G. Allen Johnson
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For 75 reviews, this critic has graded:
  • 60% higher than the average critic
  • 1% same as the average critic
  • 39% lower than the average critic
On average, this critic grades 7.3 points higher than other critics. (0-100 point scale)

G. Allen Johnson's Scores

  • Movies
  • TV
Average review score: 67
Highest review score: 100 Rififi (re-release)
Lowest review score: 0 Anaconda
Score distribution:
  1. Positive: 54 out of 75
  2. Negative: 16 out of 75
75 movie reviews
    • 72 Metascore
    • 100 G. Allen Johnson
    Ruiz has made the most ambitious adaptation of a Proust work yet.
    • 86 Metascore
    • 100 G. Allen Johnson
    Kiarostami's genius is elusive. His films may be unknowable, but they are undeniably hypnotic, charismatic.
    • San Francisco Examiner
    • 90 Metascore
    • 100 G. Allen Johnson
    Kurosawa pulled out all the stops with Ran, his obsession with loyalty and his love of expressionistic film techniques allowed to roam freely.
    • San Francisco Examiner
    • 97 Metascore
    • 100 G. Allen Johnson
    A sweaty-browed exercise in precision filmmaking, but one that doesn't cheat you with wisps of tension and the pretense of attitude.
    • 87 Metascore
    • 100 G. Allen Johnson
    Minghella is an artist and he has painted himself a masterpiece.
    • 90 Metascore
    • 100 G. Allen Johnson
    The effect is riveting and frightening. You feel you are under siege with the combatants.
    • 77 Metascore
    • 100 G. Allen Johnson
    This movie has everything but Humphrey Bogart, and I'm sure he's sorry he was unavailable.
    • 70 Metascore
    • 100 G. Allen Johnson
    A movie that has an odd plot, quirky characters and a real edge, but it's not in-your-face, a re-invention of a genre or a smirky independent. It's different because it's flat-out great.
    • 51 Metascore
    • 88 G. Allen Johnson
    Austin is funny, extremely funny, because he is so ridiculous, and because Myers is a brilliant mimic who, like Martin Short, knows how to do ridiculous.
    • 61 Metascore
    • 88 G. Allen Johnson
    A grand, old-fashioned movie of spies and Communist repression.
    • San Francisco Examiner
    • 58 Metascore
    • 88 G. Allen Johnson
    Classic in feel and loaded with sumptuous performances.
    • 74 Metascore
    • 88 G. Allen Johnson
    A warm-hearted valentine to old traditions in China that are being obliterated by modern - and admittedly more efficient - technology.
    • 75 Metascore
    • 88 G. Allen Johnson
    There isn't a whole lot of fancy subplotting, just a potpourri of funny and engaging characters.
    • 86 Metascore
    • 88 G. Allen Johnson
    The only film sequels in history that just keep getting better.
    • San Francisco Examiner
    • 91 Metascore
    • 88 G. Allen Johnson
    Leigh has a gift for demonstrating character from the outside in.
    • 75 Metascore
    • 88 G. Allen Johnson
    It's a more intelligent and dimensional epic than, say, "Anna and the King." Emperor is worth every single penny.
    • 44 Metascore
    • 88 G. Allen Johnson
    The dialogue is hip, natural and observational.
    • 85 Metascore
    • 88 G. Allen Johnson
    I'm not sure all of this works out as convincingly as Anderson intends in the movie's somewhat unsatisfying ending, but getting there is a wickedly enjoyable journey.
    • 85 Metascore
    • 88 G. Allen Johnson
    The Coens haven't been this sharp, focused and fluid since their first film. This is "Blood Simple's" promise fulfilled.
    • 90 Metascore
    • 88 G. Allen Johnson
    A crowd pleaser that caters to our horror of totalitarianism, our love of personal freedom, our belief - justified or deluded - that knowledge is a powerful tool and that access to information is a God-given right.
    • 80 Metascore
    • 88 G. Allen Johnson
    Salles' solid narrative is only deceptively simple; there is a lot of dimension and depth to this gentle, sometimes painful portrait of two wanderers.
    • 86 Metascore
    • 88 G. Allen Johnson
    A weird, wonderful and funny work that stands as a true original. As if that weren't enough, director and co-writer Anderson has given Bill Murray his best role in years.
    • 72 Metascore
    • 88 G. Allen Johnson
    A guilty pleasure and one of the best films of the year.
