For 613 reviews, this critic has graded:
  • 53% higher than the average critic
  • 4% same as the average critic
  • 43% lower than the average critic
On average, this critic grades 0.4 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 Scouts Guide to the Zombie Apocalypse
Score distribution:
  1. Negative: 51 out of 613
613 movie reviews
    • 51 Metascore
    • 50 John DeFore
    A surprisingly uncritical doc from a filmmaker whose rep is built on skeptical investigation, Joe Berlinger's Tony Robbins: I Am Not Your Guru doesn't seem to know whether its title is ironic or not.
    • 51 Metascore
    • 60 John DeFore
    Annette Bening captivates as the self-delusionist, with Ed Harris ruggedly irresistible as the object of her fantasy.
    • 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.
    • 51 Metascore
    • 50 John DeFore
    Sincere performances and well-intentioned scripting should help it with vets eager to see their stories told on-screen, but the film's dreary, secondhand feel is hard to overcome.
    • 50 Metascore
    • 50 John DeFore
    Handsome and weighty-feeling but less substantial than it seems.
    • 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.
    • 50 Metascore
    • 50 John DeFore
    A dicey blend that generates viewer goodwill but can't make its conflicting vibes gel, A Bag of Hammers will play best with the most soft-hearted viewers provided they don't mind rooting for unrepentant felons.
    • 50 Metascore
    • 60 John DeFore
    While the personalities engage the viewer, the film's story is a diffuse one.
    • 50 Metascore
    • 60 John DeFore
    Offers just enough B-movie pleasure to keep genre fans busy for a weekend or two before heading from theaters to vid.
    • 50 Metascore
    • 60 John DeFore
    Ruhm's lively pace keeps the plot's essential silliness from growing tiresome, even if it never kicks into the high-octane farce the picture seems to seek.
    • 50 Metascore
    • 50 John DeFore
    Will charm many arthouse patrons, though some highbrow-leaning art lovers will find the subject unworthy of such attention.
    • 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.
    • 49 Metascore
    • 50 John DeFore
    Diehard fashionistas will likely want to see it, but few others will take notice.
    • 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.
    • 49 Metascore
    • 50 John DeFore
    The most compelling thing here by far is the film's vision of Assange, by all accounts a man of enormous self-regard and slippery ethics. Benedict Cumberbatch has the character in hand from the start.
    • 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.
    • 49 Metascore
    • 50 John DeFore
    The film offers some diverting background on the man.
    • 49 Metascore
    • 50 John DeFore
    Aside from a supporting turn by Hannibal Buress as a king-of-the-geeks character, the film's most diverting ingredients are its aggressively crude character design and its sickly color palette.
    • 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.
    • 49 Metascore
    • 60 John DeFore
    Writer/director Nick Sandow finds a tailor-made lead in Vincent Piazza, who both looks the part and makes sense of his character's ridiculous aspirations; with Patricia Arquette playing the girlfriend who stood by his side, the picture of debased ambition is almost too convincing to enjoy.
    • 49 Metascore
    • 60 John DeFore
    Endearing performances buoy predictable film about love in the wake of divorce.
    • 49 Metascore
    • 50 John DeFore
    The rest of us will likely fall into one of two camps regarding this well-intentioned film: those who praise it for drawing attention to the suffering of helpless children, and those who find it sufficiently lacking in cinematic value to decide there are better ways of helping those kids than spending 90 minutes watching it.
    • 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.
    • 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.
    • 49 Metascore
    • 40 John DeFore
    However polished the doc's tech and score, it simply doesn't find drama in this familiar template.
    • 49 Metascore
    • 50 John DeFore
    An intriguing but iffy look at alternative therapies that ignores some questions about its subjects.
    • 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.
    • 48 Metascore
    • 60 John DeFore
    Less music-stuffed but more conceptually ambitious than the average music doc.
    • 48 Metascore
    • 60 John DeFore
    A likeable if familiar underdog tale.
    • 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.

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