For 424 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 1.6 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 Raze
Score distribution:
  1. Negative: 33 out of 424
424 movie reviews
    • 64 Metascore
    • 70 John DeFore
    Etxeberria is a good match for the film's Cassavetes-inspired character study. She's no Gena Rowlands, but this woman is clearly under the influence of something that might destroy more lives than hers.
    • 64 Metascore
    • 80 John DeFore
    Katz has a clear investment in Healy's character and convincingly depicts his choices as inevitable even when they become anything but.
    • 64 Metascore
    • 60 John DeFore
    Though the inventions of Misan Sagay's script emphasize concerns over dowries and social rank that will be grating for many contemporary viewers, extracting little of the humor that Austen regularly found in such hang-ups, the picture's sour notes are balanced by fine performances and clear historical appeal.
    • 64 Metascore
    • 60 John DeFore
    Page's no-regrets spirit and the enraptured testimonials from those who knew her in her prime (including some swooning ex-lovers) overpowers clumsy filmmaking.
    • 64 Metascore
    • 70 John DeFore
    Mitt humanizes a man who was never nearly as good with his target audience as he was with his family.
    • 64 Metascore
    • 80 John DeFore
    As entertaining as any showbiz documentary in recent memory.
    • 64 Metascore
    • 60 John DeFore
    The picture would go nowhere without the friendly chemistry between Lewis and costar Jonny Weston, as the wheelchair-bound high schooler who charms her. If young mothers had any time to go to movies, this one might draw them in droves.
    • 64 Metascore
    • 70 John DeFore
    Following the template of documentaries bent on scaring viewers silly, Oasis winds up with a segment pointing to glimmers of hope, one of which addresses the marketing challenge of convincing citizens that recycled waste water is safe for drinking.
    • 63 Metascore
    • 70 John DeFore
    Entertaining and comprehensive in its account of the man's career.
    • 63 Metascore
    • 60 John DeFore
    Thomas Haden Church hits the exact balance of desperation and resignation demanded by the peculiar story.
    • 63 Metascore
    • 70 John DeFore
    However off-putting this fragmentary approach might be for those who'd prefer a clean chronology of important works and their assimilation into academic histories of art, it's clear by the end that the aesthetic fits the subject like a glove.
    • 63 Metascore
    • 70 John DeFore
    More structure and polish doesn't keep Lynn Shelton's latest from being recognizably hers.
    • 63 Metascore
    • 60 John DeFore
    Sam Eidson is perfect for the lead role, but that doesn't exactly guarantee the fanboy crowd will embrace the film.
    • 63 Metascore
    • 70 John DeFore
    An account of one modern expedition that draws fruitfully upon the lore of another.
    • 62 Metascore
    • 70 John DeFore
    Alternates languidly between wistful nostalgia and a more clear-eyed assessment of its protagonist's choices.
    • 62 Metascore
    • 70 John DeFore
    More warm-hearted than funny, Schwarz's feature debut benefits from an intelligent script and sympathetic lead performance by Griffin Dunne
    • 62 Metascore
    • 60 John DeFore
    The Source does hold enough anthropological value to please some audiences. Despite lacking the recognition factor and lurid tragedy of a phenomenon like Jonestown, the story should attract viewers on the small screen.
    • 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
    • 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
    • 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
    • 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.
    • 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.

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