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 Citizenfour
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
    • 51 Metascore
    • 50 John Anderson
    Does it all have to be so tedious? To the movie's credit, many of the inside jokes are pretty funny, and Mr. Lundgren is close to hilarious as a dissipated Swede named Gunner.
    • 41 Metascore
    • 50 John Anderson
    A movie that commits sins of excess, except regarding Thornton. There's not nearly enough of him.
    • 56 Metascore
    • 50 John Anderson
    Mr. Nixey is doing an Alfred Hitchcock homage within a movie lacking anything as subversive, or skilled, as Hitchcock.
    • 51 Metascore
    • 50 John Anderson
    Subtle it is not. Well-intentioned it certainly is. No one but the youngest in the family will care very much about it, though. And they may well be filled with wonderment trying to figure out what this big Babe person is all about.
    • 47 Metascore
    • 50 John Anderson
    Go see it. But you'll feel cheap in the morning.
    • 37 Metascore
    • 50 John Anderson
    Director Les Mayfield ("Miracle on 34th Street") has his moments, of course, but what ultimately was needed in the case of Flubber was a movie with more bounce and less talk.
    • 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.
    • 55 Metascore
    • 50 John Anderson
    While Amma's teachings of love, inner peace and Karma, or action, resonate in the film -- obviously, Amma is a woman called to God -- her background remains pretty much a mystery. Less National Geographic and more personal history would have added a dimension to "Darshan."
    • 72 Metascore
    • 50 John Anderson
    [Barry's] search for an identity is the ignition and combustion of the film. The exhaust, however, comes courtesy of Philip Morris. And the odor, like that surrounding the film itself, is of provocation in service of no cogent point.
    • 36 Metascore
    • 50 John Anderson
    Likké should be applauded for tackling a subject that's bristling with sociopolitical thorns and that raises some provocative questions, particularly about what we find attractive in other people and why.
    • 57 Metascore
    • 50 John Anderson
    The cast is really fine, but the script requires a lot of hard swallowing. The story moves along briskly and colorfully but gets further and further from the intimate atmosphere that initially makes it so appealing. [25 Apr 1997]
    • Los Angeles Times
    • 71 Metascore
    • 50 John Anderson
    One of the reasons documentaries often take so long to make is the filmmakers' need to keep their subject from giving a performance. They want something genuine, something that materializes only when the camera disappears. Nothing Mr. Courtney is says is inaccurate or, God knows, dishonest. But it isn't quite true either.
    • 43 Metascore
    • 50 John Anderson
    A greatest-hits collection of plot devices and emotional cues from such films as "Gorillas in the Mist" and "One Flew Over the Cuckoo's Nest," making it something of a trained chimp, one that apes a lot of good movies while making itself look ridiculous.
    • 48 Metascore
    • 50 John Anderson
    The film never quite succeeds, simply because the book’s core virtues do not lend themselves to cinema.
    • 51 Metascore
    • 50 John Anderson
    The problem for Mr. Krieger is that his film has been trying to dazzle us with all manner of sleight of hand and hokum and now undertakes the construction of a conventional romance. The movie starts spinning its wheels.
    • 51 Metascore
    • 50 John Anderson
    There aren't many bright spots in Lovelace, although one is Amanda Seyfried's intoxicating smile, and another is the retinal insult delivered by a 16mm projector flaring out at the audience during the movie's opening moments, and which feels like an accusation. It's the odd film that indicts you just for watching. But Lovelace is an eccentric piece of cinema, made by unlikely people.
    • 65 Metascore
    • 50 John Anderson
    Any self-respecting period piece, historical drama or even caper movie - and The Debt is all three - balances issues of global significance with interpersonal drama. The problem here is that the personal eclipses the global. The stakes are too low.
    • 74 Metascore
    • 50 John Anderson
    By convoluting the various planes of experience, by overlapping and obscuring ostensible realities and ostensible dreams, Mr. Nolan deprives us the opportunity of investing emotionally in any of it.
    • 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.
    • 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.
    • 55 Metascore
    • 50 John Anderson
    Doesn't the reigning genius of the German language deserve his own "Shakespeare in Love"? Sure. But as Goethe scampers about Leipzig, comically failing his doctoral exam, spilling his books and looking bemused, young Johann might as well be auditioning for his own Disney Channel program.
    • 31 Metascore
    • 50 John Anderson
    Hot Pursuit is about two women finding sisterly common ground despite ethnic, religious, philosophical, temperamental and/or phonetic differences. It also seems an inevitable stop on Hollywood’s perpetual recycling drive, which caters to an audience perfectly content with the creaky and familiar.
    • 65 Metascore
    • 50 John Anderson
    It's a purely sensory journey until the pictures start making editorial comments, in slaughterhouses and garbage dumps.
    • 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.
    • 72 Metascore
    • 40 John Anderson
    A dispiritingly vitriolic, only sporadically funny satire of ’50s Hollywood, Hail, Caesar! verifies a suspicion long held here, that the Coen brothers, Joel and Ethan, really hate the movies.
    • 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.

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