For 956 reviews, this critic has graded:
  • 49% higher than the average critic
  • 5% same as the average critic
  • 46% lower than the average critic
On average, this critic grades 2.9 points lower than other critics. (0-100 point scale)

John DeFore's Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 Me and Earl and the Dying Girl
Lowest review score: 0 Armed Response
Score distribution:
956 movie reviews
    • 66 Metascore
    • 70 John DeFore
    This doc seeks the vulnerability in subjects who live in pursuit of iron-man ideals many of us find ridiculous.
    • 52 Metascore
    • 30 John DeFore
    Beyond the obvious complaints about objectification of women, this second feature from the Canadian who calls himself Director X is just a bore.
    • tbd Metascore
    • 60 John DeFore
    A brief but informative look at a crucial chapter in the fight for marriage equality in America.
    • 55 Metascore
    • 60 John DeFore
    The picture is mildly unsettling even if its ingredients don't add up to as much as they promise to.
    • 52 Metascore
    • 70 John DeFore
    Bayona not only nods to the histories of classic monster movies and the legacy of original Jurassic helmer Steven Spielberg; he brings his own experience to bear, treating monsters like actual characters and trapping us in a vast mansion that's as full of secrets as the site of his breakthrough 2007 film The Orphanage.
    • 56 Metascore
    • 60 John DeFore
    If the part of the film devoted to endurance lacks the harrowing power of, say, 2013's All Is Lost, it at least gives Woodley the opportunity to convincingly sink her teeth into a plum dramatic lead role as a young woman fighting fiercely against the forces of nature (instead of a dystopian civilization).
    • tbd Metascore
    • 50 John DeFore
    The director and his actors never really make the Gu-Lu connection persuasive.
    • tbd Metascore
    • 20 John DeFore
    This derivative B movie is sure to disappoint fans of prior JCVD/Lundgren outings — which are an awfully low bar to hurdle.
    • 59 Metascore
    • 50 John DeFore
    With so many discussions to drop in on, each with its own stuff to show off...each sequence can only hint at what's fascinating about its field.
    • 66 Metascore
    • 80 John DeFore
    There's action aplenty throughout the film, but Deadpool 2 doesn't bog down in it as many overcooked comic-book sequels do. With Reynolds' charismatic irreverence at its core, the pic moves from bloody mayhem to lewd comedy and back fluidly, occasionally even making room to go warm and mushy.
    • tbd Metascore
    • 80 John DeFore
    Throughout, Shuman's eye, her editing, and Paul Brill's charming score weave the individual stories Pigeon finds into the tapestry of life on the street
    • 49 Metascore
    • 30 John DeFore
    The doc is so eager to tell you who's visited the hotel and eaten at the restaurant (JFK allegedly trysted here, which didn't keep his widow from enjoying the Cobb salad) that it shares very little about the hotel's origins and operations.
    • 26 Metascore
    • 30 John DeFore
    Vaughn Stein's Terminal blends tropes from several sorts of crime flicks into a soundstagey affair that's more brittle than hard-boiled.
    • 53 Metascore
    • 50 John DeFore
    But the synthesis is underwhelming on screen where it might have resonated in Lipsyte's book. Here, Measure becomes a mildly nostalgic, mildly romantic entry in a genre that, more than most, requires that the viewer feels a personal connection to the misfit protagonist on screen.
    • 64 Metascore
    • 40 John DeFore
    Ray meets Helen, all right, but moviegoers expecting a sprightly golden-years romance have come to the wrong place. So have those looking for a moody but credible reflection on decades of regrets.
    • 70 Metascore
    • 70 John DeFore
    As viewers, we have no idea whether the doc's last act is building toward a triumphant reunion or a big dead end. Suffice to say that the final scenes, never manipulative, achieve an emotional impact appropriate to the scale of this journey.
    • 42 Metascore
    • 50 John DeFore
    First-time directors Bob Fisher and Rob Greenberg start off with a movie so dull it threatens to vanish from the viewer's memory before it's even finished. Things get better midway through, with the directors' screenplay finally playing to the talents of at least one of its stars, Derbez.
    • 44 Metascore
    • 70 John DeFore
    Zoe
    A human/robot love story that is less deeply imaginative than Spike Jonze's Her and less heartbreaking than Doremus' own Like Crazy, the picture is nevertheless a beautifully acted, affecting drama that teases some questions society may need to answer sooner than we expect.
    • tbd Metascore
    • 70 John DeFore
    The doc's heart is with ordinary people who have no show-business ambitions.
    • tbd Metascore
    • 70 John DeFore
    Stockholm, which gently massages actual events to serve as a fine vehicle for Noomi Rapace and Ethan Hawke, is far from the first movie to believably show a crime victim coming to sympathize with a criminal. But it's a funny and agile one.
    • 71 Metascore
    • 70 John DeFore
    A warm if not quite comprehensive-feeling biography of a performer who, even for a celebrity, elicited an unusually strong personal affection from fans, Lisa D'Apolito's Love, Gilda tells the far too short story of Gilda Radner.
    • 67 Metascore
    • 70 John DeFore
    The debut feature succeeds thanks to a credibly bifurcated performance by star Ansel Elgort.
    • 76 Metascore
    • 80 John DeFore
    The premise offers plenty of room for yet another impressive performance by Mary Elizabeth Winstead.
    • 9 Metascore
    • 10 John DeFore
    The action doesn't start until an hour into the picture, and is as unimaginative as everything that has preceded it.
    • 68 Metascore
    • 60 John DeFore
    This debut doc would have benefited from some statistics to back up its ample expert testimony. Numbers would be useful, for instance, to show how SAT scores fail to correlate with college performance or success later in life. It also would be more rounded if it gave time to the SAT's advocates instead of using footage of old speeches to represent their side.
    • tbd Metascore
    • 70 John DeFore
    Though its production is humble and its account full of images many won't want to see, the case represents crucial knowledge for Americans concerned with the boundaries of the First Amendment.
    • 27 Metascore
    • 30 John DeFore
    It is full of the signifiers of musical devotion but lacks the hummably acerbic insight of the best music it namechecks.
    • 72 Metascore
    • 90 John DeFore
    One of the most transporting depictions of the Downtown New York scene (in a field crowded with docs, memoirs and fictions — some by artists who weren't alive at the time), Sara Driver's Boom for Real: The Late Teenage Years of Jean-Michel Basquiat more than does justice to its acknowledged subject, partly by refusing to divorce him from his context.
    • tbd Metascore
    • 10 John DeFore
    The cast does what it can with this thin material, but even at its best, 4/20 Massacre is duller than exploitation cinema has any right to be.
    • tbd Metascore
    • 70 John DeFore
    Overflowing with wholesome vibes yet not sappy, the film provokes warm feelings, even if its subject doesn't really demand feature-length treatment.

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