For 499 reviews, this critic has graded:
  • 55% higher than the average critic
  • 3% same as the average critic
  • 42% lower than the average critic
On average, this critic grades 1.3 points higher than other critics. (0-100 point scale)

John DeFore's Scores

  • Movies
  • TV
Average review score: 61
Highest review score: 100 Me and Earl and the Dying Girl
Lowest review score: 10 No One Lives
Score distribution:
  1. Negative: 38 out of 499
499 movie reviews
    • 40 Metascore
    • 60 John DeFore
    A feel-good flick about a serial killer who just wants what's best for her daughter. Broad and not too spicy, the London-set Indian rom-com is a crowd-pleaser.
    • 44 Metascore
    • 60 John DeFore
    Ruffalo gives voice to the film's unironic point of view.
    • 45 Metascore
    • 60 John DeFore
    Too dark for a very broad audience, it will flummox some viewers drawn by its cast but will strike others with its more-than-prickly approach and standoffish humor.
    • 47 Metascore
    • 60 John DeFore
    For all her desk-stashed booze and inappropriately tight skirts, the movie offers Diaz a pretty bland badness.
    • 46 Metascore
    • 60 John DeFore
    Lightweight but likeably uncynical.
    • 49 Metascore
    • 60 John DeFore
    The wild card in all this remains Seann William Scott's Steve Stifler, the rampaging id whose indignation at his peers' maturity provides most of the film's real laughs.
    • 72 Metascore
    • 60 John DeFore
    Twisty enough to please many arthouse patrons, though some will be rolling their eyes by the end.
    • 49 Metascore
    • 60 John DeFore
    Convincing in its depiction of late-20s romantic anxiety (if not of that age bracket's real estate realities), it is broadly appealing without bowing too deeply to formula.
    • 74 Metascore
    • 60 John DeFore
    Matthew Akers' film is a personally revealing look at an artist most famous for maintaining stone-faced silence for three months.
    • 57 Metascore
    • 60 John DeFore
    Modest but revealing documentary.
    • 43 Metascore
    • 60 John DeFore
    Falling somewhere between the X Games and Jackass on the Knievel Scale of Senseless Self-Endangerment, the crew known as Nitro Circus offers more physical and technical prowess than Johnny Knoxville's crew without stooping to anything so disciplined it might accidentally be called a sport.
    • 47 Metascore
    • 60 John DeFore
    A fairy tale about parenting that stays kid-friendly without completely glossing over the darker themes of its premise.
    • 82 Metascore
    • 60 John DeFore
    Very much a work of its time, the documentary offers unique perspectives for fans of both the saxophonist and the pioneering filmmaker, but is unlikely to attract a broad audience beyond those camps.
    • 42 Metascore
    • 60 John DeFore
    A timely look at an important issue that's getting more hotly contested every month, Electoral Dysfunction takes a mildly jocular tone to get viewers concerned about what it calls a "war on voting" in America.
    • 54 Metascore
    • 60 John DeFore
    A commendably restrained loser-turns-winner tale offering an unexpected second showcase for Terri star Jacob Wysocki, Matthew Lillard's Fat Kid Rules the World is less colorful than its grandeur-deluded title suggests.
    • 67 Metascore
    • 60 John DeFore
    Clearly intent on inspiring viewers, the informational film makes a fine sum-up for those who've found the last decade's geopolitics too much to keep track of, but isn't promising in commercial terms.
    • 61 Metascore
    • 60 John DeFore
    The documentary offers little to further the national discussion on this divisive topic, but its evenhandedness and unstrident tone will go down well with viewers accustomed to more heated treatments of it.
    • 55 Metascore
    • 60 John DeFore
    Despite the story's elements of suspense, loss and determination, though, the picture has a mundane, low-stakes vibe that fails to make the most of its inspirational content.
    • 57 Metascore
    • 60 John DeFore
    Charming at times but surprisingly cheap-feeling given the cast Heckerling has assembled.
    • 61 Metascore
    • 60 John DeFore
    Few would fail to be touched by these stories, or by the sight of these men having generations of kids and grandkids gather to celebrate their accomplishment.
    • 48 Metascore
    • 60 John DeFore
    Yelling to the Sky drips with a strange but sometimes moving nostalgia for environs its characters clearly want to escape.
    • 53 Metascore
    • 60 John DeFore
    Feel-good documentary gathers great interviews but isn't sure what they add up to.
    • 49 Metascore
    • 60 John DeFore
    Endearing performances buoy predictable film about love in the wake of divorce.
    • tbd Metascore
    • 60 John DeFore
    Tale of the Cultural Revolution is strictly for scholars and students.
    • 62 Metascore
    • 60 John DeFore
    The Source does hold enough anthropological value to please some audiences. Despite lacking the recognition factor and lurid tragedy of a phenomenon like Jonestown, the story should attract viewers on the small screen.
