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 Before Midnight
Lowest review score: 10 Gut
Score distribution:
  1. Negative: 51 out of 613
613 movie reviews
    • 43 Metascore
    • 40 John DeFore
    Though full of material that will move sports fans, some questions of emphasis and lack of polish make the film less galvanizing than it might've been.
    • 43 Metascore
    • 50 John DeFore
    Full of legitimate, even urgent concerns but so garish in tone it encourages viewers to view it as propaganda, Peter Navarro's Death By China does a disservice to its message.
    • 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.
    • 42 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.
    • 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.
    • 42 Metascore
    • 40 John DeFore
    Babbit's flat direction has none of the lurid appeal or humor that (along with a much more appealing cast) sustained John McNaughton's notionally similar "Wild Things" through crazy plot contrivances.
    • 41 Metascore
    • 40 John DeFore
    Director David Mackenzie's film about two rival band members handcuffed to each other takes too long to find its footing.
    • 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.
    • 41 Metascore
    • 50 John DeFore
    Amusing but scattered and unconvincing comedy.
    • 41 Metascore
    • 40 John DeFore
    The film's generosity toward Christina's decision-making is, however true to life, dramatically unsatisfying.
    • 41 Metascore
    • 50 John DeFore
    A campaign movie for viewers who, if they care about politics at all, certainly don't require the full Sorkin treatment.
    • 40 Metascore
    • 50 John DeFore
    Amusing but not as funny or suspenseful as it could be.
    • 40 Metascore
    • 50 John DeFore
    The determined, gently cantankerous oldster's personality is the main attraction here, in a doc that takes viewers' interest for granted.
    • 40 Metascore
    • 40 John DeFore
    Sporadically funny though less effective at selling its melancholy undercurrents.
    • 40 Metascore
    • 50 John DeFore
    While the supernatural side of the film suffers a flaw or two — continued references to The Doors are superfluous and sometimes chuckle-inducing — its central conflict works.
    • 40 Metascore
    • 40 John DeFore
    More casual fans are advised to wait a movie or two and see if Begos can do anything new with the idiom he knows so well.
    • 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.
    • 40 Metascore
    • 50 John DeFore
    Renzi's uneven script makes this a less sturdy vehicle than 2012's Arbitrage, and a less marketable one given the absence of thriller elements that sustained that film's character study. Still, there's plenty here for Gere's admirers to appreciate.
    • 39 Metascore
    • 50 John DeFore
    The second half groans under too many dumb contrivances, even if the dumbest — a sword fight at a publicity event — leads to a credit-sequence gag that earns more laughs than anything in the film.
    • 39 Metascore
    • 40 John DeFore
    Obvious parallels to "Thelma & Louise" do little to raise the dramatic stakes here.
    • 39 Metascore
    • 40 John DeFore
    Aiming for Hitchcockian suspense but coming closer to daytime drama, the film offers only occasional tension.
    • 38 Metascore
    • 50 John DeFore
    The film's failure to raise the temperature gradually leaves viewers less involved than we should be.
    • 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.
    • 37 Metascore
    • 50 John DeFore
    Emphasizing local color but often unconvincing in its depiction of social customs.
    • 37 Metascore
    • 50 John DeFore
    The romantic dilemmas suffered by these twentysomethings may be universal, but their naive attempts to address them are hard to buy.
    • 37 Metascore
    • 40 John DeFore
    Though it's better than its "dump this thing" theatrical release would suggest, Cell is far from excellent.
    • 37 Metascore
    • 40 John DeFore
    Unfortunately, writer-director Scott Walker's film is a muddled and strangely inert one, generating little of the suspense or anguish its subject requires; despite its high-profile cast.
    • 37 Metascore
    • 50 John DeFore
    Martin's script holds some hard-boiled appeal, but his direction (some nice technical flourishes aside) doesn't back it up.
    • 36 Metascore
    • 60 John DeFore
    A good-looking debut offering more atmosphere than action.
    • 36 Metascore
    • 40 John DeFore
    Pretty, occasionally witty and not believable for a moment, Sophie Lellouche's Paris-Manhattan is suffused with fannish love for Woody Allen's films but hardly lives up to their legacy.

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