    • San Francisco Examiner
    • 74 Metascore
    • 88 G. Allen Johnson
    May be the funniest movie about parental and spousal abuse ever made.
    • San Francisco Examiner
    • 69 Metascore
    • 88 G. Allen Johnson
    Happy Together is Wong's most fully realized work. It is a pleasure to watch an interesting mind feel his way, and the result is something more than just a passing fancy.
    • 72 Metascore
    • 75 G. Allen Johnson
    The success of Felicia's Journey lies in the work of the steady and here understated Hoskins, who gives one of his best performances, and young Cassidy, who displays a weary maturity even through her deer-in-the-headlights character.
    • San Francisco Examiner
    • 32 Metascore
    • 75 G. Allen Johnson
    A movie that features rich Mexican American characters and an uncompromising story line is always timely.
    • 48 Metascore
    • 75 G. Allen Johnson
    Shows how Tinseltown sensibilities can be well thought out even on a low budget.
    • 61 Metascore
    • 75 G. Allen Johnson
    Kaizo Hayashi's homage to noir B movies, both Japanese and American, is successful as a true labor of love.
    • 71 Metascore
    • 75 G. Allen Johnson
    An engaging, well-written film that is surprisingly gentle in tone and easily paced.
    • 74 Metascore
    • 75 G. Allen Johnson
    Overall a well-played chess match of a movie.
    • San Francisco Examiner
    • 76 Metascore
    • 75 G. Allen Johnson
    It is an important work, and a very good one.
    • 90 Metascore
    • 75 G. Allen Johnson
    "The Big Sleep" and "The Maltese Falcon" echo loudly throughout.
    • 79 Metascore
    • 75 G. Allen Johnson
    Misses some creative opportunities to really drive this story home, but it's a naturally haunting story nonetheless.
    • San Francisco Examiner
    • 68 Metascore
    • 75 G. Allen Johnson
    The drawbacks to Little Voice might sink a lesser movie, but not this one.
    • 62 Metascore
    • 75 G. Allen Johnson
    Certainly it isn't about to give "Das Boot" a run for its money - but nevertheless it is irresistible entertainment.
    • 58 Metascore
    • 75 G. Allen Johnson
    About as warm, pleasing and inviting as a film about divorce, infidelity and terminal cancer can be.
    • 71 Metascore
    • 75 G. Allen Johnson
    There's not a whole lot to Waking Ned Devine, but it may be enough for those who like their quirky comedies from the British Isles - a burgeoning genre now - both atmospheric and gentle.
    • 60 Metascore
    • 75 G. Allen Johnson
    The emphasis is on comedic interaction, not plot - too bad, "48 HRS" had both - but the pair adds spice to the predictable opposites-detract gags.
    • 70 Metascore
    • 75 G. Allen Johnson
    The weird thing about the films David Mamet has directed is that they have about as much emotion as a cyborg in a science fiction movie, yet by the end of the picture it isn't necessary; by then the audience has supplied their own.
    • 37 Metascore
    • 75 G. Allen Johnson
    Perhaps a bit miscast, and with a penchant for too many double-takes, Perry nonetheless is game.
    • 69 Metascore
    • 75 G. Allen Johnson
    This overall good feeling helps smooth over the sometimes shocking lapses in logic.
    • 47 Metascore
    • 75 G. Allen Johnson
    It succeeds because of the frenzied, kinetic direction by Mike Newell, one of the most interesting big-hit directors.
    • 56 Metascore
    • 75 G. Allen Johnson
    But then, just when it appears the race is lost, Steve James' love for his character and art form kicks in and wins the day, and, though flawed, Prefontaine is an engrossing portrait of a complex figure.
    • 71 Metascore
    • 75 G. Allen Johnson
    Fallen Angels is proof that Wong will try anything, and the result is an eclectic mix of images and disjointed editing, sounds and rhythms that are at times as powerful as any piece of filmmaking likely to be seen all year. It can also, every once in awhile, be tedious and trying.
    • 58 Metascore
    • 63 G. Allen Johnson
    What could have been an insightful, irresistible movie is instead a simple, self-contained fable, pleasing to look at but meaningless
    • San Francisco Examiner
    • 61 Metascore
    • 63 G. Allen Johnson
    Dreamy and elegantly filmed.
    • 35 Metascore
    • 63 G. Allen Johnson
    The writer-director has come up with a sumptuous, happy piece of fluff.
