John Patterson
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For 133 reviews, this critic has graded:
  • 55% higher than the average critic
  • 5% same as the average critic
  • 40% lower than the average critic
On average, this critic grades 5 points lower than other critics. (0-100 point scale)

John Patterson's Scores

  • Movies
  • TV
Average review score: 54
Highest review score: 100 The Fallen Idol (re-release)
Lowest review score: 0 3 Strikes
Score distribution:
  1. Positive: 55 out of 133
  2. Negative: 29 out of 133
133 movie reviews
    • 44 Metascore
    • 40 John Patterson
    Oddly anemic and muted -- BBC Saturday-night material.
    • 52 Metascore
    • 40 John Patterson
    Richer and cleverer than any Merchant Ivory movie in memory.
    • 31 Metascore
    • 40 John Patterson
    Jolie hogs the spotlight as usual, leaving romantic interest Ed Burns struggling to register and only Shaloub -- fetid, dirty, soulful -- with his dignity intact.
    • 33 Metascore
    • 40 John Patterson
    Remarkably, it took four writers to concoct this tin-eared, slighter-than-slight farce.
    • 58 Metascore
    • 40 John Patterson
    Somehow poor pacing and this lack of visual variety manage to make a great show seem boring.
    • 35 Metascore
    • 40 John Patterson
    The always-watchable Bologna is the adhesive holding together this slight and gentle romantic comedy, lending it perhaps more conviction and authority than the material warrants.
    • 66 Metascore
    • 40 John Patterson
    As Tweedy talks about canning his stockbroker and repairing his pool, you yearn for a few airborne TV sets or nude groupies on the nod to liven things up. And what do we get? Diet Coke! Tonight is definitely not the night.
    • 30 Metascore
    • 40 John Patterson
    A coercive script by James Kearns, and some middling direction by Nick Cassavetes, can't rob the movie of an undeniable, headlong crowd-pleasing power.
    • 35 Metascore
    • 40 John Patterson
    Disfigured by flabby dialogue (“You can't put a number on my dreams!”), unfunny pratfalls and criminally slack pacing.
    • 31 Metascore
    • 40 John Patterson
    Even the relatively successful pairing of neckless maestro of anxiety Stiller with the indomitably effervescent Black gets bogged down by Steve Adams' aimless screenplay. Would the Barry Levinson who once made "Diner" please wake up and pull himself together?
    • 46 Metascore
    • 40 John Patterson
    Yet another unfunny buppie sex comedy in the manner of "The Brothers," "Two Can Play That Game" and "Deliver Us From Eva."
    • 30 Metascore
    • 40 John Patterson
    Although its lushness and penchant for melodrama are the cinematic equivalent of Billy Sherrill's syrupy string arrangements for George Jones, Tammy Wynette and Charlie Rich circa 1973, the movie deftly manages to remain sweet without becoming saccharine.
    • 33 Metascore
    • 40 John Patterson
    Jackson and Levy strike only damp sparks off each other, and they seem to have been introduced to each other --without benefit of rehearsal -- mere moments before the director cried "Action!"
    • 45 Metascore
    • 40 John Patterson
    Even more problematic is the script's clumsy, sprawling architecture, Sheridan's clubfooted sense of pacing and his grubby, indistinct visuals. The only upside? The Chieftains aren't on the soundtrack.
    • 36 Metascore
    • 30 John Patterson
    A little bit "pi," a little bit "julien donkey-boy," a little bit "Eraserhead," Buddy Boy doesn't equal these, but offers bizarre pleasures of its own.
    • 30 Metascore
    • 30 John Patterson
    Koppelman and Lieven's toneless, generic direction style is slack, not slick, and they handle actors like livestock. Only John Malkovich, as Matty's psychotic uncle, retains his dignity.
    • 44 Metascore
    • 30 John Patterson
    The narrative chronology is so heavily hacked about, its tenses so addled and the material so thinly spread across so many characters, one can scarcely keep it straight in one's head without going cross-eyed.
    • 29 Metascore
    • 30 John Patterson
    Marks no discernible improvement on its predecessors "Deuce Bigalow: Male Gigolo" and "The Animal," though the sight of the deeply unprepossessing Schneider all dolled up for girlie business is good for a few shallow chuckles.
    • 33 Metascore
    • 30 John Patterson
    The interchangeable males all resemble Freddie Prinze Jr., and Anderson's direction is no less anemic, making one yearn for an Escape/Quit button that, sadly, doesn't exist in this medium.
    • 34 Metascore
    • 30 John Patterson
    No matter how “real” things appear, scenarios and story arcs are relentlessly imposed upon the partay-cipants so as to finesse a narrative as crudely overdetermined and howlingly predictable as any studio-manufactured fiction.
    • 48 Metascore
    • 30 John Patterson
    Oscillating gracelessly between the coarse and the merely saccharine, 50 First Dates, directed with zero visual or comedic flair by Peter Segal (Anger Management, Tommy Boy), showcases Sandler's cuddlier side as it reprises the tepid chemistry that he and Barrymore road-tested in "The Wedding Singer."
    • 46 Metascore
    • 30 John Patterson
    Irish director David Caffrey and English screenwriter Jeremy Drysdale have, respectively, zero sense of pace and a tin-eared grasp of period speech, and together fail either to let us care about their characters or to create any sense of a living era.
    • 33 Metascore
    • 30 John Patterson
    RV
    In RV, the downwardly spiraling career trajectories of Robin Williams and director Barry Sonnenfeld intertwine like the ropes of a tangled parachute, and all the helpless viewer can do is look on aghast as the whole abortive fiasco plummets toward Earth.
    • 24 Metascore
    • 20 John Patterson
    If you've never seen the original, you may have no idea what's going on.
    • 31 Metascore
    • 20 John Patterson
    Catalog of ugly female stereotypes and rotten jokes.
    • 28 Metascore
    • 20 John Patterson
    Director Jordan Brady achieves the remarkable feat of squandering a topnotch foursome of actors -- particularly Theron, a very game and able comedienne -- by shoving them into every clichéd white-trash situation imaginable.
    • 25 Metascore
    • 20 John Patterson
    Occasionally the Woo-inflected action sequences - particularly a horse stampede through town on hanging day, and an escape from a moving train - rouse the film from its anti-historic, even mythophobic torpor.
    • 23 Metascore
    • 20 John Patterson
    A waste of the filmmakers' time and ours, and offering further evidence that, outside the art house, much British cinema has its head jammed tightly up its own arse.
    • 32 Metascore
    • 20 John Patterson
    A cut above the usual teenage-wasteland movie.
    • 19 Metascore
    • 20 John Patterson
    Levy, Luis Guzman, Cheri Oteri -- utterly wasted. At 82 minutes it feels longer than “Lawrence of Arabia” -- and a lot less funny.

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