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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    • 33 Metascore
    • 38 Jonathan Foreman
    Big Momma's House
    Intermittently funny, often vulgar.
    • New York Post
    • 25 Metascore
    • 50 Jonathan Foreman
    The One
    Overall, this sci-fi/martial arts hybrid has the stale aura of a product assembled out of bits of other action movies.
    • 82 Metascore
    • 88 Jonathan Foreman
    Read My Lips
    Isn't just scary, charming and delightfully unpredictable - it's also smarter and subtler than any new movie out there.
    • 49 Metascore
    • 63 Jonathan Foreman
    Hart's War
    Quickly morphs into a messy double message movie with motifs and clichés lifted from military courtroom films like "A Soldier's Story" and "A Few Good Men."
    • 45 Metascore
    • 25 Jonathan Foreman
    The Scorpion King
    Unfortunately, Scorpion King has none of the qualities -- epic sweep, relative originality and heartfelt bloodthirstiness -- that made "Conan" so trashily entertaining.
    • 94 Metascore
    • 75 Jonathan Foreman
    Yi Yi
    Presents an intelligent, profound and at times heartrending slice of Taiwanese middle-class existence - as seen by characters at different stages of life.
    • 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.
    • 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.
    • 64 Metascore
    • 88 Jonathan Foreman
    Enigma
    Uses the compelling true story of the triumph of the Enigma code-breakers as background for an invented but believable story of love, betrayal and heroism.
    • 57 Metascore
    • 50 Jonathan Foreman
    Cecil B. DeMented
    Disappointing and surprisingly crude.
    • New York Post
    • 71 Metascore
    • 88 Jonathan Foreman
    Earth
    A remarkable accomplishment. It takes one of the century's vast tragedies...and makes it heart-rendingly real and intimate.
    • New York Post
    • 34 Metascore
    • 38 Jonathan Foreman
    15 Minutes
    Works just fine as a generic but fast-paced - and rather ugly - cop buddy flick.
    • New York Post
    • 33 Metascore
    • 50 Jonathan Foreman
    The Wedding Planner
    Simply not up to the task.
    • New York Post
    • 65 Metascore
    • 63 Jonathan Foreman
    Ali
    Perhaps no movie could do Muhammad Ali justice. But this overlong but sketchy biopic by Michael Mann, in which style repeatedly tramples substance, actually does the great man a disservice.
    • 72 Metascore
    • 63 Jonathan Foreman
    The Vertical Ray of the Sun
    For all its virtues, this is not a film to see on less than a good night's sleep.
    • 32 Metascore
    • 50 Jonathan Foreman
    Down to Earth
    Plays to none of Rock's strengths (even though he co-wrote the film with members of his HBO team) and intensifies his tendency to mug and shout.
    • New York Post
    • 66 Metascore
    • 75 Jonathan Foreman
    Bridget Jones's Diary
    Warm and charming and often witty, it's as good a romantic comedy as has come out for some time, with an endearing, perfectly pitched central performance that's a four-square triumph for Zellweger.
    • New York Post
    • 73 Metascore
    • 63 Jonathan Foreman
    The Man Who Wasn't There
    Despite its visual brilliance, its all-round cleverness, and the way it demonstrates a profound understanding of genre, the Coen brothers' The Man Who Wasn't There doesn't quite come off.
    • 25 Metascore
    • 25 Jonathan Foreman
    Wannabes
    Isn't really a movie: It's a grab bag of mobster clichés lifted without finesse from "A Bronx Tale," "GoodFellas" and at least a score of lesser Mafia flicks.
    • 47 Metascore
    • 50 Jonathan Foreman
    Big Trouble
    There are some decent jokes along the way. And none of the performances is bad. But they are limited by the script, which allows each character only one comic note.
    • 45 Metascore
    • 50 Jonathan Foreman
    Just Looking
    Generic memoir of lower-middle-class "white ethnic" life in the '50s.
    • 45 Metascore
    • 63 Jonathan Foreman
    Rules of Engagement
    As mechanical and predictable as a cuckoo clock, it shouldn't work half as well as it does.
    • 75 Metascore
    • 75 Jonathan Foreman
    On the Run
    Though On the Run is a welcome reminder that effective thrillers don't have to be noisy or dumb, the film does contain slightly jarring moments of inadvertent humor.
    • 66 Metascore
    • 63 Jonathan Foreman
    Shadow Magic
    Often charming and sweet, and always prettily photographed.
    • New York Post
    • 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
    • 87 Metascore
    • 100 Jonathan Foreman
    In the Mood for Love
    Rapturously elegant and deeply sexy in a deliciously restrained way. One of the most romantic movies I have ever seen, right up there with "Brief Encounter"and "Casablanca."
    • New York Post
    • 25 Metascore
    • 25 Jonathan Foreman
    The Next Best Thing
    If the movie were funny, the implicit sermonizing would be more tolerable, but apart from four or five good one-liners, The Next Best Thing is a thudding failure as a comedy.
    • 77 Metascore
    • 75 Jonathan Foreman
    Shanghai Noon
    The most enjoyable western comedy since "Blazing Saddles."
    • 62 Metascore
    • 88 Jonathan Foreman
    Mumford
    A crowd-pleasing ensemble piece, whose story goes exactly where you want it to.
    • 51 Metascore
    • 63 Jonathan Foreman
    The Broken Hearts Club: A Romantic Comedy
    Turns out to be a choppily written, unevenly acted exercise, no less shlocky and predictable than any of Hollywood's average second-string heterosexual comedies.
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