John Anderson

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For 39 reviews, this critic has graded:
  • 43% higher than the average critic
  • 2% same as the average critic
  • 55% lower than the average critic
On average, this critic grades 1.9 points lower than other critics. (0-100 point scale)

John Anderson's Scores

Average review score: 64
Highest review score: 100 Planet Earth II
Lowest review score: 30 Better Late Than Never: Season 1
Score distribution:
  1. Positive: 21 out of 39
  2. Negative: 4 out of 39
39 tv reviews
    • 96 Metascore
    • 100 John Anderson
    [The cameras'] sophistication and that of their operators are able to capture animals, their behavior and their habitats with an intimacy previously unimaginable, and breathtaking. With all due respect, Planet Earth II leaves its ancestor in the dust. And seas. And mountains. And jungles.
    • 89 Metascore
    • 90 John Anderson
    The people of Orange offer some of the best times, and company, to be found on TV.
    • 69 Metascore
    • 80 John Anderson
    Billions has the posture of sociopolitical expose, the mechanics of a soap opera and the morals of grave robber. In other words, it’s irresistible.... The biggest reason to watch Billions is the acting talent, something which even the endlessly expository dialogue and absurd characterizations can’t totally quash.
    • 70 Metascore
    • 80 John Anderson
    The show’s whiskey-voiced, horse-loving, shotgun-wielding Camilla is so viciously funny she requires no real explanation. Already aired in the U.K., Tracey Ullman’s Show takes swipes at various aspects of British life and politics, but Americans shouldn’t need much help absorbing them.
    • 84 Metascore
    • 80 John Anderson
    Silicon Valley, the latest creation of Mike Judge ("Office Space," "King of the Hill"), gets off to a rough start Sunday night; one might say it tries too hard. But it's certainly worth the 30-minute expenditure, because well before Episode 5 it's in a comedic groove and seems destined to run beyond the eight-week run HBO currently has planned.
    • 77 Metascore
    • 80 John Anderson
    All the Durrells seem to find themselves in Corfu. Viewers will find them irresistible.
    • 81 Metascore
    • 80 John Anderson
    Wry, smart, culturally immediate, it takes great delight, on the one hand, in skewering that vaunted sociological/real-estate phenomenon one might call Insufferable Brooklyn. On the other, it consistently mines laughs and melancholy out of a smattering of sympathetic characters drawn from the ranks of the self-absorbed, the newly arrived, the mendacious and the medicated.
    • 85 Metascore
    • 80 John Anderson
    Ms. Fisher’s often naked honesty on the page and in person, made her beloved to her many fans, as the flow of tributes proved last week. Her mother, conversely, represented an old-style “show must go on” tenacity that got her through the Fisher-Taylor scandal with poise and class, and perhaps made her beloved to another kind of fan. Both camps will find much to move them in Bright Lights, especially the profound bond between its subjects and the obstacles that were overcome to make it last.
    • 73 Metascore
    • 80 John Anderson
    Darkly wondrous.
    • 77 Metascore
    • 80 John Anderson
    [A] thoroughly captivating Rolling Stones documentary.
    • 75 Metascore
    • 80 John Anderson
    Despite some clumsy exposition by its creators, Jack Amiel and Michael Begler, it has a well-researched sense of place.
    • 45 Metascore
    • 80 John Anderson
    Judging from the premiere episode, Conviction is not just compelling and topical, it’s a master class in TV-series construction.
    • 74 Metascore
    • 80 John Anderson
    It contains enough legalese to make things seem plausible, not impenetrable. It breathes. It allows relationships to build, and be revealed, as the narrative progresses.
    • 71 Metascore
    • 80 John Anderson
    Maron is short, funny and coherent.
    • 62 Metascore
    • 80 John Anderson
    Some of the life forms in Almost Human are artificial. The intelligence is genuine.
    • 81 Metascore
    • 80 John Anderson
    For all the campy craziness of Feud its message is one about the wrong people being mad at each other--a formulation with bottomless appeal and no end of examples.
    • 62 Metascore
    • 70 John Anderson
    If ever a show was made for hate-viewing, it’s The Slap.... Where The Slap will be going in subsequent episodes is unclear and, mostly, irrelevant. Any and all misfortune, however, will be warmly welcomed.
    • 61 Metascore
    • 70 John Anderson
    In attempting to crawl inside the head of Mr. Madoff--given just a touch of ghoulishness by Mr. Dreyfuss--it provides solidly sordid entertainment. But it also elevates its subject into an object of sympathy.
    • 76 Metascore
    • 70 John Anderson
    The sense of desperation among all the characters is heightened; the stakes are higher; the politics more sordid. Other aspects of the series, however, have remained disappointingly the same.
    • 75 Metascore
    • 70 John Anderson
    The murder looms over the entire series, which spends most of its time establishing motives. ... All of which will, presumably, be eclipsed by the unveiling of who committed murder most foul, and who got fouled. Thank goodness it's all based on a book, or it might have gone on forever.
    • 57 Metascore
    • 70 John Anderson
    Celebrating the 100th anniversary of the bloody event over three nights, this five-part series is a bit like the uprising itself: Under-strategized, perilously emotional, more than a little short-handed. Passion, however, is abundant. So is spectacular acting.
    • 71 Metascore
    • 60 John Anderson
    Mike Tyson: Undisputed Truth is not quite the train wreck one might expect.... Mostly he vents. And whether Mr. Tyson delivers the truth as advertised isn't really the question. It's whether anyone, at this point, cares very much.
    • 61 Metascore
    • 60 John Anderson
    Turn can be described as both sturdy and unsteady.... Mr. Bell is a less-than-charismatic centerpiece, but he also makes emotional sense.
    • 67 Metascore
    • 60 John Anderson
    The nastiness of Babylon is refreshing, even while the writing fails to support either the level of acting or the atmosphere, which aspires to something far more clever than what the writers ... have delivered.
    • 57 Metascore
    • 60 John Anderson
    It’s certainly energetic TV, but requires a strenuous suspension of disbelief.
    • 75 Metascore
    • 60 John Anderson
    It’s certainly energetic TV, but requires a strenuous suspension of disbelief.
    • 79 Metascore
    • 60 John Anderson
    It’s certainly entertaining and well-done but, based on the first two chapters, the viewers are going to have to swallow quite a large helping of implausible sauerkraut to attain their suspension of disbelief.
    • 56 Metascore
    • 60 John Anderson
    Blunt Talk is as wildly uneven as it is occasionally brilliant.
    • 69 Metascore
    • 50 John Anderson
    Mr. Burns has created a show that is watchable.... but the lack of any rudimentary joy among any of the characters means there’s also no one to like, not during the early episodes.
    • 72 Metascore
    • 50 John Anderson
    At no time will the viewer feel that he or she has been transported to 1805 Russia, the drawing rooms of St. Petersburg, or the blood-soaked battlefields of the Napoleonic wars. That said, it’s not entirely a bad time. This is because directed Tom Harper and screenwriter Andrew Davies are far less interested in Tolstoy’s take on the individual’s place in the universe than they are in the who’s-sleeping-with-whom school of world literature and the more sentimental aspects of Tolstoy’s story. Neither are they much interested in subtlety.

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