John Anderson

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For 211 reviews, this critic has graded:
  • 54% higher than the average critic
  • 2% same as the average critic
  • 44% lower than the average critic
On average, this critic grades 2 points lower than other critics. (0-100 point scale)

John Anderson's Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 Polina
Lowest review score: 0 Nothing Like the Holidays
Score distribution:
  1. Negative: 27 out of 211
211 movie reviews
    • 99 Metascore
    • 100 John Anderson
    It’s a masterpiece — an overused word, but not the wrong one.
    • 91 Metascore
    • 80 John Anderson
    It is the library as an urgent idea, and the obligations that the institution’s leaders have embraced, that win Mr. Wiseman’s admiration and attention.
    • 91 Metascore
    • 100 John Anderson
    As a work of nonfiction, it deserves its own nomenclature. "Docu-poem" is too inelegant; "masterpiece" works, although it's been used before.
    • 88 Metascore
    • 80 John Anderson
    It also happens to feature a pair of performances that eclipse all else around them.
    • 88 Metascore
    • 100 John Anderson
    There are not a lot of moments in documentary cinema that equal Citizenfour. Ms. Poitras was already at work on a film about government surveillance when Mr. Snowden presented himself, and she’s something of a lightning rod, too, one with little evident sympathy for Obama administration data mining.
    • 87 Metascore
    • 80 John Anderson
    Like the film itself, Porter’s handful of devoted, charismatic attorneys do a righteous job of reminding people that the accused are innocent until proven guilty, and that the criminal justice system seems otherwise disposed.
    • 87 Metascore
    • 80 John Anderson
    Mr. Ostlund positions his troubled characters in an environment of polished ash and Scandinavian spotlessness, under which there are dark mutterings — the constant creak of tow cables and un-oiled metal.
    • 85 Metascore
    • 90 John Anderson
    One of the assets of Stranger Things is its air of mystery, and the actors give the indelible impression that they have much locked away inside.
    • 84 Metascore
    • 100 John Anderson
    Thoroughly entertaining, startling and highly erotic film.
    • 84 Metascore
    • 80 John Anderson
    The Square is journalism, but Noujaim’s agenda is greater than mere reportage.
    • 83 Metascore
    • 80 John Anderson
    “Montage” is about expression. As such, it’s a more honest tribute to Mr. Cobain than any conventional documentary could pretend to be.
    • 83 Metascore
    • 90 John Anderson
    Much of the fun of Marjorie Prime is in figuring out where it’s going, and why. It would be shameful to reveal much more of the journey save to say that the people who make it do a splendid job.
    • 82 Metascore
    • 90 John Anderson
    Years after its initial release, Ornette: Made in America, part of Milestone's continuing "Project Shirley," still feels fresh - its moves always surprising, yet always somehow perfect.
    • 82 Metascore
    • 90 John Anderson
    Frances Ha also marks the rare instance in which an actress has the perfect role at the perfect time. Ms. Gerwig's work here is fragile, delicate, subject to bruising; something that could wither under too much attention. Perhaps Ms. Gerwig is the greatest actress alive. And maybe Frances Ha is just the ghost orchid of independent cinema.
    • 82 Metascore
    • 80 John Anderson
    Few viewers anywhere will be immune to the movie’s charms, or the performances, notably that of Mr. Sigurjonsson, who makes Gummi a slightly mournful, enormously lovable and quixotically heroic figure.
    • 82 Metascore
    • 100 John Anderson
    The characters are really minimalist masterpieces, sculpted, polished and uncompromisingly female.
    • 82 Metascore
    • 80 John Anderson
    The situation is fascinating, and given an illuminating investigation here.
    • 81 Metascore
    • 70 John Anderson
    Likely to create considerable nervous tension among viewers who think they've seen this all before. They haven't.
    • 81 Metascore
    • 90 John Anderson
    Director David Mackenzie's gripping, convincing and convincingly violent convict drama owes its authenticity largely to the experiences of ex-prison therapist Jonathan Asser, who wrote its screenplay. But the opening 10 minutes are a virtuosic example of virtually wordless filmmaking.
    • 81 Metascore
    • 90 John Anderson
    Kon's best work yet.
    • 80 Metascore
    • 90 John Anderson
    Containing as much forward motion as any film in recent memory, Good Time is as heartbreaking as it is exhilarating, and that’s no small thing.
    • 79 Metascore
    • 80 John Anderson
    The deliriously talented Lake Bell wrote, produced, directed and stars in this peculiar bit of comedy magic, set amid the cutthroat world of Hollywood voiceover artists.
    • 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.
    • 78 Metascore
    • 80 John Anderson
    It’s hard to make a compelling movie about a character defined by indecision, Hamlet notwithstanding. Ms. Hittman, however, has done it.
    • 77 Metascore
    • 80 John Anderson
    While much of The World Before Her speaks to global womanhood, other aspects are more specific to India, but that’s what gives the film much of its life and spark.
    • 77 Metascore
    • 80 John Anderson
    With a mood and setting worthy of a murder story by Jack London, this audience-friendly, atmospheric work could be remade as a thriller, although that’s really what it is already.
    • 77 Metascore
    • 80 John Anderson
    The scope of the subject is such that when Mr. Jarecki's voiceover cuts into the narrative, imposing a personal angle on the national story, it reduces the sense of significance its creator aimed for. But that's a fairly backhanded endorsement of a very potent movie.
    • 77 Metascore
    • 100 John Anderson
    Felix (Duvall) simply wants to host his own goodbye, maybe have a band, and the reasons why are the reasons Get Low is essential viewing. That, and the acting.
    • 76 Metascore
    • 60 John Anderson
    What keeps Ain’t in It for My Health from being a really satisfying portrait isn’t a lack of access, but a lack of intimacy.
    • 76 Metascore
    • 80 John Anderson
    Director David Gordon Green, working with screenwriter John Pollono’s adaptation of the book by Mr. Bauman and Bret Witter, maintains a brisk pace. There’s barely a maudlin moment, which is remarkable given the subject matter.

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