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 The Handmaiden
Lowest review score: 0 Nothing Like the Holidays
Score distribution:
  1. Negative: 27 out of 211
211 movie reviews
    • 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.
    • 56 Metascore
    • 70 John Anderson
    The visuals are kinetic, the pacing frenetic; the violence, or at least its aftermath, doesn’t just border on the excessive, it makes major incursions. But given the criminal milieu at hand, nothing less would have seemed plausible, or equal to the heightened, sordid sensibility Mr. Johnson creates in the film’s opening moments and maintains right up to an ending that is among the more perverse in recent memory.
    • 55 Metascore
    • 70 John Anderson
    As pure comedy, The D Train is far more cringe-worthy than outright hilarious. But as a study in human nature, it’s beyond provocative — and maybe even instructive.
    • 58 Metascore
    • 70 John Anderson
    Consistently daffy, consistently amusing.
    • 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.
    • 51 Metascore
    • 70 John Anderson
    An effective and even affecting pop thriller.
    • 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.
    • 71 Metascore
    • 70 John Anderson
    Ms. Plaza delivers a wide-ranging, nuanced and demanding performance as a mad woman, whose attic is the cellphone.
    • 59 Metascore
    • 70 John Anderson
    Lemon is all about this pull and push, toward and away from the characters and the movie itself. It’s also one of the more original films in recent memory.
    • 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.
    • 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.
    • 49 Metascore
    • 63 John Anderson
    Despite a certain emotional chill, what holds this Mechanic together is - no surprise - the core Carlino story.
    • 68 Metascore
    • 60 John Anderson
    Although Born Romantic is sweetly intentioned and staunchly on the side of love, it meanders long to enough to alienate whatever affection it otherwise earns.
    • 72 Metascore
    • 60 John Anderson
    Veber, also responsible for "The Dinner Game," apparently has a finger on the pulse of French audiences and Gallic-minded Americans, but there's just not a lot of freshness in this Closet.
    • 50 Metascore
    • 60 John Anderson
    A trashy little movie about drinking, football and drinking, is also one of those films that pretends to moralize about the very behavior it milks for every giggle it can get.
    • 55 Metascore
    • 60 John Anderson
    Hyams the director ("Sudden Death," "Timecop," "The Star Chamber") operates at too much of a fevered pitch for things not to eventually get out of hand -- accelerating violence and horror eventually hit maximum velocity and warp into nonsense, no matter how erudite the script.
    • 54 Metascore
    • 60 John Anderson
    It's not that the movie is never funny. It's just that you don't feel very good when it is.
    • 54 Metascore
    • 60 John Anderson
    But as Isaac, Rifkin is simply transcendent, giving what is the most accomplished performance of the year. He does not, however, have a completely successful movie around him.
    • 57 Metascore
    • 60 John Anderson
    Exposes director Khan's stage roots -- he has no feel for the close-up, although his use of the frame itself, and negative space, is occasionally thrilling.
    • 52 Metascore
    • 60 John Anderson
    It's doubtful Milarepa will be opening in Beijing any time soon; all the more reason it deserves a look.
    • 76 Metascore
    • 60 John Anderson
    What keeps Ain’t in It for My Health from being a really satisfying portrait isn’t a lack of access, but a lack of intimacy.
    • tbd Metascore
    • 60 John Anderson
    A nutty Norwegian mashup of drollery, myth and jolts to the nervous system, Thale does a deft dance between grossout comedy and horror fantasy. Still, it’s too wordy by half, saying what it should be showing
    • 58 Metascore
    • 60 John Anderson
    What may feel like Mr. Sfar's indulgences are sometimes just that, but one could hardly make an honest movie about Gainsbourg that wasn't as recklessly ambitious as this.
    • 40 Metascore
    • 60 John Anderson
    The ending, for instance, is so ridiculously tidy it squeaks. But en route to its kitchen-sink climax, "Man" manages to both amuse and provoke, to cleave to convention and promote ideas.
    • 62 Metascore
    • 60 John Anderson
    The landscape is dire, the architecture is haunted, children disappear by the dozens and antique toys inexplicably spark to life. That Mr. Radcliffe doesn't is part of the problem.
    • 60 Metascore
    • 60 John Anderson
    It is Mr. Kinnear's slippery charm that keeps Thin Ice from sinking into the frosty Wisconsin slush toward which it seems to be heading from the start.
    • 59 Metascore
    • 60 John Anderson
    Writer-director Andrew Okpeaha MacLean, who in his feature debut has lashed together a sturdy vehicle for unadorned morality and pragmatic justice.
    • 45 Metascore
    • 60 John Anderson
    Less magical is the blind adherence to formula evident in most of Taken 2. As they might say in the advertising department, it's an adrenaline-fueled thrill ride. But it could have been much more.
    • 60 Metascore
    • 60 John Anderson
    One of the brighter aspects of Life of Crime, which otherwise ambles along good naturedly, is the casting.
    • 60 Metascore
    • 60 John Anderson
    If the screenplay to Kill the Messenger were a news story, any capable copydesk would have kicked it back to the reporter — not for a shortage of facts, but a lack of dramatic soul.

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