For 44 reviews, this critic has graded:
  • 59% higher than the average critic
  • 2% same as the average critic
  • 39% lower than the average critic
On average, this critic grades 9 points higher than other critics. (0-100 point scale)

John Powers' Scores

  • Movies
  • TV
Average review score: 68
Highest review score: 100 About Schmidt
Lowest review score: 30 A Decade Under the Influence
Score distribution:
  1. Positive: 25 out of 44
  2. Negative: 1 out of 44
44 movie reviews
    • 72 Metascore
    • 60 John Powers
    Scorsese and his writers have saddled their dream with a corny plot apparently lifted from some old 1930s Warner Bros. film starring Jimmy Cagney and Pat O'Brien.
    • 56 Metascore
    • 60 John Powers
    It's the disease of Hollywood remakes that they nearly always lose sight of what made the original good in the first place. Where Alexander Mackendrick's film offered a delicately diabolical blend of the ordinary and the brutal -- the new Ladykillers bludgeons you with cartoonish gags about stupid football players, irritable-bowel syndrome and somebody accidentally shooting himself in the head.
    • 54 Metascore
    • 50 John Powers
    Van Sant ultimately reveals so little about this odd couple that we frankly don't give a damn what happens to them. Nor, apparently, does he.
    • 48 Metascore
    • 50 John Powers
    Despite the busy camera work, bombastic score and rapt attention to violence, director Antoine Fuqua (Training Day) can't mask the script's white-savior paternalism.
    • 58 Metascore
    • 50 John Powers
    K-19 is so unnervingly square that it seems eerily like Party-sanctioned Soviet filmmaking: Its Motherland-loving sailors, myth-making shots of K-19 and displays of heroism are worthy of the Young Lenin Pioneers' Handbook.
    • 42 Metascore
    • 50 John Powers
    Johnson clearly digs the idea of Daredevil as an agonized hero, slathering the screen with gloomy lighting and Catholic imagery, yet the movie has far less emotional weight than, say, "Spider-Man" (whose building-hopping pyrotechnics it often appears to be copying).
    • 60 Metascore
    • 50 John Powers
    Its schmaltzy manipulations are pure 1940s Hollywood. Still, if you can get past the corn, the story exerts a not-unsatisfying emotional pull thanks to Yun's soulful gravity and a tenderness that Chen hasn't shown quite so openly since his 1984 debut, "Yellow Earth."
    • 50 Metascore
    • 50 John Powers
    Brave, gifted, haunted and poor, these kids are so heartbreaking that you wish Shou had the good sense to give their lives the attention he lavishes on himself.
    • 56 Metascore
    • 40 John Powers
    Although a few moments are hilarious, this would-be romp remains laboriously earthbound when it should be swinging gaily through the trees.
    • 55 Metascore
    • 40 John Powers
    The story itself falls to earth with a thud, not least because of a casting catastrophe. The boyish, goofily smiling Wahlberg is egregiously out of place as the kind of charming-ambiguous dreamboat you'd have to be Cary Grant to pull off.
    • 57 Metascore
    • 40 John Powers
    Dillon doesn't yet possess the directorial chops to give his story the necessary snap; the action too often feels poky and muffled. But he does have a strong sense of place, and the movie's almost worth seeing just for Jim Denault's exquisite cinematography.
    • 62 Metascore
    • 40 John Powers
    Although (Reeves) acting inclines toward the wooden, it's always been his weird genius (if that's the term) to exude a charmed aura, an uncanny sense of being the chosen one -- remember, he's been the Buddha. I'm not sure any other actor could play Neo nearly so well, for the others would all be working to seem like The One (as he's known), while Reeves conveys that quality just by showing up.
    • 31 Metascore
    • 40 John Powers
    The movie's one unalloyed pleasure is a funny Goth Girl, played by Melissa McCarthy, who grasps, as Parker apparently doesn't, that the script is energetic rubbish, not The Greatest Story Ever Told.
    • 67 Metascore
    • 30 John Powers
    One wonders what exactly Richard LaGravenese and the late Ted Demme thought they were doing in this documentary, which doesn't so much look at the period as genuflect before it.