John Anderson
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For 167 reviews, this critic has graded:
  • 53% higher than the average critic
  • 1% same as the average critic
  • 46% lower than the average critic
On average, this critic grades 1.6 points lower than other critics. (0-100 point scale)

John Anderson's Scores

  • Movies
  • TV
Average review score: 58
Highest review score: 100 Hard Eight
Lowest review score: 0 Bio-Dome
Score distribution:
  1. Positive: 77 out of 167
  2. Negative: 25 out of 167
167 movie reviews
    • 52 Metascore
    • 50 John Anderson
    Safe House is a sturdy enough thriller, but one that consistently defaults to the less interesting of its two lead characters.
    • 75 Metascore
    • 50 John Anderson
    For all its immersion in the roar, grease and danger of Formula One, the fact-based Rush — about the sport's great rivalry of the 1970s — is also more predictable than a pit stop, something well-suited to Mr. Howard. He's made perfectly palatable pictures, but never a truly great one, partly because he has such a weakness for the commercial and a consequent gift for the obvious.
    • 38 Metascore
    • 40 John Anderson
    This is a movie for younger children -- they won't notice that the children deliver their lines with all the conviction of an airline flight boarding announcement.
    • 66 Metascore
    • 40 John Anderson
    Proyas is trying simultaneously to create a pure thriller and sci-fi nightmare along with his tongue-in-cheek critique of artifice. And this doesn't work out quite so well.
    • 38 Metascore
    • 40 John Anderson
    In their engaging, fast-paced and ultimately ludicrous combo of espionage and mayhem, the makers of The November Man give us a very Putin-like villain in Arkady Federov (veteran Serbian actor Lazar Ristovski).
    • 49 Metascore
    • 40 John Anderson
    The assumption among many when the movie was postponed was that Paramount Classics felt New Yorkers weren't emotionally equipped for something bright or frothy or vivacious. They needn't have been concerned.
    • 53 Metascore
    • 40 John Anderson
    The movie thus moves from truly creepy to truly inane, which is, unfortunately, all too common in films of this ilk.
    • 24 Metascore
    • 40 John Anderson
    Stay Alive spends a lot of time inside the video game system, and what will terrify the audience very early on is the realization that there's better acting in the video game than on the big screen.
    • 30 Metascore
    • 40 John Anderson
    The go-for-broke plot twists are daring, but because there's no sense of background to the characters, one gets the sense it's all being made up as Baigelman goes along.
    • 32 Metascore
    • 40 John Anderson
    Does for industrialists, politicians, pro-football owners and lawyers what Christopher Guest's "Best in Show' did for dog owners -- but without the skewer.
    • 41 Metascore
    • 40 John Anderson
    Follows a leadenly predictable path that will be more than familiar to anyone who's seen a recent sports movie, or any Sandler movie.
    • 43 Metascore
    • 40 John Anderson
    A sad farewell to the promising Project Greenlight concept, this Feast leaves viewers with nothing satisfying to tuck into.
    • 40 Metascore
    • 40 John Anderson
    Reitman's attempt to show he can re-create the success of his biggest comedy ever. What he proves instead is that, given time and money, a comedy director can devolve into a lower life form.
    • 54 Metascore
    • 40 John Anderson
    There's not enough sustained musical momentum to simulate the energy of an actual rave; the characters are likable but unremarkable.
    • Los Angeles Times
    • 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
    • 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.
    • 56 Metascore
    • 40 John Anderson
    A goofball movie, in the way "Malkovich" was, but it tries too hard.
    • 44 Metascore
    • 40 John Anderson
    It only serves to remind one of better movies, at a time when one needs no reminders.
    • 18 Metascore
    • 40 John Anderson
    The only thing left unsliced is the ham in BloodRayne, yet another video game adaptation by German genre specialist Uwe Boll and a movie with more fading - or faded - talent than an Italian basketball team.
    • 41 Metascore
    • 40 John Anderson
    The island locale rings with reggae music regardless of its proximity to Jamaica, and any action sequence is rendered in painfully deliberate slo-mo.
    • 26 Metascore
    • 40 John Anderson
    Ultimately, Supercross is an example of how too much of anything will get annoying -- including VVRRRROOOOOOOMMM and flying bikes.
    • 37 Metascore
    • 38 John Anderson
    Cinema-as-shoplifting is okay, as long as you still get the feeling it's for a greater good. But that's something The Tourist is sorely missing.
    • 21 Metascore
    • 30 John Anderson
    You have to be a bit of an arrested adolescent to think "Larry" is funny.
    • 35 Metascore
    • 30 John Anderson
    The emotional aspects of the story are treated with such a heavy hand, the supernatural aspects are so vague and uninvolving, and the group dynamic is so unconvincing that one can't quite imagine why anybody bothered.
    • 24 Metascore
    • 30 John Anderson
    Redline isn't exactly a car wreck, mainly because it's far less exciting, and you can, in fact, look away. Perhaps at your shoes.
    • 57 Metascore
    • 30 John Anderson
    As an experiment in Academy Award psychology, Albert Nobbs is fascinating. As drama? It is, forgive us, a drag.
    • 37 Metascore
    • 30 John Anderson
    So mild, so benign, its humiliation-to-vindication are so predictable and its old-folks jokes so feeble.
    • 40 Metascore
    • 30 John Anderson
    "Wolverine" is full of angst, and yet has had virtually all the soul wrung out of it in an effort to create a live-action cartoon. But cartoons are rarely so unwieldy, or force a director -- in this case, the largely unsung Gavin Hood -- to juggle so much impossible plotline.
    • 56 Metascore
    • 30 John Anderson
    Pathetically unfunny most of the time.
    • 47 Metascore
    • 30 John Anderson
    The voyeuristic indulgences of a middle-aged filmmaker playing out his most deep-seated and unresolved sexual fantasies and anxieties.

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