For 407 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 1.4 points higher than other critics. (0-100 point scale)

John DeFore's Scores

  • Movies
  • TV
Average review score: 61
Highest review score: 100 Before Midnight
Lowest review score: 10 No One Lives
Score distribution:
  1. Negative: 31 out of 407
407 movie reviews
    • 68 Metascore
    • 30 John DeFore
    This film neither really embraces the mechanics of primitive cinema nor creates a coherent syntax of its own.
    • 41 Metascore
    • 30 John DeFore
    The film becomes a hodgepodge that will enlighten few viewers.
    • 41 Metascore
    • 10 John DeFore
    Battles are sickeningly brutal, and viewers who have no ethical problem with that may object to their sheer lack of imagination.
    • 35 Metascore
    • 30 John DeFore
    The movie only wakes up when Hart and/or Arkin are on screen (preferably together).
    • 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.
    • 34 Metascore
    • 30 John DeFore
    A rote captivity drama with aspirations of sociopolitical relevance, As Good as Dead has nothing to say about torture or racism and little excitement to offer as compensation.
    • 33 Metascore
    • 30 John DeFore
    A barrage of unbelievable stereotypes try to kill each other in Barry Battles's dispiriting exploitation flick.
    • 33 Metascore
    • 30 John DeFore
    A grindhouse slasher picture that swings from dull to ridiculous without finding any pulpy pleasure in between.
    • 32 Metascore
    • 30 John DeFore
    A rom-com whose agreeable individual elements aren't enough to sell the witless contrivance around which they revolve.
    • 31 Metascore
    • 20 John DeFore
    The whole thing reeks of fiction being used to process missteps in its makers' own lives. This story isn't nearly ready to leave the shrink's couch.
    • 30 Metascore
    • 30 John DeFore
    Speed-Dating seems designed to exploit the black indie theatrical circuit but hardly merits even a DVD release.
    • 30 Metascore
    • 30 John DeFore
    A film as soul-sucking as any of the fang-baring bores who populate it.
    • 29 Metascore
    • 30 John DeFore
    Every word of the story may be true, and if it happened to someone you knew, you'd be captivated. In Jamesy Boy, though, it's hard to see why we should care.
    • 29 Metascore
    • 20 John DeFore
    This Lifetime-grade pic is bad enough to have no impact, a vanity project whose ostensible story -- a grieving dad fights bureaucracy to build a children's hospital honoring his dead daughter -- is one of the least dramatic things put on screen in recent years.
    • 29 Metascore
    • 30 John DeFore
    A wrong place/wrong time actioner stupid enough to damage the art-house credibility of actor Paul Walker.
    • 28 Metascore
    • 20 John DeFore
    With a frost-bitten script whose skeletal plot cuts and pastes bits from innumerable other survival yarns, the biggest surprise the film offers is that four people were required to write it.
    • 27 Metascore
    • 30 John DeFore
    A no-budget "Alien" ripoff with little reason to exist beyond the few creature-effects shots its design team now can add to its reel, Roger Christian's Stranded might leave viewers yearning for the director's "Battlefield Earth" -- a film that, terrible though it was, at least couldn't be accused of a lack of ambition.
    • 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."
    • 26 Metascore
    • 10 John DeFore
    When a slasher pic can't exploit a woodchipper for more sadistic thrills than we get here, it shouldn't expect moviegoers to salivate for a sequel.
    • 25 Metascore
    • 20 John DeFore
    Offering a silly conceit that requires either finesse on screen or a cast whose magnetism overrides disbelief, Mind has neither.
    • 25 Metascore
    • 20 John DeFore
    The story makes 94 minutes seem as long as a season of Lost and as fresh as the seventh viewing of a Gilligan's Island rerun.
    • 22 Metascore
    • 20 John DeFore
    Getaway seems built for non-English speaking territories in which dialogue is as disposable as Bulgarian police cars. If only those audiences were as dumb as the action itself.
    • 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.
    • 19 Metascore
    • 20 John DeFore
    Throughout, gags are cartoonishly broad and afforded so little time for setup and delivery we seem to be watching less a story than a catalog of tossed-out material.
    • 19 Metascore
    • 20 John DeFore
    Ralph Ziman's Kite repackages an assortment of genre tropes into an instantly forgettable Luc Besson-aping slog that would be unneeded even if Besson hadn't just returned to big action flicks himself.
    • 18 Metascore
    • 30 John DeFore
    Lincoln's script has no knack for the pacing of cinematic exorcisms, and the truncated climax he does offer is short on action and scares.
    • 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."