For 477 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 I Kissed a Vampire
Score distribution:
  1. Negative: 35 out of 477
477 movie reviews
    • 56 Metascore
    • 60 John DeFore
    Nelson's amiable comedy occasionally gets fixated on things that don't serve its overall purpose and is too self-conscious to really shine. But it's a more competent, accessible film than its stealthy theatrical release suggests.
    • 48 Metascore
    • 60 John DeFore
    A likeable if familiar underdog tale.
    • 56 Metascore
    • 60 John DeFore
    More a tone poem or gallery installation piece than a verite outing.
    • 51 Metascore
    • 60 John DeFore
    Annette Bening captivates as the self-delusionist, with Ed Harris ruggedly irresistible as the object of her fantasy.
    • 68 Metascore
    • 60 John DeFore
    The easygoing comedy keeps a familiar story going despite minor plot hiccups.
    • 53 Metascore
    • 60 John DeFore
    Captivating for a long stretch.
    • 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.
    • 72 Metascore
    • 60 John DeFore
    One of the aspects that keeps Time from projecting an advertorial vibe, its indifference to outside voices, may also leave casual fans wanting a bit more.
    • 44 Metascore
    • 60 John DeFore
    Pretty in a decaying-opulence sort of way and well cast, the film is more superficial than its nods to highbrow culture would suggest.
    • 44 Metascore
    • 60 John DeFore
    Motivated by an earnest need to inspire, Schmidt's debut suffers from stiffness but improves as it goes, the tension of its plot overcoming many dramatic failings.
    • 63 Metascore
    • 60 John DeFore
    Thomas Haden Church hits the exact balance of desperation and resignation demanded by the peculiar story.
    • 68 Metascore
    • 60 John DeFore
    A sharp-looking and enjoyable doc that celebrates the writer's legacy but, in its willfully obscure structure, seems a bit too bent on echoing his famous nonconformity.
    • tbd Metascore
    • 60 John DeFore
    Documentary will play best with very serious classical fans.
    • 72 Metascore
    • 60 John DeFore
    Meditative, glossy doc provides some glimpses behind the curtain but isn't terribly enlightening.
    • 51 Metascore
    • 60 John DeFore
    Hugely entertaining for much of its short running time before a third act that's problematic for various reasons, the film benefits from a top-notch cast and some sharp dialogue but will leave many viewers scratching their heads.
    • 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.
    • tbd Metascore
    • 60 John DeFore
    The doc highlights undeniably important realities; but it doesn't find a narrative that sustains feature treatment.
    • 45 Metascore
    • 60 John DeFore
    There's nothing new under the sun, but About Alex is very, very not new. Luckily, most of its capable cast muster the warmth we require, and Zwick's script offers more humor (however mild the laughs are) than sentimentality.
    • 69 Metascore
    • 60 John DeFore
    The movie doesn't really focus on many individuals long enough to make them compelling screen characters.
    • 34 Metascore
    • 60 John DeFore
    The script, by Beers and Mathew Harawitz, offers a little less invention in this endless-repeat scenario than it might have.
    • 48 Metascore
    • 60 John DeFore
    Less music-stuffed but more conceptually ambitious than the average music doc.
    • 51 Metascore
    • 60 John DeFore
    Though cheerful and highly polished, the doc's storytelling is less effective than it might've been, a failing balanced by the likability of its lead characters and the scrappy spirit of their project.
    • 55 Metascore
    • 60 John DeFore
    While Freeland's plotting is graceful, there are occasional moments of stiffness in the dialogue itself, brief rough patches her largely neophyte cast can't fix in the delivery.
    • 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.
    • 47 Metascore
    • 60 John DeFore
    A lazy ending mars this fine, if generic, take on a much-loved YA novel.
    • 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.
    • 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.
    • 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.
    • 56 Metascore
    • 60 John DeFore
    There's a good deal of pleasure to draw from some of these bonding moments, especially among vets who haven't seen each other for years, but not enough to justify overshadowing the movie's other elements.
    • 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.

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