For 563 reviews, this critic has graded:
  • 54% higher than the average critic
  • 3% same as the average critic
  • 43% lower than the average critic
On average, this critic grades 0.9 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 Raze
Score distribution:
  1. Negative: 46 out of 563
563 movie reviews
    • 49 Metascore
    • 50 John DeFore
    The film offers some diverting background on the man.
    • 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
    • 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
    • 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.
    • 48 Metascore
    • 50 John DeFore
    You ought to have to be an unusually interesting person, or at least be capable of presenting your commonplace tribulations in an interesting light, before you can ask moviegoers to spend fifteen bucks to watch you onscreen. Nina Davenport's First Comes Love doesn't buy into this rule.
    • 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.
    • 47 Metascore
    • 50 John DeFore
    [A] semi-convincing yet enjoyable tale, relying on familiar names in a cast that acquits itself well given the demands of the unusual plot.
    • 47 Metascore
    • 60 John DeFore
    For all her desk-stashed booze and inappropriately tight skirts, the movie offers Diaz a pretty bland badness.
    • 47 Metascore
    • 50 John DeFore
    Informative and lively if low on cinematic value, the documentary will play well on the small screen.
    • 47 Metascore
    • 40 John DeFore
    The picture's first-person focus makes it surprisingly uninformative and occasionally annoying.
    • 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.
    • 47 Metascore
    • 50 John DeFore
    A very sympathetic turn by Colm Meaney both lends box-office appeal and helps Byrne pull back from the saccharine possibilities inherent in the premise.
    • 47 Metascore
    • 40 John DeFore
    Begins as a marginally fun diversion before proving to have nearly no interest in the possibilities of its premise.
    • 47 Metascore
    • 40 John DeFore
    It's pretty silly stuff, leaving the film to rely on more conventional car chases, woman-in-peril scenarios and mistaken identity to keep things interesting -- all seen on that laptop via security cameras and the like.
    • 47 Metascore
    • 60 John DeFore
    A lazy ending mars this fine, if generic, take on a much-loved YA novel.
    • 47 Metascore
    • 60 John DeFore
    A fairy tale about parenting that stays kid-friendly without completely glossing over the darker themes of its premise.
    • 47 Metascore
    • 40 John DeFore
    While Leather Bar will surely make some viewers itchy, its most compelling subject isn't whether straight guys can stand to watch one man pleasuring another. More interesting is the question of what would make this project art as opposed to porn.
    • 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.
    • 46 Metascore
    • 40 John DeFore
    First-time feature helmer Romanowsky has a hard time distinguishing between the things that draw her to Elliott's story and the things that make him pathetic.
    • 46 Metascore
    • 60 John DeFore
    Lightweight but likeably uncynical.
    • 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.
    • 46 Metascore
    • 40 John DeFore
    A damning account of institutional dysfunction whose ability to stoke indignation is undercut by its filmmakers' misguided comic antics.
    • 45 Metascore
    • 50 John DeFore
    Formulaic and often hard to swallow, the picture offers little beyond the familiar pleasures of Duvall's old-coot mode.

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