John Anderson
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For 170 reviews, this critic has graded:
  • 53% higher than the average critic
  • 2% same as the average critic
  • 45% lower than the average critic
On average, this critic grades 1.7 points lower than other critics. (0-100 point scale)

John Anderson's Scores

  • Movies
  • TV
Average review score: 58
Highest review score: 100 Citizenfour
Lowest review score: 0 Nothing Like the Holidays
Score distribution:
  1. Positive: 79 out of 170
  2. Negative: 25 out of 170
170 movie reviews
    • 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.
    • 74 Metascore
    • 80 John Anderson
    Soko is terrific, but it is Mr. Lindon who delivers the performance of the film, his internalized consternation amounting to an eloquent dispatch from the war between the sexes.
    • 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.
    • 70 Metascore
    • 80 John Anderson
    With Mr. Harrelson, Mr. Moverman has created an antihero of epic proportions and indiscretions.
    • 74 Metascore
    • 80 John Anderson
    What makes this nominee for the best-foreign-film Oscar singular among Holocaust movies is the way it characterizes the banality of life underground.
    • 74 Metascore
    • 80 John Anderson
    There's a near-sacred history in Hollywood of non-U.S.- born directors providing fresh perspectives on America. Miloš Forman. Alfred Hitchcock. Ang Lee. Ernst Lubitsch. Billy Wilder. For Prisoners, a stress-inducing trip into child abduction, the director is Quebecois filmmaker Denis Villeneuve, who gives us an American "hero" guaranteed to push many buttons, many times, and who might not have been allowed to be quite so awful, under a different director's lens.
    • 68 Metascore
    • 80 John Anderson
    Anita may be a tribute doc, but it’s one with real heft.
    • 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.
    • 45 Metascore
    • 70 John Anderson
    Martin is marvelous; through sheer charisma, he takes over certain scenes as if no one else is there.
    • 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.
    • 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
    • 66 Metascore
    • 70 John Anderson
    Guaranteed to fan antigovernment sentiments among its audiences, Dinosaur 13 is less about paleontology than it is about prosecutorial overreach, political gamesmanship, dinosaur swindlers and true crime — if in fact crimes were even committed, and/or committed by the people accused.
    • 53 Metascore
    • 70 John Anderson
    The film benefits enormously from having the luminous Rebecca Hall as its lead. It also gains an ominous gravity from the haunted, wounded and wobbly England in which it's set.
    • tbd Metascore
    • 70 John Anderson
    Witty, wacky, multicharacter comedy My Best Day features a rural milieu that’s authentically American.
    • 57 Metascore
    • 70 John Anderson
    The taste with which one is left is not savory, exactly, but it certainly lingers.
    • 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.
    • 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.
    • 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.
    • 57 Metascore
    • 70 John Anderson
    The film is almost distractingly beautiful to look at, something that accentuates the tension between the film's conflicting quantities, i.e., the glories of the physical world, and the corrupted humanity it hosts.
    • 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.
    • 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.
    • 72 Metascore
    • 70 John Anderson
    Helmers Mike Lerner and Maxim Pozdorovkin... don’t quite get to the issues behind the trio’s infamous performance at the historic Christ the Savior Cathedral in Moscow last year, but the young women’s vulnerability and defiance make for stirring viewing.
    • 65 Metascore
    • 70 John Anderson
    The screenwriter/playwrights have processed the characters’ last words in ways that imbue them with as much humanity as possible.
    • 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.
    • 81 Metascore
    • 70 John Anderson
    Likely to create considerable nervous tension among viewers who think they've seen this all before. They haven't.
    • 56 Metascore
    • 70 John Anderson
    Directors Shari Springer Berman and Robert Pulcini show the same appreciation for eccentrics and humanity they brought to "American Splendor" and Mr. Dano's Louis is a delicately wrought wonder.
    • 40 Metascore
    • 70 John Anderson
    The film grows increasingly mirthful as the characters come into focus, and the casting is the key: Ms. Garner, who also helped produce the film, has a gift for catty roles, and Ms. Wilde is so funny she should play hookers all the time.
    • 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.
    • 54 Metascore
    • 70 John Anderson
    Some parts of the film are drily academic, but much of it is quite beautiful and artfully put together by the director.
    • 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.

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