John Anderson

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For 219 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 1.7 points lower than other critics. (0-100 point scale)

John Anderson's Scores

  • Movies
  • TV
Average review score: 61
Highest review score: 100 Polina
Lowest review score: 0 Bio-Dome
Score distribution:
  1. Negative: 27 out of 219
219 movie reviews
    • 77 Metascore
    • 80 John Anderson
    The scope of the subject is such that when Mr. Jarecki's voiceover cuts into the narrative, imposing a personal angle on the national story, it reduces the sense of significance its creator aimed for. But that's a fairly backhanded endorsement of a very potent movie.
    • 77 Metascore
    • 100 John Anderson
    Felix (Duvall) simply wants to host his own goodbye, maybe have a band, and the reasons why are the reasons Get Low is essential viewing. That, and the acting.
    • 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.
    • 76 Metascore
    • 80 John Anderson
    A very entertaining black comedy for very mysterious reasons.
    • 76 Metascore
    • 80 John Anderson
    Director David Gordon Green, working with screenwriter John Pollono’s adaptation of the book by Mr. Bauman and Bret Witter, maintains a brisk pace. There’s barely a maudlin moment, which is remarkable given the subject matter.
    • 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.
    • 75 Metascore
    • 90 John Anderson
    Frank is a genuine original in a summer sea of sameness, and a darkly comedic manifesto against the cultural status quo.
    • 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.
    • 75 Metascore
    • 100 John Anderson
    The pulp-fictional hero is inhabited by the charismatic Andy Lau who, together with Chinese stars Bingbing Li, Ms. Lau and Tony Leung Ka-fai, makes Detective Dee the most purely entertaining film of our vanishing summer.
    • 75 Metascore
    • 40 John Anderson
    When the film leaves the realm of the impolite or even criminal for something far more extreme, it achieves a level of excess that makes the whole enterprise increasingly cartoonish, rather than just awful.
    • 74 Metascore
    • 80 John Anderson
    Soko is terrific, but it is Mr. Lindon who delivers the performance of the film, his internalized consternation amounting to an eloquent dispatch from the war between the sexes.
    • 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.
    • 74 Metascore
    • 80 John Anderson
    The source of all this information was a real-life KGB agent, Vladimir Vetrov, code named Farewell, and with the usual adjustments for drama his story gets a respectable retelling in this nervy French production.
    • 74 Metascore
    • 80 John Anderson
    What makes this nominee for the best-foreign-film Oscar singular among Holocaust movies is the way it characterizes the banality of life underground.
    • 74 Metascore
    • 80 John Anderson
    There’s much amusement to be had in the film. Very little of it stupid.
    • 74 Metascore
    • 80 John Anderson
    There's a near-sacred history in Hollywood of non-U.S.- born directors providing fresh perspectives on America. Miloš Forman. Alfred Hitchcock. Ang Lee. Ernst Lubitsch. Billy Wilder. For Prisoners, a stress-inducing trip into child abduction, the director is Quebecois filmmaker Denis Villeneuve, who gives us an American "hero" guaranteed to push many buttons, many times, and who might not have been allowed to be quite so awful, under a different director's lens.
    • 74 Metascore
    • 90 John Anderson
    The filmmaking is fluid and electric; the acting, precise; the archetypal storytelling, seamless and brutal. What happens in “La Jaula de Oro” might enrage audiences, and probably for a variety of reasons. But there’s no getting away without it leaving a mark.
    • 73 Metascore
    • 50 John Anderson
    The psychology of The Club is warped and gnarled, the thinking of its members less-than-jesuitical.
    • 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.
    • 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.
    • 72 Metascore
    • 70 John Anderson
    Noisy, frenetic, grandiose and essentially a soap opera, director J.J. Abrams's second contribution to the franchise has everything, including romance: Never before have Capt. James T. Kirk and his Vulcan antagonist, Mr. Spock, seemed so very much in love.
    • 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.
    • 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.
    • 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.
    • 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.
    • 71 Metascore
    • 80 John Anderson
    A mood piece, a character study and an exercise in poetic gesture possessed of a sort of evanescent, secular spirituality.
    • 71 Metascore
    • 70 John Anderson
    People might have laughed at the old Jack Rebney, but they were laughing at themselves as well. And counting their blessings. Everyone has a cranky side. Unlike Mr. Rebney's, it isn't usually gawked at by 20 million people.
    • 71 Metascore
    • 70 John Anderson
    Sleepwalk With Me makes the subject palatable, funny and maybe even touching.
    • 71 Metascore
    • 70 John Anderson
    Ms. Plaza delivers a wide-ranging, nuanced and demanding performance as a mad woman, whose attic is the cellphone.
    • 70 Metascore
    • 80 John Anderson
    The upshot is an emotionally satisfying fusion of the mixed up and the magical.

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