John Anderson

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For 194 reviews, this critic has graded:
  • 54% higher than the average critic
  • 3% same as the average critic
  • 43% lower than the average critic
On average, this critic grades 2.4 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 Bio-Dome
Score distribution:
  1. Positive: 91 out of 194
  2. Negative: 27 out of 194
194 movie reviews
    • 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."
    • 88 Metascore
    • 80 John Anderson
    It also happens to feature a pair of performances that eclipse all else around them.
    • 69 Metascore
    • 80 John Anderson
    The common problem of Solondz's characters is an inability to see the world in shades of grey, which is fitting in a film where color-garish, boring or just plain ugly-is so important, and the actors are working off palettes of such extreme emotions. A few of them-notably Ms. Rampling, Mr. Hinds and Ms. Sheedy-are as good here as they've ever been.
    • 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.
    • 76 Metascore
    • 80 John Anderson
    A very entertaining black comedy for very mysterious reasons.
    • 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.
    • 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
    • 80 John Anderson
    Gracefully bittersweet and balanced. [16 April 1999, Calendar, p.F-1]
    • Los Angeles Times
    • 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.
    • 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
    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
    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.

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