    • 67 Metascore
    • 60 John DeFore
    An ordinary look at four extraordinary kids, Scott Hamilton Kennedy's Fame High sticks firmly to convention but will please viewers who can't help but want the doc's sympathetic teens to escape the heartbreak most would-be artists face.
    • 48 Metascore
    • 60 John DeFore
    Director Daisy von Scherler Mayer and a strong cast do right by Neil LaBute's script (based on his play), but the soullessness of the story is a turnoff overpowering the intriguing moments scattered within these one-on-one encounters.
    • 90 Metascore
    • 60 John DeFore
    Despite its successful attempts to show how oil has affected everyday citizens in nearby Nigeria, the film remains fairly dry.
    • 53 Metascore
    • 60 John DeFore
    Diverting but not enough to expand Kevin Hart's fan base much.
    • 49 Metascore
    • 60 John DeFore
    More a filmed haunted house than a movie, the picture is in love with the cobbled-together monsters on offer and will engender similar emotions in many horror buffs.
    • 34 Metascore
    • 60 John DeFore
    The movie becomes a survival tale and is more successful in its grueling, slightly crazed second half. The Goetzes do a better job capturing the terrain's physical extremes and the challenge of endurance than they do depicting a relationship.
    • 59 Metascore
    • 60 John DeFore
    Although it offers some insight into his distinctive technique, it could have gone much further. But viewers will appreciate spending time with this cheerful, unassuming man, and will enjoy seeing the artist acknowledged by celebrities who owe him so much
    • 66 Metascore
    • 60 John DeFore
    In the absence of sympathetic characters, a little humor would have gone a long way here.
    • 56 Metascore
    • 60 John DeFore
    Although Weigert is convincing as Abby, Passon's attitude toward the character is hazy.
    • 57 Metascore
    • 60 John DeFore
    Money for Nothing feels less prophetic than generally handwringing -- it's just enough to produce vague worry in the unschooled without moving policymakers to do anything they're not already doing.
    • 60 Metascore
    • 60 John DeFore
    Daniel Schechter's Life of Crime starts promisingly and ends with a smile but underwhelms in between.
    • 63 Metascore
    • 60 John DeFore
    Sam Eidson is perfect for the lead role, but that doesn't exactly guarantee the fanboy crowd will embrace the film.
    • 47 Metascore
    • 60 John DeFore
    In a showy adaptation by first-time helmer Charlie Stratton, the story is more glum than seductive -- offering surprising sexual encounters, yes, but too little of the slow burn and psychological depth that might have made the Les Mis-meets-Jim Thompson concept get under one's skin.
    • 55 Metascore
    • 60 John DeFore
    The film will frustrate viewers who insist on knowing which interviewees are recounting real experiences and which are perpetuating fictions hatched by the game's creator, Jeff Hull. But mystery is part of the appeal.
    • 54 Metascore
    • 60 John DeFore
    Some of these gags are hilarious.
    • 59 Metascore
    • 60 John DeFore
    Enjoyable but incomplete-feeling bio-doc both celebrates the Milius myth and tries to undo the damage it did to his reputation.
    • 56 Metascore
    • 60 John DeFore
    Art doc's stylistic quirks detract slightly from a sometimes fascinating portrait.
    • 64 Metascore
    • 60 John DeFore
    Page's no-regrets spirit and the enraptured testimonials from those who knew her in her prime (including some swooning ex-lovers) overpowers clumsy filmmaking.
    • 49 Metascore
    • 60 John DeFore
    While Lee leaves some of Park's more memorable outrages behind, he and screenwriter Mark Protosevich find one or two ways to up the taboo-testing ante, small surprises that retain the tale's edge without pushing into the realm of exploitation.
    • 61 Metascore
    • 60 John DeFore
    Though convincing in its argument that pimps and clients are treated much better than they should be in our legal system as compared to prostitutes, the film presents a picture of America's sex-trade landscape that will feel incomplete to many viewers.
    • 72 Metascore
    • 60 John DeFore
    Young actor Sitthiphon Disamoe helps keep the tale of a can-do kid from becoming too cute.
    • 59 Metascore
    • 60 John DeFore
    Creadon's doc benefits substantially from these kids, resulting in a film with modest commercial appeal that should have a healthy video afterlife with activism-minded students in college and graduate programs.
    • 50 Metascore
    • 60 John DeFore
    While the personalities engage the viewer, the film's story is a diffuse one.
    • 64 Metascore
    • 60 John DeFore
    A feel-good picture that is a little less affecting than it might have been, but is entertaining enough.
    • 58 Metascore
    • 60 John DeFore
    Viewers will surely have their curiosity piqued, but may not walk out convinced of Jobriath's place in the pop Pantheon.
