For 430 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 1.5 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 I Kissed a Vampire
Score distribution:
  1. Negative: 33 out of 430
430 movie reviews
    • 54 Metascore
    • 50 John DeFore
    In his 4:44 Last Day on Earth, the auteur imagines the apocalypse from an aging NYC hipster's perspective, hitting melancholy notes that may ring true for a small segment of the art-house audience but, without the compelling presence of Willem Dafoe, would have little hope at the box office.
    • 47 Metascore
    • 50 John DeFore
    Informative and lively if low on cinematic value, the documentary will play well on the small screen.
    • 41 Metascore
    • 50 John DeFore
    Amusing but scattered and unconvincing comedy.
    • 56 Metascore
    • 50 John DeFore
    A niche theatrical run might draw fans of Goldthwait's previous work, this effort isn't likely to get as much help from critics as those sometimes did.
    • 50 Metascore
    • 50 John DeFore
    A dicey blend that generates viewer goodwill but can't make its conflicting vibes gel, A Bag of Hammers will play best with the most soft-hearted viewers provided they don't mind rooting for unrepentant felons.
    • 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.
    • 80 Metascore
    • 50 John DeFore
    The Queen of Versailles will prompt loathing not only among the so-called 99 Percent, but among those in the top 1 percent who would like someone more sane to represent them on camera.
    • 54 Metascore
    • 50 John DeFore
    While Big Boys addresses the extent to which journalists (particularly in the U.S., Gertten believes) too readily accept the claims of powerful entities, the film misses the opportunity to explore this issue in a more universal way.
    • 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.
    • 68 Metascore
    • 50 John DeFore
    More impressionistic than enlightening, Heidi Ewing and Rachel Grady's Detropia introduces us to some interesting citizens of Detroit and gives them a welcome opportunity to speak for themselves, but reveals little we don't already know.
    • 73 Metascore
    • 50 John DeFore
    Though not novel enough to attract non-devotees of America's Pastime, the film should please fans on the small screen.
    • 50 Metascore
    • 50 John DeFore
    Will charm many arthouse patrons, though some highbrow-leaning art lovers will find the subject unworthy of such attention.
    • 53 Metascore
    • 50 John DeFore
    It has little to offer a well-informed viewer.
    • 37 Metascore
    • 50 John DeFore
    Emphasizing local color but often unconvincing in its depiction of social customs.
    • 49 Metascore
    • 50 John DeFore
    Diehard fashionistas will likely want to see it, but few others will take notice.
    • 60 Metascore
    • 50 John DeFore
    A dispiriting horror cheapie whose monsters-in-the-projects premise plays out like an anti-welfare parable.
    • 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.
    • 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.
    • 76 Metascore
    • 50 John DeFore
    Heartfelt but clumsy.
    • 51 Metascore
    • 50 John DeFore
    Sincere performances and well-intentioned scripting should help it with vets eager to see their stories told on-screen, but the film's dreary, secondhand feel is hard to overcome.
    • 53 Metascore
    • 50 John DeFore
    A supernatural action comedy that can never live up to its exciting opening scenes, Don Coscarelli's John Dies at the End mixes horror-tinged mayhem with smart-alec laughs but loses momentum early and gets bogged down in exposition.
    • 38 Metascore
    • 50 John DeFore
    The film's failure to raise the temperature gradually leaves viewers less involved than we should be.
    • 23 Metascore
    • 50 John DeFore
    A curiosity telling the President's story through the eyes of longtime friend Ward Hill Lamon, it's of interest only to serious history-hounds and techies curious about its unusual green-screen production.
    • 70 Metascore
    • 50 John DeFore
    Kids with healthy attention spans may warm to its (literally) colorful characters and outside-the-frame action, but most will find it as lifeless as their parents do.
    • 74 Metascore
    • 50 John DeFore
    Crude production values are a stumbling block for bare-bones tale.
    • 34 Metascore
    • 50 John DeFore
    Named for a slur used against Northerners who opposed waging war on the South, the film works best when focused on Abner Beech (Billy Campbell), whose conscience-driven minority opinion makes him a pariah in his upstate New York village.
    • 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.
    • 44 Metascore
    • 50 John DeFore
    Though it lacks the specific argumentative point of view that might have carried it into the mainstream, its sympathetic approach to subjects offers a compelling human perspective on questions that get too little attention in debates about health care.
    • 49 Metascore
    • 50 John DeFore
    The most compelling thing here by far is the film's vision of Assange, by all accounts a man of enormous self-regard and slippery ethics. Benedict Cumberbatch has the character in hand from the start.
    • 53 Metascore
    • 50 John DeFore
    Cartoonish hyperbole aside, the investigation does have its high points.

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