G. Allen Johnson

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For 212 reviews, this critic has graded:
  • 55% higher than the average critic
  • 0% same as the average critic
  • 45% lower than the average critic
On average, this critic grades 2.8 points higher than other critics. (0-100 point scale)

G. Allen Johnson's Scores

  • Movies
  • TV
Average review score: 67
Highest review score: 100 Brad's Status
Lowest review score: 0 Scoob!
Score distribution:
  1. Negative: 43 out of 212
212 movie reviews
    • 74 Metascore
    • 100 G. Allen Johnson
    It is quite simply one of the great “making of” documentaries of all-time — a short list that includes the George Hickenlooper-Eleanor Coppola documentary “Hearts of Darkness.”
    • 78 Metascore
    • 75 G. Allen Johnson
    For the most part, The Painter and the Thief seems authentic, a very real portrait of two unique individuals. It not only explores the artistic impulse, but also issues of relationships, addiction and rehab. It also provides an interesting glimpse into the Norwegian prison system, which is geared toward rehabilitation rather than punishment.
    • 70 Metascore
    • 75 G. Allen Johnson
    Lucky Grandma isn’t a feel-good comedy at all, but has a parched-dry dark comic approach, keeping Grandma Wong at an emotional remove.
    • 43 Metascore
    • 0 G. Allen Johnson
    Scooby-Doo, where are you? The real one, I mean. The rest of this mess is just a series of nonsensical action sequences.
    • 73 Metascore
    • 75 G. Allen Johnson
    After watching Spaceship Earth, which was completed before the coronavirus pandemic, one can’t help but think about the current experiment conducted by Biosphere 1. As smog clears across urban landscapes due to stay-at-home orders, the vision — and the warnings — laid out by Biosphere 2 remain relevant.
    • 56 Metascore
    • 25 G. Allen Johnson
    Most of Arkansas — Duke’s home state, by the way — just falls flat, despite individual scenes here and there that work.
    • 83 Metascore
    • 100 G. Allen Johnson
    On its own, Driveways would be a sweet, understated masterpiece, simply told, of human connection. But with the death of longtime distinguished stage and movie actor Brian Dennehy on April 15, director Andrew Ahn allows us to say a proper goodbye to the big fella, who gets the final six minutes of the movie all to himself.
    • 68 Metascore
    • 75 G. Allen Johnson
    With a sense of eccentric macabre that recalls Roald Dahl and Charles Addams, The Willoughbys arrives on Netflix with a winning, eclectic energy that should have kids — like the animated moppets in the film — bouncing off the walls. In a good way, of course.
    • 69 Metascore
    • 75 G. Allen Johnson
    In watching The American Nurse, I saw myself not so much in the nurses but in their patients. It occurs to me the nurses are always there, from our birth to death and in between. That in the current pandemic they would need to beg for personal protective equipment is on us as a society. They are our better angels.
    • 79 Metascore
    • 75 G. Allen Johnson
    Overall, Dolphin Reef is spectacular. The filmmaking team does an excellent job of detailing the delicate ecosystem that supports these creatures. Although Echo and his fellow dolphins are the stars, there is a vast supporting cast of humpback whales, sharks, razorfish, sea turtles, mantis shrimp, parrotfish.
    • 77 Metascore
    • 75 G. Allen Johnson
    Bolt tries mightily to make this weighty subject digestible to the average civilian, with some fancy, intricate animated sequences to show us how CRISPR and DNA manipulation work, and while I can’t say I came away from this film being able to coherently explain it, Human Nature works as a glimpse into possible futures and a moral dilemma that doesn’t have easy answers.
    • 65 Metascore
    • 25 G. Allen Johnson
    Because there’s nary a situation that seems reality-based and uncontrived in this movie that has all the subtlety of a sledgehammer, filled with over-the-top cardboard characters that seem sneered upon by their creator. If Mirabella-Davis doesn’t believe in his characters, why should we?
    • 68 Metascore
    • 100 G. Allen Johnson
