For 483 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: 36 out of 483
483 movie reviews
    • 65 Metascore
    • 60 John DeFore
    A feel-good picture that is a little less affecting than it might have been, but is entertaining enough.
    • 57 Metascore
    • 60 John DeFore
    Katz is much more interested in observing Jake's newfound emotional core — and probably a bit too confident that a moist-eyed Kroll can turn this quite likable but slight family reunion into something more touching.
    • 49 Metascore
    • 60 John DeFore
    While Lee leaves some of Park's more memorable outrages behind, he and screenwriter Mark Protosevich find one or two ways to up the taboo-testing ante, small surprises that retain the tale's edge without pushing into the realm of exploitation.
    • 47 Metascore
    • 60 John DeFore
    A fairy tale about parenting that stays kid-friendly without completely glossing over the darker themes of its premise.
    • 57 Metascore
    • 60 John DeFore
    Charming at times but surprisingly cheap-feeling given the cast Heckerling has assembled.
    • 58 Metascore
    • 60 John DeFore
    Viewers will surely have their curiosity piqued, but may not walk out convinced of Jobriath's place in the pop Pantheon.
    • 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.
    • 72 Metascore
    • 60 John DeFore
    The plot reversals of the third act happen rather abruptly, perhaps unbelievably, in comparison to what precedes them. But those who've been in Margaret's shoes may find this appropriate — an honest acknowledgement of the false starts that can result when a newly hatched idealist tries to apply abstract principles to messy human emotions.
    • 49 Metascore
    • 60 John DeFore
    Endearing performances buoy predictable film about love in the wake of divorce.
    • 49 Metascore
    • 60 John DeFore
    More a filmed haunted house than a movie, the picture is in love with the cobbled-together monsters on offer and will engender similar emotions in many horror buffs.
    • 49 Metascore
    • 60 John DeFore
    The pic works best when it's least self-referential, focusing on romantic attractions in many stages of development. Though it won't do for its authors what Swingers and Good Will Hunting did for theirs, Loitering is smartly written enough to further their off-camera careers; thanks to predictably winning performances from Marisa Tomei and Sam Rockwell.
    • 49 Metascore
    • 60 John DeFore
    The wild card in all this remains Seann William Scott's Steve Stifler, the rampaging id whose indignation at his peers' maturity provides most of the film's real laughs.
    • 47 Metascore
    • 60 John DeFore
    For all her desk-stashed booze and inappropriately tight skirts, the movie offers Diaz a pretty bland badness.
    • 56 Metascore
    • 60 John DeFore
    Although Weigert is convincing as Abby, Passon's attitude toward the character is hazy.
    • 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.
    • 62 Metascore
    • 60 John DeFore
    While it offers some provocative moral quandaries, it serves mostly as a showcase for Patrick Stewart.
    • 72 Metascore
    • 60 John DeFore
    Neither as frightening as a good horror flick nor as enlightening as a straight documentary, Rodney Ascher's The Nightmare borrows from both worlds in its depiction of the phenomenon known as sleep paralysis.
    • 50 Metascore
    • 60 John DeFore
    While the personalities engage the viewer, the film's story is a diffuse one.
    • 46 Metascore
    • 60 John DeFore
    Lightweight but likeably uncynical.
    • 74 Metascore
    • 60 John DeFore
    The doc's structure is a countdown to opening night, but planning goes smoothly enough that little drama accompanies that ticking clock.
    • 57 Metascore
    • 60 John DeFore
    Modest but revealing documentary.
    • 54 Metascore
    • 60 John DeFore
    A commendably restrained loser-turns-winner tale offering an unexpected second showcase for Terri star Jacob Wysocki, Matthew Lillard's Fat Kid Rules the World is less colorful than its grandeur-deluded title suggests.
    • 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.
    • 57 Metascore
    • 60 John DeFore
    Money for Nothing feels less prophetic than generally handwringing -- it's just enough to produce vague worry in the unschooled without moving policymakers to do anything they're not already doing.
    • 68 Metascore
    • 60 John DeFore
    The easygoing comedy keeps a familiar story going despite minor plot hiccups.
    • 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.
    • 67 Metascore
    • 60 John DeFore
    A film that (whatever massive efforts were required to work around [Paul Walker's] absence) is as stupendously stupid and stupidly diverting as it could have hoped to be had everything gone as planned.
    • 63 Metascore
    • 60 John DeFore
    Thomas Haden Church hits the exact balance of desperation and resignation demanded by the peculiar story.
    • 51 Metascore
    • 60 John DeFore
    Annette Bening captivates as the self-delusionist, with Ed Harris ruggedly irresistible as the object of her fantasy.
    • 69 Metascore
    • 60 John DeFore
    The movie doesn't really focus on many individuals long enough to make them compelling screen characters.

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