Dear John - Movie Reviews - Rotten Tomatoes

Dear John Reviews

Top Critic
Aaron Hillis
Time Out
November 17, 2011
Full Review | Original Score: 2/5
Top Critic
Christine Champ
Film.com
May 6, 2011
It's like a bad soap opera.
Full Review | Original Score: D+
Top Critic
July 4, 2010
What starts as a charming anachronism %u2014 pens, paper and the postal service in an impersonal digital age %u2014 becomes tedious as Hallstrom is reduced to interminable, repetitive montages covering the many months that the pair are apart.
Full Review | Original Score: 3.5/10
Top Critic
Cath Clarke
Time Out
April 15, 2010
A sucker for a cheap sob, it left me cold.
Full Review | Original Score: 2/5
Top Critic
Melissa Anderson
L.A. Weekly
February 12, 2010
The biggest surprise here is Tatum, whose butch reticence has never been put to better use: His saddest farewell isn't to his lady but to a man even more uncommunicative than he is.
Top Critic
Peter Rainer
Christian Science Monitor
February 12, 2010
Halfway through the movie, I decided a better title for this weepie contraption would be The Hurt Letter. Tatum is stolid and semi-expressive, Seyfried widens her eyes to saucer-size.
Full Review | Original Score: C
Top Critic
Peter Travers
Rolling Stone
February 11, 2010
Indecently exploits 9/11 and throws in autism and canver for unscrupulous measure.
Full Review | Original Score: 1/4
Top Critic
Michael Phillips
At the Movies
February 8, 2010
I just did not get pulled in.
Top Critic
Amy Nicholson
I.E. Weekly
February 5, 2010
When movie mechanics wedge into their romance, we check out. But there's enough love in this love story to make us feel for a son and his father and their attempts to connect
Full Review | Original Score: B-
Top Critic
A.O. Scott
New York Times
February 5, 2010
Dear John carefully distills selected elements of human experience and reduces them to a sweet and digestible syrup. It may not be strong medicine, but it delivers an effective, pleasing dose of pure sentiment and vicarious heartache.
| Original Score: 2.5/5
Top Critic
Amy Biancolli
Houston Chronicle
February 5, 2010
There is not much point throwing Channing Tatum and Amanda Seyfried into a movie together if they can't devote every waking minute to making out.
Full Review | Original Score: 2/4
Top Critic
Lisa Schwarzbaum
Entertainment Weekly
February 5, 2010
Lasse Hallstrom directs with a softness that makes even combat look tranquil.
Full Review | Original Score: C+
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Rick Groen
Globe and Mail
February 5, 2010
C'mon, it's the millennium, it's the electronic age, where soldiers everywhere fight with one finger on the trigger of their gun and the other on the send button of their cell phone.
Full Review | Original Score: 1/4
Top Critic
Tom Long
Detroit News
February 5, 2010
What you end up with is indeed a big pile of goop.
Full Review | Original Score: C-
Top Critic
Richard Roeper
Richard Roeper.com
February 5, 2010
"Dear John: I'm in a really sappy movie based on a Nicholas Sparks novel, can you please help me!!!???"
Full Review | Original Score: 2.5/5
Top Critic
Randy Myers
San Jose Mercury News
February 5, 2010
Dear John succeeds where Sparks duds like Rodanthe crumbled because it harnesses fresher talents to pull off a comforting tale about the enduring power of love.
Top Critic
Michael O'Sullivan
Washington Post
February 5, 2010
Even Seyfried, who otherwise makes a credible love interest, couldn't convince me -- or, by the sound of the audience's nervous laughter, anyone else in the theater -- that she had to do what she did.
Full Review | Original Score: 2/4
Top Critic
Lou Lumenick
New York Post
February 5, 2010
The uneasy combination of the World Trade Center, Sparks and schmaltzmeister director Lasse Hallstrom pushed me perilously close to nausea and diabetic shock, not to mention deep sleep.
Top Critic
Stephanie Zacharek
Salon.com
February 5, 2010
Seyfried's performance is lovely. Her character may be sweet, but she's also marvelously direct, two qualities that Seyfried holds in balance perfectly.
Top Critic
Linda Barnard
Toronto Star
February 5, 2010
A sappy version of the old letters-from-the-trenches weepers of the 1940s that hobbles along despite the best effort of its cast and a director who ought to know better.
