For 885 reviews, this critic has graded:
  • 49% higher than the average critic
  • 6% same as the average critic
  • 45% lower than the average critic
On average, this critic grades 2.3 points lower than other critics. (0-100 point scale)

John DeFore's Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 Me and Earl and the Dying Girl
Lowest review score: 0 The Trouble with Terkel
Score distribution:
  1. Negative: 90 out of 885
885 movie reviews
    • 35 Metascore
    • 30 John DeFore
    Where Attenborough's script lent an air of dignity to the shorter film, Allen's reading of Philip LaZebnik's cutesy narration has a canned feel, and is unlikely to connect with viewers too young to appreciate cliched humor about the joys of bachelorhood versus the duties of parenting.
    • 31 Metascore
    • 30 John DeFore
    Many Christians yearning for faith-based entertainment will be moved by this film, and that crowd may well ensure a profit for the production. But more picky viewers will admit that even taken solely as an exploration of the trials of being a Christian teen, it's awfully weak tea as a movie, instantly disposable if not for the tragic backdrop.
    • 27 Metascore
    • 30 John DeFore
    In terms of real horror, nevermind sexual-politics provocation, "Grave" can neither re-create its predecessor's impact nor compete with stranger new beasts like Lars von Trier's "Antichrist."
    • 16 Metascore
    • 30 John DeFore
    No legitimate distributor would bother with a film "whose crackpot elements aren't even exploited in a way that will appeal to those watching solely to make fun of them."
    • 41 Metascore
    • 30 John DeFore
    The film becomes a hodgepodge that will enlighten few viewers.
    • 36 Metascore
    • 30 John DeFore
    A seemingly well-intentioned but deeply flawed film about dementia that becomes as erratic and misguided as its protagonist, Sharon Greytak's Archaeology of a Woman does no favors to those afflicted with cognitive disease or those hoping to understand them.
    • 34 Metascore
    • 30 John DeFore
    Small-screen comic talent is all over Fresno, with key players from series including Parks & Rec, Arrested Development and Portlandia teaming up for a tale of two sisters stuck with a hard-to-dispose-of dead body. The feature, sadly, exhibits none of the smarts or agility that fuel those series.
    • tbd Metascore
    • 30 John DeFore
    Dead air left in conversations may be meant to unnerve viewers, but is more likely to bore them.
    • 34 Metascore
    • 30 John DeFore
    Rather than engage in slow-build horror, Pascal Trottier's screenplay flips the switch into Poultergeisty chaos.
    • 36 Metascore
    • 30 John DeFore
    When the gags a movie is most confident in — the ones it uses three or four times, as if they were sure things — involve pushing unsuspecting pedestrians into a bush or riffing on "Bond, James Bond," something's wrong in the yuk factory.
    • tbd Metascore
    • 30 John DeFore
    The movie soon devolves into an extremely familiar escape-the-monsters affair, with all the compounding dumbness usually involved when our fleeing heroes are forced to keep filming the action.
    • 26 Metascore
    • 30 John DeFore
    The only people sure to love this concoction are those working for Rio's tourism bureau.
    • 27 Metascore
    • 30 John DeFore
    Instead of improving on the original's visualization of the liminal state between life and death, director Niels Arden Oplev turns the conceit into just another excuse for rote haunting, making this Flatliners often indistinguishable from its 2017 thriller peers.
    • 30 Metascore
    • 30 John DeFore
    Speed-Dating seems designed to exploit the black indie theatrical circuit but hardly merits even a DVD release.
    • 11 Metascore
    • 30 John DeFore
    From laughs to smarts to a credible interest in rehabilitation, lovers of love would do better to go see "Trainwreck" again.
    • 18 Metascore
    • 30 John DeFore
    With one senseless set piece after another, the film's eponymous forward movement should carry it out of theaters quickly, notwithstanding the brief presence of a slumming Morgan Freeman in a role that might well have been shot in half a day.
    • 35 Metascore
    • 30 John DeFore
    The mob-war stuff here could not possibly be more rote.
    • 31 Metascore
    • 30 John DeFore
    A film as soul-sucking as any of the fang-baring bores who populate it.
    • 32 Metascore
    • 30 John DeFore
    A rom-com whose agreeable individual elements aren't enough to sell the witless contrivance around which they revolve.
    • 32 Metascore
    • 30 John DeFore
    Jonas is, it should be said, the most likeable thing about this watered-down noir.
    • 21 Metascore
    • 30 John DeFore
    The silliness of the conceit is far from the biggest problem in a picture that has no clue what to do with the wealth of talent in front of the camera.
    • tbd Metascore
    • 30 John DeFore
    Its central conceit is so nonsensical that even devoted horror buffs may balk.
    • 33 Metascore
    • 30 John DeFore
    Leonard and Foley offer enough semi-naked sex scenes here to prove that quantity is no substitute for chemistry.
    • 33 Metascore
    • 30 John DeFore
    A grindhouse slasher picture that swings from dull to ridiculous without finding any pulpy pleasure in between.
    • 47 Metascore
    • 30 John DeFore
    As puerile and go-nowhere as the script is, Clement and Berry are more successful than their costars at making the dialogue their own. Clement even gets a laugh or two. But be assured that the pic's big reveal is not worth the wait.
    • 35 Metascore
    • 30 John DeFore
    The movie only wakes up when Hart and/or Arkin are on screen (preferably together).
    • 29 Metascore
    • 30 John DeFore
    The dark fantasy manages to be grindingly dull despite its many quirks.
    • tbd Metascore
    • 30 John DeFore
    Though on paper the idea has some potential -- as a historical meditation on the suffering of East Berliners and the arbitrary nature of borders -- its execution stumbles on multiple fronts.
    • tbd Metascore
    • 30 John DeFore
    Though competent in technical aspects, the pic's third-hand script and uninspired direction make it hard to invest in the heavy weight each character carries around with him.
    • 55 Metascore
    • 30 John DeFore
    Laughs do not exactly pour forth from this dreary and frequently insulting picture.

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