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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    • 39 Metascore
    • 38 Jonathan Foreman
    Bait
    One of those thriller-comedy combos that never get the balance quite right.
    • New York Post
    • 46 Metascore
    • 25 Jonathan Foreman
    Festival in Cannes
    There is something offensively lazy about the thinness of the Jaglom's movie-industry characters, the simplistic problems they face, and the clumps of clumsy, apparently improvised dialogue they have to deliver.
    • New York Post
    • 41 Metascore
    • 63 Jonathan Foreman
    Woman on Top
    Prime date fare, but cotton-candy light and occasionally just a little too whimsical.
    • 76 Metascore
    • 63 Jonathan Foreman
    Kandahar
    Unfortunately, you are often distractingly aware that you are watching re-enactments of real events.
    • 64 Metascore
    • 25 Jonathan Foreman
    8 Women
    The result is inept, tedious kitsch that even at its best feels like John Waters minus the joie de vivre.
    • 77 Metascore
    • 63 Jonathan Foreman
    Fat Girl
    So daring and unsparing in its depiction of the psyche and experience of adolescent girls that it's hard to imagine an audience that wouldn't find it deeply provocative despite a slow pace.
    • 64 Metascore
    • 38 Jonathan Foreman
    Vengo
    Neither convincing nor remotely dramatic.
    • 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.
    • 17 Metascore
    • 25 Jonathan Foreman
    Bless the Child
    Mostly ludicrous, but occasionally effective.
    • New York Post
    • 65 Metascore
    • 63 Jonathan Foreman
    E-Dreams
    Entertaining as he is, there are many times when you wish you'd been given a few more facts and numbers so you could understand what the young CEO and his colleagues were celebrating or bemoaning.
    • 73 Metascore
    • 75 Jonathan Foreman
    Meet the Parents
    Part sitcom, part comedy of manners - but it lacks the courage to deal honestly with class and ethnicity.
    • 76 Metascore
    • 63 Jonathan Foreman
    Chuck & Buck
    Almost too creepy to be poignant, and generally funny only in an uncomfortable, squirm-in-your seat way.
    • New York Post
    • 39 Metascore
    • 25 Jonathan Foreman
    Angel Eyes
    During an endless, maudlin last act, it becomes more and more difficult not to laugh -- or barf -- as the protagonists tearfully come to terms with their issues.
    • 60 Metascore
    • 25 Jonathan Foreman
    All I Wanna Do
    You have to sit through 90 minutes that feel like three hours.
    • New York Post
    • 69 Metascore
    • 63 Jonathan Foreman
    Undercover Brother
    Boisterously amusing.
    • 68 Metascore
    • 38 Jonathan Foreman
    Come Undone
    One of those French films whose makers won't lower themselves to tell a story in a way that is entertaining or compelling.
    • New York Post
    • 62 Metascore
    • 63 Jonathan Foreman
    Dogma
    Kevin Smith's attempt to combine sketchy low comedy with long-winded theological speculation results in a mostly unfunny and occasionally tedious mess.
    • New York Post
    • 34 Metascore
    • 25 Jonathan Foreman
    Just One Time
    A smarmy, smirky but ultimately boring film.
    • 43 Metascore
    • 38 Jonathan Foreman
    Teknolust
    It's muddled and shallow and obvious. Worse, it fails as entertainment, being so ineptly directed and written it often has the feel of a high school production by kids with more money and ambition than talent.
    • 49 Metascore
    • 50 Jonathan Foreman
    The Crimson Rivers
    Two things make this film slightly more interesting than its American B-movie equivalents. There's the artless way it shows the French state exercising its power and the charisma of French stars.
    • New York Post
    • 51 Metascore
    • 63 Jonathan Foreman
    Rebels with a Cause
    Even if this film may irritate some people who remember "the movement" differently, it's nevertheless a fascinating and often moving document of recent history.
    • New York Post
    • 62 Metascore
    • 63 Jonathan Foreman
    Ararat
    Egoyan treats the Armenian genocide and its aftermath as a metaphor for cruelty and denial -- an exercise in either pretension or timidity that exploits this tragedy.
    • 23 Metascore
    • 38 Jonathan Foreman
    Half Past Dead
    Has the cheesy, deadened feel of a straight-to-cable film.
    • 87 Metascore
    • 75 Jonathan Foreman
    The Fog of War: Eleven Lessons from the Life of Robert S. McNamara
    An extraordinary documentary about an extraordinary man that brings to urgent life potentially dry questions of American foreign policy in the 1960s.
    • 57 Metascore
    • 75 Jonathan Foreman
    Lisa Picard Is Famous
    It turns into something that is much smarter, and in a gentle, low-key way, tougher and funnier than you expect.
    • 49 Metascore
    • 88 Jonathan Foreman
    The Mummy
    Cheerful, slightly cheesy entertainment that uses the latest special-effects techniques to breathe life into a venerable film tradition.
    • 27 Metascore
    • 25 Jonathan Foreman
    The Gospel According to Philip K. Dick
    Anyone interested in this remarkably prolific author would be better off visiting a library or bookshop.
    • New York Post
    • 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.
    • 54 Metascore
    • 63 Jonathan Foreman
    Groove
    Contains too many weak performances and predictable lines to succeed, but it's probably the best rave movie so far.
    • New York Post
    • 60 Metascore
    • 38 Jonathan Foreman
    Signs & Wonders
    Smug, often tedious, and comically crude.
    • New York Post
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