For 68 reviews, this critic has graded:
  • 50% higher than the average critic
  • 1% same as the average critic
  • 49% lower than the average critic
On average, this critic grades 12.2 points lower than other critics. (0-100 point scale)

John Anderson's Scores

  • Movies
Average review score: 47
Highest review score: 100 Hard Eight
Lowest review score: 0 Bio-Dome
Score distribution:
  1. Positive: 16 out of 68
  2. Negative: 17 out of 68
68 movie reviews
    • 78 Metascore
    • 100 John Anderson
    Anderson, who makes as impressive a directing debut as has been seen in some time, creates a perfectly modulated mystery that doesn't even feel like one. It's a character play, and Hall, Reilly and Paltrow are so convincingly damaged they take on the properties of fine china.
    • 81 Metascore
    • 90 John Anderson
    Kon's best work yet.
    • 50 Metascore
    • 80 John Anderson
    So refreshing and funny and, in its way, sophisticated.
    • 63 Metascore
    • 80 John Anderson
    Gracefully bittersweet and balanced. [16 April 1999, Calendar, p.F-1]
    • 69 Metascore
    • 80 John Anderson
    Something about Eklavya: The Royal Guard suggests a lost film by David Lean. With some muted echoes of "Hamlet." And a whiff of "Rigoletto."
    • 45 Metascore
    • 70 John Anderson
    Martin is marvelous; through sheer charisma, he takes over certain scenes as if no one else is there.
    • 55 Metascore
    • 70 John Anderson
    A virulent but thoroughly entertaining trilogy of tales about the besieged lower classes of Edinburgh, ripe with vulgarity, self-loathing, violence and economic disorder.
    • 49 Metascore
    • 70 John Anderson
    It's weird, wacky territory you enter in The Price of Milk, and we don't just mean New Zealand.
    • 32 Metascore
    • 70 John Anderson
    The trick is getting from a conclusion made five minutes into a movie to an ending 90 minutes away. It can be a scary prospect. In The Sweetest Thing it is mostly a hoot.
    • 54 Metascore
    • 70 John Anderson
    In addition to its terrifically bratty performance by the epically bratty Posey, House of Yes contains some of the smarter (and smarter-assed) writing of the year.
    • 34 Metascore
    • 70 John Anderson
    The special effects are effective and aggressive, although one might occasionally confuse a divine vortex with a flushed toilet.
    • 63 Metascore
    • 70 John Anderson
    What she finds is good for her and good for us -- a journey of realization for anyone who's ever felt lost in the crowd.
    • tbd Metascore
    • 70 John Anderson
    To resort to strictly ethnocentric references, Fanaa is equal parts MGM extravaganza, Shakespeare lite and James Bond. In their heart of hearts, isn't that what movie audiences really want?
    • 60 Metascore
    • 70 John Anderson
    Following Woody Allen, Ang Lee and any number of sitcoms, Georgia Lee constructs her well-shot, well-written film around three daughters.
    • 54 Metascore
    • 70 John Anderson
    Odd, funny film.
    • 60 Metascore
    • 70 John Anderson
    Steven Soderbergh takes Gray (who appeared in his little-appreciated gem "King of the Hill") places he's never been on-screen. Motion, color and brazen stylizing enhance what is at times a genuinely hysterical work on rationalized terror.[9 May 1997, p.F12]
    • 68 Metascore
    • 60 John Anderson
    Although Born Romantic is sweetly intentioned and staunchly on the side of love, it meanders long to enough to alienate whatever affection it otherwise earns.
    • 72 Metascore
    • 60 John Anderson
    Veber, also responsible for "The Dinner Game," apparently has a finger on the pulse of French audiences and Gallic-minded Americans, but there's just not a lot of freshness in this Closet.
    • 50 Metascore
    • 60 John Anderson
    A trashy little movie about drinking, football and drinking, is also one of those films that pretends to moralize about the very behavior it milks for every giggle it can get.
    • 55 Metascore
    • 60 John Anderson
    Hyams the director ("Sudden Death," "Timecop," "The Star Chamber") operates at too much of a fevered pitch for things not to eventually get out of hand -- accelerating violence and horror eventually hit maximum velocity and warp into nonsense, no matter how erudite the script.
    • 54 Metascore
    • 60 John Anderson
    It's not that the movie is never funny. It's just that you don't feel very good when it is.
    • 54 Metascore
    • 60 John Anderson
    But as Isaac, Rifkin is simply transcendent, giving what is the most accomplished performance of the year. He does not, however, have a completely successful movie around him.
    • 57 Metascore
    • 60 John Anderson
    Exposes director Khan's stage roots -- he has no feel for the close-up, although his use of the frame itself, and negative space, is occasionally thrilling.
    • 52 Metascore
    • 60 John Anderson
    It's doubtful Milarepa will be opening in Beijing any time soon; all the more reason it deserves a look.
    • 43 Metascore
    • 50 John Anderson
    A greatest-hits collection of plot devices and emotional cues from such films as "Gorillas in the Mist" and "One Flew Over the Cuckoo's Nest," making it something of a trained chimp, one that apes a lot of good movies while making itself look ridiculous.
    • 47 Metascore
    • 50 John Anderson
    Go see it. But you'll feel cheap in the morning.
    • 60 Metascore
    • 50 John Anderson
    The difficulty is that Brassed Off operates at an emotional pitch that starts at a crescendo and never relents--rendering almost everything equally inconsequential.
    • 37 Metascore
    • 50 John Anderson
    Director Les Mayfield ("Miracle on 34th Street") has his moments, of course, but what ultimately was needed in the case of Flubber was a movie with more bounce and less talk.
    • 36 Metascore
    • 50 John Anderson
    Likké should be applauded for tackling a subject that's bristling with sociopolitical thorns and that raises some provocative questions, particularly about what we find attractive in other people and why.
    • 55 Metascore
    • 50 John Anderson
    While Amma's teachings of love, inner peace and Karma, or action, resonate in the film -- obviously, Amma is a woman called to God -- her background remains pretty much a mystery. Less National Geographic and more personal history would have added a dimension to "Darshan."