For 449 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 1.7 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 Hot Tub Time Machine 2
Score distribution:
  1. Negative: 34 out of 449
449 movie reviews
    • 62 Metascore
    • 70 John DeFore
    The premise, and the hijinks that follow, are about as outrageous as anything in today's crop of raunchy comedies. But Nørgaard offers them with a much drier wit than Hollywood typically delivers.
    • 62 Metascore
    • 70 John DeFore
    Rossier strikes a delicate but credible balance between the former leader's unambiguous statements that he didn't know anything about assassinations and critics' insistence that, even if he didn't specifically give orders, he was "politically and morally responsible."
    • 62 Metascore
    • 80 John DeFore
    Carol Morley's sadly fascinating Dreams of a Life, which plays like a more artful cousin to TV's true-crime documentaries, slowly assembles a portrait of Vincent, unfolding in a way that should earn fans in its niche theatrical run.
    • 62 Metascore
    • 70 John DeFore
    Aftermath's avoidance of Holocaust-film tropes lets the picture address weighty historical and moral issues while fitting into the genre shoes of a small-town thriller.
    • 62 Metascore
    • 70 John DeFore
    Paul Schneider shines in the role, stumbling through a dating world that has changed since his character got hitched, thanks mostly to social media.
    • 62 Metascore
    • 50 John DeFore
    Unfocussed editing and Mark Rivett's unimaginative score contribute to a lightweight feel that is best suited to TV viewing.
    • 62 Metascore
    • 70 John DeFore
    Nicholas Stoller and Jason Segel's latest collaboration offers a more relatable rom-com scenario while generating laughs that should still satisfy "Forgetting Sarah Marshall" fans.
    • 62 Metascore
    • 60 John DeFore
    While it offers some provocative moral quandaries, it serves mostly as a showcase for Patrick Stewart.
    • 62 Metascore
    • 70 John DeFore
    Centurion delivers some large-scale action but plays almost like a Roman-era Western in its depiction of a few soldiers trying to get home alive after the slaughter of their comrades.
    • 62 Metascore
    • 60 John DeFore
    Intelligently assembled by Lemelson, a UCLA anthropologist, it addresses a Westerner's concerns without condescending to its subjects; though a three-family focus is hardly enough to make an authoritative-feeling portrait.
    • 62 Metascore
    • 70 John DeFore
    This film complements rather than duplicating the recent fest title "Butterfly Girl," which also refused to settle for generic notions of bravery and endurance to hone in on an individual teen's specific experience of illness.
    • 61 Metascore
    • 70 John DeFore
    Anne Émond's quietly raw Nuit #1 begins as a highbrow sex film but quickly becomes something much more interesting.
    • 61 Metascore
    • 70 John DeFore
    Revealing tour doc showcases a quick wit and a bruised soul.
    • 61 Metascore
    • 70 John DeFore
    Meyer and Luke Matheny's script is full of the kind of nit-picky detail one hears when birders converse, and milks some life lessons out of philosophical differences between "listers" and "watchers."
    • 61 Metascore
    • 40 John DeFore
    Lucy plays more like a big dumb superhero flick than sci-fi.
    • 61 Metascore
    • 70 John DeFore
    An engrossing two-hander combining the smart-talk microcosm of "My Dinner With Andre" and the sexual dynamics of a Philip Roth novel, David Trueba's Madrid, 1987 is more universal than its title suggests and holds a strong art house appeal.
    • 61 Metascore
    • 60 John DeFore
    Few would fail to be touched by these stories, or by the sight of these men having generations of kids and grandkids gather to celebrate their accomplishment.
    • 61 Metascore
    • 70 John DeFore
    The story's conclusion benefits from a closure that is satisfying despite — and even because of — its predictability.
    • 61 Metascore
    • 80 John DeFore
    A quiet stunner of a drama.
    • 61 Metascore
    • 60 John DeFore
    Though convincing in its argument that pimps and clients are treated much better than they should be in our legal system as compared to prostitutes, the film presents a picture of America's sex-trade landscape that will feel incomplete to many viewers.
    • 61 Metascore
    • 60 John DeFore
    The documentary offers little to further the national discussion on this divisive topic, but its evenhandedness and unstrident tone will go down well with viewers accustomed to more heated treatments of it.
    • 60 Metascore
    • 70 John DeFore
    A cast of young actors is uniformly strong, as is Lance Gewer's photography.
    • 60 Metascore
    • 70 John DeFore
    A compelling tale even for viewers with no interest in the sweet science.
    • 60 Metascore
    • 80 John DeFore
    Pure joy for Beatles fans and, one guesses, charming enough to seduce some viewers who wouldn't mind never hearing "She Loves You" ever again.
    • 60 Metascore
    • 70 John DeFore
    Inevitable or not, it's fun watching two middle-aged lunkheads reverting to adolescent competitiveness, and the fun is compounded by secrecy.
    • 60 Metascore
    • 70 John DeFore
    Viewers will suspect from early on that things aren't as straightforward as they appear, and Clark's screenplay addresses those suspicions only to the extent it must to justify its characters' behavior.
    • 60 Metascore
    • 50 John DeFore
    Liz Marshall's Ghosts in Our Machine trades didacticism for first-person atmospherics.
    • 60 Metascore
    • 80 John DeFore
    RED
    Even the more cartoonish performances, like John Malkovich's acid-damaged paranoiac, fit the movie's vision of the vanished, wild-and-woolly heyday of spycraft.
    • 60 Metascore
    • 50 John DeFore
    A dispiriting horror cheapie whose monsters-in-the-projects premise plays out like an anti-welfare parable.
    • 60 Metascore
    • 50 John DeFore
    A great many of these individual scenes are funny... But the film fails to do what those rare, immortal rom-coms get right: take all its individually pleasing ingredients and make a satisfying movie out of them.

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