes.
    • New York Post
    • 31 Metascore
    • 50 Jonathan Foreman
    New Rose Hotel
    It's moody and atmospheric. But with the exception of a few cool moments that remind you of Ferrara at his best, it's dull and written with little attention paid to basic storytelling.
    • 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.
    • 76 Metascore
    • 50 Jonathan Foreman
    Djomeh
    Agonizingly slow-moving and talky, it consists primarily of conversations between two men in a truck.
    • 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
    • 59 Metascore
    • 50 Jonathan Foreman
    Madame Satã
    One of those films that takes up a potentially fascinating subject only to fumble it.
    • 25 Metascore
    • 50 Jonathan Foreman
    Sorority Boys
    Unoriginal but effective raunchy drag comedy.
    • 47 Metascore
    • 50 Jonathan Foreman
    The Guru
    It's a film pregnant with comic possibility that ought to be much funnier than it is.
    • 52 Metascore
    • 50 Jonathan Foreman
    The King Is Alive
    Tendency to pretentiousness.
    • 46 Metascore
    • 50 Jonathan Foreman
    The Simian Line
    One of those exercises in romantic whimsy that misses its mark: It's alternately sappy and uncomfortably harsh.
    • 47 Metascore
    • 50 Jonathan Foreman
    Alma
    The documentary equivalent of a Southern Gothic novel.
    • 49 Metascore
    • 50 Jonathan Foreman
    Jeepers Creepers
    The first half-hour of Jeepers Creepers is so frightening that it's almost a relief when the movie subsequently collapses into silliness.
    • 43 Metascore
    • 50 Jonathan Foreman
    Lara Croft Tomb Raider: The Cradle of Life
    Its faults -- banal dialogue, ludicrous and uninspired plotting, dull but vicious fight scenes -- make you realize just how much the summer action movie has declined in the last few years.
    • 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.
    • 61 Metascore
    • 50 Jonathan Foreman
    Tell Me Something
    Familiar and predictable enough, especially if you have seen Hollywood serial-killer thrillers like "Se7en."
    • 42 Metascore
    • 50 Jonathan Foreman
    Drive Me Crazy
    Recycles the teen romantic comedies of the last few years...and it's easily the worst of the lot.
    • 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
    • 24 Metascore
    • 50 Jonathan Foreman
    The New Guy
    Uneven but occasionally hilarious teen comedy.
    • 59 Metascore
    • 50 Jonathan Foreman
    Better Than Chocolate
    Better Than Chocolate is well-filmed and for the most part well-acted. But its technical professionalism only serves to make the amateurishly crude patches of Maggie Thompson's script more obvious. [13 Aug 1999, p.062]
    • New York Post
    • 65 Metascore
    • 50 Jonathan Foreman
    The Turandot Project
    In general, it's a confusing, rather shapeless disappointment.
    • 25 Metascore
    • 50 Jonathan Foreman
    The Million Dollar Hotel
    Pretentious and trite.
    • New York Post
    • 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.
    • 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
    • 64 Metascore
    • 50 Jonathan Foreman
    The Low Down
    The whole thing is shot in an irritating, self-conscious way.
    • 36 Metascore
    • 50 Jonathan Foreman
    Fast Food Fast Women
    Despite a script that occasionally calls for some embarrassingly awkward lines, Kollek's cast generally acquits itself well.
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