    Director and co-writer/producer Gavin O’Connor’s meticulous drama feels authentic all the way around. The basketball feels real. The high school kids seem real. Jack’s relationship with his estranged wife Angela (Janina Gavankar) is very believable.
    • 77 Metascore
    • 100 G. Allen Johnson
    A quite interesting and irresistible movie, a sort of cross between Paul Schrader’s recent film of spiritual crisis, “First Reformed,” and Steven Spielberg’s “Catch Me If You Can.” An impostor as anguished priest.
    • 84 Metascore
    • 75 G. Allen Johnson
    Even if the film seems slow at times, there’s always something to look at, including Miroshnichenko and Perelygina, who are able to find grace and dignity in two such odd, hollowed out characters. Maybe, just maybe, these two veterans working in a hospital can heal each other.
    • 70 Metascore
    • 75 G. Allen Johnson
    This is a funny and moving crowd-pleaser — a South by Southwest and Sundance selection, it won the audience award at the Napa Valley Film Festival and was an opening night film at S.F. IndieFest — and it goes down easy.
    • 64 Metascore
    • 25 G. Allen Johnson
    The biggest betrayal of The Traitor is its crime against the usually compelling Mafia movie genre. This is an offer you can refuse.
    • 81 Metascore
    • 25 G. Allen Johnson
    Chinese Portrait is a great art installation, but a thoroughly unsatisfying film.
    • 76 Metascore
    • 100 G. Allen Johnson
    That’s a strength in this documentary. It becomes clear that it’ll take a strongman to bring down a strongman, at least in this case.
    • 70 Metascore
    • 75 G. Allen Johnson
    Color Out of Space is a trashy, ridiculous science fiction/horror film. It is silly, poorly written and, well, I liked it.
    • 26 Metascore
    • 25 G. Allen Johnson
    It’s essentially an animated film, fronted by a live-action Downey and Michael Sheen’s one-note villain. Only Antonio Banderas, in a small role, truly seems to be having a great time.
    • 71 Metascore
    • 75 G. Allen Johnson
    The best part of the film is early on, when Innis Dagg’s story is enlivened by beautiful color 16mm footage she took in the 1950s and ’60s.
    • 39 Metascore
    • 25 G. Allen Johnson
    Just an odd mess of a movie. That you feel anything at all is a tribute to the acting talent of Dinklage and Goggins, who occasionally make us care.
    • 54 Metascore
    • 50 G. Allen Johnson
    Feels like a regifting of previous action adventure favorites, lifting elements from the “Mission: Impossible” series, “Skyfall” and, most of all, “The Incredibles.” It’s fast-moving, entertaining, kinda clever and instantly forgettable.
    • 32 Metascore
    • 50 G. Allen Johnson
    I found “Cats” pretty bland, but it has its moments of catnip, and as a holiday movie option that anyone could see, it might be just the ticket.
    • 62 Metascore
    • 50 G. Allen Johnson
    Bannon is an intriguing figure, a former liberal who went to Harvard Business School and did a hitch in the Navy. His turn in philosophy is worth exploring. He can undeniably hold attention — American Dharma is not a hard watch.
    • 73 Metascore
    • 100 G. Allen Johnson
    The brilliance of Dark Waters is that it is able to lay out the case against DuPont without getting too wonky.
    • 80 Metascore
    • 100 G. Allen Johnson
    Waves is a movie that tears itself apart halfway through with an unspeakable act of violence, then miraculously heals itself. Whatever your reaction to this ambitious, boldly original and hard-hitting family drama, you could never accuse writer-director Trey Edward Shults of holding anything back. He leaves it all on the floor, as they say in basketball.
    • 27 Metascore
    • 25 G. Allen Johnson
    The fact is that too much time is spent with the British characters in the film, time that could have been spent really getting into Rani’s story. She was fighting for the independence of India, but the filmmakers lost their own colonial battle.
    • 94 Metascore
    • 100 G. Allen Johnson
    Ultimately, Marriage Story celebrates life and the journeys all of us are on. Noah Baumbach is the writer-director, and to watch such an incisive, deep-feeling script be given life by actors — Adam Driver, Scarlett Johansson and those around them — at the top of their game is to rediscover movies as a powerful medium of personal expression.

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