John Anderson

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For 193 reviews, this critic has graded:
  • 53% higher than the average critic
  • 3% same as the average critic
  • 44% lower than the average critic
On average, this critic grades 2.2 points lower than other critics. (0-100 point scale)

John Anderson's Scores

  • Movies
  • TV
Average review score: 59
Highest review score: 100 The Handmaiden
Lowest review score: 0 Nothing Like the Holidays
Score distribution:
  1. Positive: 91 out of 193
  2. Negative: 27 out of 193
193 movie reviews
    • 65 Metascore
    • 70 John Anderson
    This is a movie about longing, desire, desperation and the abandonment of principle - quite a collection of themes, all universal.
    • 65 Metascore
    • 50 John Anderson
    It's a purely sensory journey until the pictures start making editorial comments, in slaughterhouses and garbage dumps.
    • 64 Metascore
    • 70 John Anderson
    World War II is often called the “last good war,” which has also meant that it was the last global conflict out of which the studios could make an unabashedly heroic movie. Fury is not that movie. And because it is not, it provides a few psychic disturbances beyond its shocking gore, burning soldiers blowing their brains out, children hanged from trees by the SS and imminent rape.
    • 64 Metascore
    • 80 John Anderson
    The truth is, Mr. Farina would be considered Oscar material if "Joe May" were a bigger film. As it is, he'll have to settle for being great.
    • 64 Metascore
    • 70 John Anderson
    Naturally, Mr. Murray is a joy to watch. And he has brought so much joy to so many grumpy people he deserves whatever accolades he can accrue, even for a career-assessment comedy like St. Vincent.
    • 64 Metascore
    • 70 John Anderson
    Mr. Carnahan has till now been pigeonholed, and rightly, by comedy shoot-'em-ups like "Smokin' Aces" and "The A-Team." But here he is with The Grey - certainly an adventure film but one with a spiritual ingredient that is both surprising and fiercely resonant.
    • 63 Metascore
    • 80 John Anderson
    A delicious thriller that gets under the skin à la "All About Eve," albeit with a twist: The craft here is still theater, but of the workplace rather than the stage.
    • 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.
    • 63 Metascore
    • 80 John Anderson
    Gracefully bittersweet and balanced. [16 April 1999, Calendar, p.F-1]
    • Los Angeles Times
    • 62 Metascore
    • 60 John Anderson
    The landscape is dire, the architecture is haunted, children disappear by the dozens and antique toys inexplicably spark to life. That Mr. Radcliffe doesn't is part of the problem.
    • 61 Metascore
    • 80 John Anderson
    It's a trip into a primordial world and primeval sensibilities, and if you're looking to shake off the mall-movie blahs, there are few better places to look.
    • 61 Metascore
    • 70 John Anderson
    [The Kings of Summer] is much more interested in the laughs that can be mined from character rather than plot. Galletta’s script, Vogt-Roberts’ direction and the distinctive play of the actors, notably Offerman and Mullally, lets the viewer know who everyone is right away, and the gag lines flow.
    • 61 Metascore
    • 50 John Anderson
    The most profound thing the remarkably dread-filled drama Day Night Day Night tells us is what it doesn't tell us.
    • 61 Metascore
    • 80 John Anderson
    "Witty and brisk" is not the name of a French breakfast cereal, but it does describe a certain brand of French film, the type that coquettishly flirts with comedy while sprinting in the direction of dry, sophisticated charm. Such is Haute Cuisine.
    • 61 Metascore
    • 70 John Anderson
    Mr. Damon brings both a weary optimism and convincing physicality to Max, who is no revolutionary. He just wants to live, and is willing to don an exoskeletal combat suit and fight robots to do it.
    • 60 Metascore
    • 70 John Anderson
    Everything in The Light Between Oceans is deeply felt and dramatically precise, in a way that seems destined to become profoundly personal for each and every viewer.
    • 60 Metascore
    • 70 John Anderson
    Despite its dubious inhabitants, the film consistently entertains by throwing the kinds of curves one should see coming but doesn’t.
    • 60 Metascore
    • 70 John Anderson
    Goofily funny, and silly, and in many ways follows the currents of contemporary comedy into the gulf stream of inanity. And yet Ned turns out to be a strangely moving figure, a comic foil worthy of affection, perhaps even respect.
    • 60 Metascore
    • 60 John Anderson
    If the screenplay to Kill the Messenger were a news story, any capable copydesk would have kicked it back to the reporter — not for a shortage of facts, but a lack of dramatic soul.
    • 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.
    • 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.
    • 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]
    • Los Angeles Times
    • 60 Metascore
    • 60 John Anderson
    One of the brighter aspects of Life of Crime, which otherwise ambles along good naturedly, is the casting.
    • 60 Metascore
    • 60 John Anderson
    It is Mr. Kinnear's slippery charm that keeps Thin Ice from sinking into the frosty Wisconsin slush toward which it seems to be heading from the start.
    • 59 Metascore
    • 50 John Anderson
    The type of film with which Mr. Ratner has claimed to be infatuated is itself like a caper - it requires precise execution. Tower Heist is more like that 10-story Snoopy, as he drunkenly bobs along Central Park West.
    • 59 Metascore
    • 40 John Anderson
    That this is the first film for director Joe Mantello, who was nominated for a Tony for directing the stage version, may be compounding the problem. But frankly, if someone wanted to do a parody of a gay film like this, it's hard to imagine the sloganeering being much different.
    • 59 Metascore
    • 60 John Anderson
    Writer-director Andrew Okpeaha MacLean, who in his feature debut has lashed together a sturdy vehicle for unadorned morality and pragmatic justice.
    • 59 Metascore
    • 40 John Anderson
    A documentary as messy as the movement it tries to portray, 99%: The Occupy Wall Street Collaborative Film possesses energy, passion and about a dozen documentaries inside it yearning to breathe free.
    • 58 Metascore
    • 80 John Anderson
    Conventional it is not. Engrossing it is.
    • 58 Metascore
    • 70 John Anderson
    Consistently daffy, consistently amusing.

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