    • 58 Metascore
    • 60 John DeFore
    A likeable cast of relative newcomers buoys the film, which never quite finds the sweet spot.
    • 56 Metascore
    • 60 John DeFore
    Nelson's amiable comedy occasionally gets fixated on things that don't serve its overall purpose and is too self-conscious to really shine. But it's a more competent, accessible film than its stealthy theatrical release suggests.
    • 48 Metascore
    • 60 John DeFore
    A likeable if familiar underdog tale.
    • 56 Metascore
    • 60 John DeFore
    More a tone poem or gallery installation piece than a verite outing.
    • 51 Metascore
    • 60 John DeFore
    Annette Bening captivates as the self-delusionist, with Ed Harris ruggedly irresistible as the object of her fantasy.
    • 68 Metascore
    • 60 John DeFore
    The easygoing comedy keeps a familiar story going despite minor plot hiccups.
    • 53 Metascore
    • 60 John DeFore
    Captivating for a long stretch.
    • 49 Metascore
    • 60 John DeFore
    Though it doesn't quite hit the target, Plotnick's vision of the future of the past is peculiar enough to resist quick dismissal.
    • 72 Metascore
    • 60 John DeFore
    One of the aspects that keeps Time from projecting an advertorial vibe, its indifference to outside voices, may also leave casual fans wanting a bit more.
    • 44 Metascore
    • 60 John DeFore
    Pretty in a decaying-opulence sort of way and well cast, the film is more superficial than its nods to highbrow culture would suggest.
    • 44 Metascore
    • 60 John DeFore
    Motivated by an earnest need to inspire, Schmidt's debut suffers from stiffness but improves as it goes, the tension of its plot overcoming many dramatic failings.
    • 63 Metascore
    • 60 John DeFore
    Thomas Haden Church hits the exact balance of desperation and resignation demanded by the peculiar story.
    • 68 Metascore
    • 60 John DeFore
    A sharp-looking and enjoyable doc that celebrates the writer's legacy but, in its willfully obscure structure, seems a bit too bent on echoing his famous nonconformity.
    • tbd Metascore
    • 60 John DeFore
    Documentary will play best with very serious classical fans.
    • 72 Metascore
    • 60 John DeFore
    Meditative, glossy doc provides some glimpses behind the curtain but isn't terribly enlightening.
    • 51 Metascore
    • 60 John DeFore
    Hugely entertaining for much of its short running time before a third act that's problematic for various reasons, the film benefits from a top-notch cast and some sharp dialogue but will leave many viewers scratching their heads.
    • 64 Metascore
    • 60 John DeFore
    Though the inventions of Misan Sagay's script emphasize concerns over dowries and social rank that will be grating for many contemporary viewers, extracting little of the humor that Austen regularly found in such hang-ups, the picture's sour notes are balanced by fine performances and clear historical appeal.
    • tbd Metascore
    • 60 John DeFore
    The doc highlights undeniably important realities; but it doesn't find a narrative that sustains feature treatment.
    • 45 Metascore
    • 60 John DeFore
    There's nothing new under the sun, but About Alex is very, very not new. Luckily, most of its capable cast muster the warmth we require, and Zwick's script offers more humor (however mild the laughs are) than sentimentality.
    • 69 Metascore
    • 60 John DeFore
    The movie doesn't really focus on many individuals long enough to make them compelling screen characters.
    • 34 Metascore
    • 60 John DeFore
    The script, by Beers and Mathew Harawitz, offers a little less invention in this endless-repeat scenario than it might have.
    • 48 Metascore
    • 60 John DeFore
    Less music-stuffed but more conceptually ambitious than the average music doc.
    • 51 Metascore
    • 60 John DeFore
    Though cheerful and highly polished, the doc's storytelling is less effective than it might've been, a failing balanced by the likability of its lead characters and the scrappy spirit of their project.
    • 55 Metascore
    • 60 John DeFore
    While Freeland's plotting is graceful, there are occasional moments of stiffness in the dialogue itself, brief rough patches her largely neophyte cast can't fix in the delivery.
    • 41 Metascore
    • 60 John DeFore
    Though their resolution is a little too neat to be believed, the filmmakers' way with their cast makes this debut a promising one.
    • 47 Metascore
    • 60 John DeFore
    A lazy ending mars this fine, if generic, take on a much-loved YA novel.
    • 38 Metascore
    • 60 John DeFore
    Though the film's cat-and-mouse scenes hardly compare to those in a Bourne movie, they're enjoyable and only occasionally ridiculous.
    • 64 Metascore
    • 60 John DeFore
    The picture would go nowhere without the friendly chemistry between Lewis and costar Jonny Weston, as the wheelchair-bound high schooler who charms her. If young mothers had any time to go to movies, this one might draw them in droves.