Full Review | Original Score: 1.5/4
Top Critic
Joe Morgenstern
Wall Street Journal
February 5, 2010
Though Ms. Seyfried is a lovely actress, her inexperience shows in her climactic scenes, which aren't written very well to begin with, while Mr. Tatum's stolid reserve decays into dull passivity.
Top Critic
Elizabeth Weitzman
New York Daily News
February 5, 2010
The leads do have a strong chemistry, and Seyfried brings a spunky confidence to her role.
Full Review | Original Score: 2.5/5
Top Critic
Betsy Sharkey
Los Angeles Times
February 4, 2010
There's no real depth or texture to the characters of any sort, sentimental or otherwise, and I say that as someone who can be brought to tears by a Hallmark commercial.
Full Review | Original Score: 1/5
Top Critic
Tom Horgen
Minneapolis Star Tribune
February 4, 2010
If the teenage girls sitting in the preview screening were giggling at this film's awkward sentimentality and its nosedive of an ending, maybe a rewrite was in order.
Full Review | Original Score: 1.5/4
Top Critic
Moira MacDonald
Seattle Times
February 4, 2010
Mostly, this movie is about two pretty actors moodily looking at each other with their pretty eyes -- and, for those seeking a little romance at the multiplex, that's often just enough.
| Original Score: 2.5/4
Top Critic
Claudia Puig
USA Today
February 4, 2010
Correspond with Dear John at your own peril.
Full Review | Original Score: 2/4
Top Critic
Carrie Rickey
Philadelphia Inquirer
February 4, 2010
When Tatum and Seyfried no longer share the screen, generating heat, the movie grows as cold and lumpy as yesterday's she-crab soup.
Full Review | Original Score: 2/4
Top Critic
Janice Page
Boston Globe
February 4, 2010
There's predictable attraction in the clash of opposites: he Tarzan, she Jane. If only screenwriter Jamie Linden could write dialogue half as good as that.
Full Review | Original Score: 2/4
Top Critic
Scott Tobias
AV Club
February 4, 2010
Part of the problem is Channing Tatum, an actor with the strengths and faults of early Sylvester Stallone: He can be a charming palooka, as in Fighting and A Guide To Recognizing Your Saints, or a block of wood, albeit one carved by God's hands.
Full Review | Original Score: C+
Top Critic
Connie Ogle
Miami Herald
February 4, 2010
There's an audience for old-fashioned romance, and Dear John will please most of it, given its attractive cast, cozy beach settings and brazenly uplifting outlook on human nature.
Full Review | Original Score: 2.5/4
Top Critic
J. R. Jones
Chicago Reader
February 4, 2010
This terminally sappy romance delivers heartache, sacrifice, a make-out scene in the pouring rain, and not one but two autistic characters.
Top Critic
Calvin Wilson
St. Louis Post-Dispatch
February 4, 2010
Dear John fulfills its mission, which is to be a crowd-pleasing tearjerker.
Top Critic
Roger Ebert
Chicago Sun-Times
February 4, 2010
Lasse Hallstrom's Dear John tells the heartbreaking story of two lovely young people who fail to find happiness together because they're trapped in an adaptation of a Nicholas Sparks novel.
Full Review | Original Score: 2/4
Top Critic
Bill Goodykoontz
Arizona Republic
February 3, 2010
Awash in mawkish sentimentality, Dear John still will move you deeply - if you're a 12-year-old girl.
Full Review | Original Score: 2.0/5.0
Top Critic
Roger Moore
Orlando Sentinel
February 3, 2010
It's as pretty as a Carolina Coast postcard, as warm as a New England beach in February and as romantic as a Valentine's Day TV dinner for one.
| Original Score: 1.5/4
Top Critic
Brian Lowry
Variety
February 2, 2010
Mostly, the movie provides ample opportunity to admire Channing Tatum's broad shoulders and Amanda Seyfried's incandescent smile, but the narrative device that keeps them connected while geographically apart doesn't work especially well onscreen.
Top Critic
Kirk Honeycutt
Hollywood Reporter
February 2, 2010
A lame romance coupled with more handicaps and hardships than any film can survive without the charge of audience manipulation.