For 68 reviews, this critic has graded:
  • 50% higher than the average critic
  • 1% same as the average critic
  • 49% lower than the average critic
On average, this critic grades 12.1 points lower than other critics. (0-100 point scale)

John Anderson's Scores

  • Movies
Average review score: 47
Highest review score: 100 Hard Eight
Lowest review score: 0 Bio-Dome
Score distribution:
  1. Positive: 16 out of 68
  2. Negative: 17 out of 68
68 movie reviews
    • 78 Metascore
    • 100 John Anderson
    Anderson, who makes as impressive a directing debut as has been seen in some time, creates a perfectly modulated mystery that doesn't even feel like one. It's a character play, and Hall, Reilly and Paltrow are so convincingly damaged they take on the properties of fine china.
    • 81 Metascore
    • 90 John Anderson
    Kon's best work yet.
    • 50 Metascore
    • 80 John Anderson
    So refreshing and funny and, in its way, sophisticated.
    • 63 Metascore
    • 80 John Anderson
    Gracefully bittersweet and balanced. [16 April 1999, Calendar, p.F-1]
    • 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."
    • 60 Metascore
    • 70 John Anderson
    Following Woody Allen, Ang Lee and any number of sitcoms, Georgia Lee constructs her well-shot, well-written film around three daughters.
    • 45 Metascore
    • 70 John Anderson
    Martin is marvelous; through sheer charisma, he takes over certain scenes as if no one else is there.
    • 55 Metascore
    • 70 John Anderson
    A virulent but thoroughly entertaining trilogy of tales about the besieged lower classes of Edinburgh, ripe with vulgarity, self-loathing, violence and economic disorder.
    • 32 Metascore
    • 70 John Anderson
    The trick is getting from a conclusion made five minutes into a movie to an ending 90 minutes away. It can be a scary prospect. In The Sweetest Thing it is mostly a hoot.
    • 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.
    • 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.
    • 34 Metascore
    • 70 John Anderson
    The special effects are effective and aggressive, although one might occasionally confuse a divine vortex with a flushed toilet.
    • 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.
    • tbd Metascore
    • 70 John Anderson
    To resort to strictly ethnocentric references, Fanaa is equal parts MGM extravaganza, Shakespeare lite and James Bond. In their heart of hearts, isn't that what movie audiences really want?
    • 54 Metascore
    • 70 John Anderson
    Odd, funny film.
    • 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]
    • 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.
    • 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.
    • 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.
    • 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.
    • 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."
    • 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.
    • 37 Metascore
    • 50 John Anderson
    Not as bad as it sounds nor as good as it might have been.
    • 41 Metascore
    • 50 John Anderson
    A movie that commits sins of excess, except regarding Thornton. There's not nearly enough of him.
    • 47 Metascore
    • 50 John Anderson
    Go see it. But you'll feel cheap in the morning.
    • 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.
    • 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.
    • 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.
    • 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]
    • 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.
    • 26 Metascore
    • 40 John Anderson
    Ultimately, Supercross is an example of how too much of anything will get annoying -- including VVRRRROOOOOOOMMM and flying bikes.
    • 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.
    • 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.
    • 43 Metascore
    • 40 John Anderson
    A sad farewell to the promising Project Greenlight concept, this Feast leaves viewers with nothing satisfying to tuck into.
    • 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.
    • 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.
    • 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.
    • 56 Metascore
    • 40 John Anderson
    A goofball movie, in the way "Malkovich" was, but it tries too hard.
    • 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.
    • 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.
    • 44 Metascore
    • 40 John Anderson
    It only serves to remind one of better movies, at a time when one needs no reminders.
    • 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.
    • 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.
    • 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.
    • 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.
    • 21 Metascore
    • 30 John Anderson
    You have to be a bit of an arrested adolescent to think "Larry" is funny.
    • 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.
    • 21 Metascore
    • 30 John Anderson
    It's a movie on the wrong side side of the so-bad-it's-good line.
    • 37 Metascore
    • 30 John Anderson
    So mild, so benign, its humiliation-to-vindication are so predictable and its old-folks jokes so feeble.
    • 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.
    • 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.
    • 51 Metascore
    • 30 John Anderson
    Has been described as a "midnight-style musical." And perhaps it should be seen that way, with a crowd of kindred knuckleheads and some moshing in the aisles.
    • 36 Metascore
    • 20 John Anderson
    If Aeon Flux is what Charlize Theron does to pay the bills while otherwise being engaged in "Monster" and "North Country," it's probably a reasonable price to pay. For her. For us? No, no, no.
    • 27 Metascore
    • 20 John Anderson
    The two leads are unappealing, the story is dragged on for days and the rather random magical element renders any human factor irrelevant..
    • 27 Metascore
    • 20 John Anderson
    Spears acquits herself as well as anyone might, in a movie as contrived and lazy as this one.
    • 14 Metascore
    • 20 John Anderson
    Whalin is awful, Birch is saddled with lines that would make a silent film star blanch and Irons devours huge chunks of scenery with the ferocity of one of those dog-fighting dragons.
    • 19 Metascore
    • 20 John Anderson
    The best advice to give anyone who wants to see Species II--other than "don't go!"--is "don't eat!"
    • 20 Metascore
    • 20 John Anderson
    It's an awfully confusing journey, unless you're of pro-Digi-ous intelligence. Or a digimaniac. Or just 6.
    • 35 Metascore
    • 20 John Anderson
    Ricki Lake, who occupies one of the lower links on the TV trash-talk food chain, is promoted to ugly duckling in Mrs. Winterbourne, a film that waddles through the movie-memory super-mart shoplifting everything but charm.
    • 19 Metascore
    • 10 John Anderson
    If nothing else, Gummo does challenge perceptions and presumptions: Is the perspective of youth in this country really so devoid of significance, and their existence so septic? These are good questions, although "Gummo" provides neither answer nor solution, nor even thematic cohesion.
    • 50 Metascore
    • 0 John Anderson
    • 1 Metascore
    • 0 John Anderson
    [Shore] seems convinced that the antics of his retarded persona amount to some manner of postmodernist anti-comedy and this makes the resultant boredom seem all the more pathetic.