    • 47 Metascore
    • 60 John DeFore
    Its undiscriminating focus, accepting artists whose degree of talent varies widely, may not help it with audiences seeking a fine-art doc, but many viewers will appreciate that very quality, enjoying this modest effort's celebration of a bootstrappy creative community.
    • 56 Metascore
    • 60 John DeFore
    There's a good deal of pleasure to draw from some of these bonding moments, especially among vets who haven't seen each other for years, but not enough to justify overshadowing the movie's other elements.
    • 62 Metascore
    • 60 John DeFore
    Intelligently assembled by Lemelson, a UCLA anthropologist, it addresses a Westerner's concerns without condescending to its subjects; though a three-family focus is hardly enough to make an authoritative-feeling portrait.
    • 69 Metascore
    • 60 John DeFore
    Though the film addresses some questions that remain a sticking point in helping abused women, it sheds little new light on them for viewers who've spent any time thinking about this upsettingly widespread phenomenon.
    • 76 Metascore
    • 60 John DeFore
    Less an investigation into or comprehensive summary of the Penn State sex-abuse scandal than a look at the feelings it elicited, Amir Bar-Lev's Happy Valley is more concerned with the phenomenon of team spirit than any single question of fact or moral judgment.
    • 51 Metascore
    • 60 John DeFore
    Damici more than holds the screen, too gruffly determined to be upstaged by a monster, and the script slips a clever trick or two up his sleeve.
    • 57 Metascore
    • 60 John DeFore
    While the film suffers from its own occasional sluggishness, it picks up as the lawmen watching our hero grow as strained as he is.
    • 72 Metascore
    • 60 John DeFore
    The plot reversals of the third act happen rather abruptly, perhaps unbelievably, in comparison to what precedes them. But those who've been in Margaret's shoes may find this appropriate — an honest acknowledgement of the false starts that can result when a newly hatched idealist tries to apply abstract principles to messy human emotions.
    • 49 Metascore
    • 60 John DeFore
    The pic works best when it's least self-referential, focusing on romantic attractions in many stages of development. Though it won't do for its authors what Swingers and Good Will Hunting did for theirs, Loitering is smartly written enough to further their off-camera careers; thanks to predictably winning performances from Marisa Tomei and Sam Rockwell.
    • 62 Metascore
    • 60 John DeFore
    While it offers some provocative moral quandaries, it serves mostly as a showcase for Patrick Stewart.
    • 49 Metascore
    • 60 John DeFore
    The movie plays quite well for a while but begins to run out of steam in its second half, its occasional laughs not coming quickly enough to keep us interested in the unfolding lore of 19th century murders.
    • 75 Metascore
    • 60 John DeFore
    Benefitting from likeable, good-natured subjects and the peculiar pastimes with which they fill their cooped-up hours, the doc certainly gets us interested in and rooting for the Angulo boys.
    • 50 Metascore
    • 60 John DeFore
    Goold's work never feels stagey; a smart and varied visual sense opens up even settings as basic as a jail's visiting room. But what happens in that room isn't as convincing as might be expected from these actors.
    • 74 Metascore
    • 60 John DeFore
    The doc's structure is a countdown to opening night, but planning goes smoothly enough that little drama accompanies that ticking clock.
    • 67 Metascore
    • 60 John DeFore
    A film that (whatever massive efforts were required to work around [Paul Walker's] absence) is as stupendously stupid and stupidly diverting as it could have hoped to be had everything gone as planned.
    • 57 Metascore
    • 60 John DeFore
    Katz is much more interested in observing Jake's newfound emotional core — and probably a bit too confident that a moist-eyed Kroll can turn this quite likable but slight family reunion into something more touching.
    • tbd Metascore
    • 60 John DeFore
    It's not nearly funny enough to call a comedy, but its seriousness about her lonely life is undercut by its depiction of her frankly ridiculous behavior.
    • 56 Metascore
    • 60 John DeFore
    As she flails through a few dubious choices, the character may be on the kind of self-discovery path we've seen in countless other films; but Winstead makes the outcome seem far from preordained.
    • 52 Metascore
    • 60 John DeFore
    While Hobson's smarts are evident here, the picture's uniformly dim visuals and sometimes overplayed sound design are static enough to do a disservice to his work with the cast.
    • 69 Metascore
    • 60 John DeFore
    Neither as frightening as a good horror flick nor as enlightening as a straight documentary, Rodney Ascher's The Nightmare borrows from both worlds in its depiction of the phenomenon known as sleep paralysis.
    • 46 Metascore
    • 60 John DeFore
    Diez's effects teams have tremendous fun with the gory ways they tear through their hosts' bodies when it's time to leave the chrysalis behind.
    • 36 Metascore
    • 60 John DeFore
    A good-looking debut offering more atmosphere than action.

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