John Anderson

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For 211 reviews, this critic has graded:
  • 54% higher than the average critic
  • 2% same as the average critic
  • 44% lower than the average critic
On average, this critic grades 2 points lower than other critics. (0-100 point scale)

John Anderson's Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 Polina
Lowest review score: 0 Bio-Dome
Score distribution:
  1. Negative: 27 out of 211
211 movie reviews
    • 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.
    • 71 Metascore
    • 70 John Anderson
    Ms. Plaza delivers a wide-ranging, nuanced and demanding performance as a mad woman, whose attic is the cellphone.
    • 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.
    • 51 Metascore
    • 70 John Anderson
    An effective and even affecting pop thriller.
    • 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.
    • 51 Metascore
    • 70 John Anderson
    White Bird in a Blizzard is an alibi for Mr. Araki to flex his considerable muscle as a visual artist, using a palette that ranges from the blissful to the grotesque, and an atmospheric score by those eminences of the ambient, Harold Budd and Robin Guthrie.
    • 51 Metascore
    • 70 John Anderson
    It’s a nail-biter, a solid thriller, an immigration-themed takeoff on that old chestnut “The Most Dangerous Game,” in which humans are both predator and prey. It’s not particularly nuanced. In fact, its lack of nuance is its most distinguishing characteristic.
    • 54 Metascore
    • 70 John Anderson
    Odd, funny film.
    • 44 Metascore
    • 70 John Anderson
    While the movie's star -- and ruler, and ship's captain, and grand poobah -- is Haneke himself, his actors are sublime.
    • 64 Metascore
    • 70 John Anderson
    World War II is often called the “last good war,” which has also meant that it was the last global conflict out of which the studios could make an unabashedly heroic movie. Fury is not that movie. And because it is not, it provides a few psychic disturbances beyond its shocking gore, burning soldiers blowing their brains out, children hanged from trees by the SS and imminent rape.
    • 73 Metascore
    • 70 John Anderson
    An extremely good-natured, upbeat recounting of the infamous Bobby Riggs-Billie Jean King “man vs. woman” match of 1973.
    • 63 Metascore
    • 70 John Anderson
    What she finds is good for her and good for us -- a journey of realization for anyone who's ever felt lost in the crowd.
    • 34 Metascore
    • 70 John Anderson
    The special effects are effective and aggressive, although one might occasionally confuse a divine vortex with a flushed toilet.

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