John Anderson

Select another critic »
For 290 reviews, this critic has graded:
  • 53% higher than the average critic
  • 2% same as the average critic
  • 45% lower than the average critic
On average, this critic grades 2.4 points lower than other critics. (0-100 point scale)

John Anderson's Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 100 Get Low
Lowest review score: 0 Bio-Dome
Score distribution:
  1. Negative: 32 out of 290
290 movie reviews
    • 56 Metascore
    • 30 John Anderson
    What’s increasingly bewildering and perversely curious is how unpleasant Spinster is, in almost every regard: The lighting is atrocious, the framing is erratic and Ms. Peretti’s comedy, which is generally about demolishing the banalities that constitute most human interaction, may well have the audience saying, “Well, of course Gaby’s alone. She’s intolerable.”
    • 32 Metascore
    • 20 John Anderson
    Mostly, Cats is a confusing litter box of intentions, from its crushed-velour aesthetic to its strip-bar sensuality to its musical cluelessness.
    • 69 Metascore
    • 30 John Anderson
    Almost the entire movie is lifted from other sources, and then edited in a way that makes his enemies (do they know they’re his enemies?) look as foolish as possible. The punditry is trite. The snark is boring.
    • 27 Metascore
    • 30 John Anderson
    It has its moments, several of which are provided by Ms. Rudolph, putting a spin on the girl-friday role. She has one scene of utter hilarity that shouldn’t be spoiled, and can’t be printed anyway, but may lead to “pilafing” becoming the word of the year on Urban Dictionary.
    • 23 Metascore
    • 10 John Anderson
    Mr. Garman’s showcase has very little to do with anything else, but he’s a pal of Mr. Smith’s and, at the very least, his performance is a filet of wit amid a heaping helping of comedic byproduct.
    • 41 Metascore
    • 30 John Anderson
    As Tiberius, who seems not to have been based on any Tiberius of history, Mr. Brody brings to the film a combination of heroin-chic and Basil Rathbone. Also, an extraordinary level of sadistic cruelty. People are burned alive, crushed like insects, hurled from rooftops. They may not deserve all this. But neither do we.
    • 31 Metascore
    • 10 John Anderson
    Fredrik Bond’s direction and Matt Drake’s screenplay deliver a charisma-free trip into a world of gratuitous violence, contrivances and tedium.
    • 50 Metascore
    • 10 John Anderson
    Shockingly, the kind of cringe-inducing material upon which Mr. Mazer has built a career as a writer for Sacha Baron Cohen ("Bruno," "Borat," "Da Ali G Show") doesn't work when rendered by types who could have been cast in "Notting Hill" (someone even makes a Hugh Grant joke). It's rather close to excruciating.
    • 37 Metascore
    • 20 John Anderson
    The director's apparent blindness to the epic banality of her subjects suggests that the whole project is one royally misguided mess.
    • 57 Metascore
    • 30 John Anderson
    As an experiment in Academy Award psychology, Albert Nobbs is fascinating. As drama? It is, forgive us, a drag.
    • 36 Metascore
    • 30 John Anderson
    Despite all the nervous tension, the central drama is flawed - Jonathan isn't trying to find a killer. He is the killer. Something is lacking in the dramatic equation.
    • 37 Metascore
    • 38 John Anderson
    Cinema-as-shoplifting is okay, as long as you still get the feeling it's for a greater good. But that's something The Tourist is sorely missing.
    • 21 Metascore
    • 30 John Anderson
    You have to be a bit of an arrested adolescent to think "Larry" is funny.
    • 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..
    • 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.
    • 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.
    • 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.
    • 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.
    • 50 Metascore
    • 0 John Anderson
    • Los Angeles Times
    • 37 Metascore
    • 30 John Anderson
    So mild, so benign, its humiliation-to-vindication are so predictable and its old-folks jokes so feeble.
    • 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.
    • 40 Metascore
    • 30 John Anderson
    "Wolverine" is full of angst, and yet has had virtually all the soul wrung out of it in an effort to create a live-action cartoon. But cartoons are rarely so unwieldy, or force a director -- in this case, the largely unsung Gavin Hood -- to juggle so much impossible plotline.
    • 56 Metascore
    • 30 John Anderson
    Pathetically unfunny most of the time.
    • 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!"
    • 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.
    • 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.
    • 18 Metascore
    • 30 John Anderson
    Crashingly unimaginative. But its real offense is making such poor use of Nielsen.
    • 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.
    • 21 Metascore
    • 30 John Anderson
    It's a movie on the wrong side side of the so-bad-it's-good line.
    • 27 Metascore
    • 20 John Anderson
    Spears acquits herself as well as anyone might, in a movie as contrived and lazy as this one.

Top Trailers