    • 77 Metascore
    • 63 G. Allen Johnson
    Now "Rod Tidwell," with Jerry Maguire as a supporting character, would be a movie to pay to see.
    • 30 Metascore
    • 63 G. Allen Johnson
    If you buy the gross, it's surprisingly funny .
    • San Francisco Examiner
    • 80 Metascore
    • 63 G. Allen Johnson
    Troubling and troubled.
    • 81 Metascore
    • 63 G. Allen Johnson
    Solondz's greatest success is the pederast, heartbreakingly played by Baker...Had Solondz reached that apex in the other stories, it would have been a masterpiece.
    • 87 Metascore
    • 63 G. Allen Johnson
    The movie is meant to be uplifting and to the degree that you can ignore its unquestioning treatment of mental illness, I suppose it is.
    • 82 Metascore
    • 63 G. Allen Johnson
    Nicolas Cage gives one of the best performances of his strange, courageous career.
    • 57 Metascore
    • 50 G. Allen Johnson
    Like sitting on the beach under a cozy, warm afternoon sun. The view is beautiful, but not much is happening and soon you drift peacefully to sleep.
    • San Francisco Examiner
    • 33 Metascore
    • 50 G. Allen Johnson
    Competent, to be sure, with some good lines.
    • 73 Metascore
    • 50 G. Allen Johnson
    Cholodenko's strategy of having the actors, in every scene -- whether it involves Lucy, the boyfriend or the Frame editors -- perform with an intonational flatness approaching monotone pretentiously undermines the effectiveness of her subject matter.
    • 40 Metascore
    • 50 G. Allen Johnson
    It's a movie drenched in narcissism and wish-fulfillment, almost a textbook on how to make a formulaic, romantic film.
    • 81 Metascore
    • 50 G. Allen Johnson
    An independent film so enamored of itself it refuses to have any fun.
    • 42 Metascore
    • 38 G. Allen Johnson
    In tackling 1000 A.D., (McTiernan)'s suddenly an unwieldy, clunky filmmaker.
    • San Francisco Examiner
    • 47 Metascore
    • 38 G. Allen Johnson
    Spoof both of P.I.s and independent filmmakers is languidly paced and not very funny.
    • 71 Metascore
    • 38 G. Allen Johnson
    The intention is there, but the needed emotional maturity isn't.
    • 74 Metascore
    • 38 G. Allen Johnson
    No amount of excellent period costuming and brilliant set decoration can substitute for a good story and decent acting.
    • 23 Metascore
    • 38 G. Allen Johnson
    SORRY, SALLY. I didn't like it. I really didn't like it.
    • San Francisco Examiner
    • 33 Metascore
    • 25 G. Allen Johnson
    Not much of a plot, but the trouble is that Shana Larsen's script, as directed by Risa Bramon Garcia, isn't very deep. Worse, none of the self-absorbed characters are that likable nor are they funny.
    • 36 Metascore
    • 25 G. Allen Johnson
    A downright dumb movie that, with its breathless pace, lack of character development and uninventive gags, might be torture for even the kids to sit through.
    • 36 Metascore
    • 25 G. Allen Johnson
    It's downright boring.
    • 73 Metascore
    • 25 G. Allen Johnson
    Quickly degenerates into a grueling piece of unpleasantness.
    • 35 Metascore
    • 25 G. Allen Johnson
    It's simply terrible.
    • 21 Metascore
    • 25 G. Allen Johnson
    The best that can be said about this film is that it's watchable, and that's not the way it could or should be.
    • 27 Metascore
    • 25 G. Allen Johnson
    Dead Man on Campus, a supposed black comedy produced by MTV, is simply awful.
    • 41 Metascore
    • 25 G. Allen Johnson
    It's also troublesome that Murphy, a generally charismatic actor, is downright dull here. He and Goldblum are curiously flat in their line readings; they don't seem convinced by the story they're asked to act out, and with good reason.
    • 40 Metascore
    • 25 G. Allen Johnson
    What we get are quirky characters who are such cartoons that they undermine the effectiveness of the scare scenes (Brad Dourif's turn as the weird doctor is an example) and well-composed camera angles that mean nothing.
    • 24 Metascore
    • 12 G. Allen Johnson
    A terribly bad movie, one of the worst of its kind in recent years.
    • San Francisco Examiner
    • 37 Metascore
    • 0 G. Allen Johnson
    If only director Luis Llosa and his cast could see the joke and seize upon it; instead, like its computer-morphed snake, the film doesn't have a clever bone in its body.

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