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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    • 39 Metascore
    • 38 Jonathan Foreman
    Restless
    Boasts exceptionally attractive locations, but its painfully amateurish plotting, dialogue and acting -- combined with slack pacing -- make this Beijing-set indie romance something of a trial.
    • 39 Metascore
    • 38 Jonathan Foreman
    Exit Wounds
    This movie, cynically and patronizingly aimed at Seagal's predominantly "urban" audience, is sad, tedious proof that even violent exploitation isn't what it used to be.
    • New York Post
    • 39 Metascore
    • 38 Jonathan Foreman
    Reign of Fire
    It strains belief that nuclear weapons couldn't kill off the dragons, but three people with crossbows could.
    • 38 Metascore
    • 38 Jonathan Foreman
    Never Die Alone
    What dooms Never Die Alone even as amoral pulp entertainment is the screenplay by neophyte James Gibson, which combines clichéd characters and a contrived plot with stale dialogue.
    • 38 Metascore
    • 38 Jonathan Foreman
    Ouch
    A strange Gallic imitation of a Woody Allen comedy, replete with a neurotic older hero.
    • 38 Metascore
    • 38 Jonathan Foreman
    Nutty Professor II: The Klumps
    This inferior sequel is doomed by a lousy - and extremely vulgar - script.
    • 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.
    • 38 Metascore
    • 50 Jonathan Foreman
    The Astronaut's Wife
    Could have been written by a computer programmed to cannibalize previous sci-fi films.
    • New York Post
    • 38 Metascore
    • 38 Jonathan Foreman
    Double Parked
    Essentially a downscale TV movie about spousal and child abuse.
    • New York Post
    • 38 Metascore
    • 38 Jonathan Foreman
    Final Destination 2
    Alas, the laughs - courtesy of screenwriters J. Mackye Gruber and Eric Bress and director David R. Ellis - are unintentional.
    • 37 Metascore
    • 63 Jonathan Foreman
    The Crew
    Sometimes hilarious but mostly sitcom-esque geezer comedy.
    • New York Post
    • 37 Metascore
    • 25 Jonathan Foreman
    Honey
    Lacks even a trace of imagination. Its by-the-numbers plot is depressingly familiar, and each line of dialogue is so predictable that the script... could have been generated by a computer.
    • 37 Metascore
    • 38 Jonathan Foreman
    Cold Creek Manor
    Richard Jeffries' script tosses together bits of plot borrowed from such "bad things happen when you leave the city" classics as "Straw Dogs" and "Deliverance" without any awareness of how or why genre conventions work.
    • 37 Metascore
    • 63 Jonathan Foreman
    The Story of Us
    Doesn't live up to the promise of its trailers.
    • 36 Metascore
    • 63 Jonathan Foreman
    Three to Tango
    A cute, often very funny romantic comedy and an effective vehicle for Matthew Perry.
    • 36 Metascore
    • 63 Jonathan Foreman
    Amy's Orgasm
    Its bawdy honesty eventually gives way to convention, sentimentality and a frustratingly silly ending.
    • 36 Metascore
    • 50 Jonathan Foreman
    Body Shots
    An ultra-stylized, empty mess.
    • New York Post
    • 36 Metascore
    • 38 Jonathan Foreman
    Cradle 2 the Grave
    Would be a perfectly decent B-action movie if it weren't shipwrecked in the last act by laughably ridiculous plotting and a lazily executed climax.
    • 36 Metascore
    • 12 Jonathan Foreman
    8 ½ Women
    More prettily photographed pretentious rubbish from the ridiculous Peter Greenaway.
    • New York Post
    • 36 Metascore
    • 63 Jonathan Foreman
    Bounce: Behind the Velvet Rope
    Much of the resulting material is very funny, though there are a few times when the filmmakers patronize or mock their subjects in a way that makes you uncomfortable.
    • 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.
    • 35 Metascore
    • 63 Jonathan Foreman
    Love's Labour's Lost
    Branagh's attempt to meld Shakespeare's densely verbal early comedy with Broadway show tunes fails, thanks to stunt casting, poor singing and dancing, and the incompatibility of the two art forms.
    • 35 Metascore
    • 38 Jonathan Foreman
    Teaching Mrs. Tingle
    An ugly, failed attempt to pull off a "Heathers"-style, teen-oriented black comedy.
    • 35 Metascore
    • 25 Jonathan Foreman
    Ghosts of Mars
    A deep disappointment to fans of sci-fi and the once great John Carpenter.
    • 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.
    • 35 Metascore
    • 38 Jonathan Foreman
    Friday After Next
    Bedeviled by labored writing and slack direction.
    • 35 Metascore
    • 38 Jonathan Foreman
    Fallen Angels Paradise
    The screenplay by Zekri (based on Jorge Amado novel) is crude stuff, and director Ossama Fawzi gets such cartoonish performances from his cast, it's hard to care about the characters.
    • 34 Metascore
    • 38 Jonathan Foreman
    Red Planet
    Isn't as bad as the year's first abysmal Martian movie, "Mission to Mars," but it's pretty close.
    • 34 Metascore
    • 25 Jonathan Foreman
    Mission to Mars
    It features well-below-par writing, acting, direction, special effects and music, while oozing a nauseating New Age sentimentality that undermines any tension in the underlying story.
    • 34 Metascore
    • 25 Jonathan Foreman
    $pent
    The film is only 91 minutes long, but it seemed to stretch out for days.
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