John Anderson

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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
    • 58 Metascore
    • 70 John Anderson
    A rehashing of decades-old race relations in New York, or anywhere in America, might seem superfluous given more recent events, but Mr. Muhammad’s point isn’t to stir up anger. It’s to decry damage—the waste of a promising young life and the collateral wreckage visited upon a family and friends.
    • 68 Metascore
    • 80 John Anderson
    Lushly visual and much of its cinematic power arises from the seductively dreadful space and starkness of the Norwegian landscape in winter. And in the way Mr. Moland and his cinematographer, Rasmus Videbæk, use their delicately detailed, even painterly depictions of the flora and fauna surrounding the film’s very complicated people to put the latter in their cosmic place.
    • 58 Metascore
    • 70 John Anderson
    It has some savvy things to say about social media, assimilation and a specifically American condition: the peculiar mix of embarrassment and pride (and guilt) one can harbor about one’s ethnic origins. With a character who brings it all back home.
    • 81 Metascore
    • 80 John Anderson
    As director Alison Ellwood shows in her briskly entertaining documentary—The Go-Go’s—the band’s members can explain away, with enormous charm, the naked ambition that made them the most successful “girl group” ever.
    • 90 Metascore
    • 80 John Anderson
    How does it play? With the same verbal and musical fireworks as the stage version, and with the same emotional kick, which is rooted in the casting.
    • 65 Metascore
    • 70 John Anderson
    Anyone expecting some kind of righteously indignant, stentorian rant from Ms. Meeropol will be disappointed. In fact, she does something far more surgical: She makes Cohn ridiculous. She makes him close to an object of pity. He would have hated nothing more. Call it revenge by pathos.
    • 67 Metascore
    • 70 John Anderson
    Mr. Miranda may be the drawing card of We Are Freestyle Love Supreme, but director Andrew Fried has made a documentary about friends, rhythm and, in every sense, time.
    • 79 Metascore
    • 80 John Anderson
    It’s a delicate and memorable performance by Mr. Jackman. Ms. Janney does the whole Long Island thing as well as anyone ever has. The most resonant character, though, might be Rachel, whom Ms. Viswanathan imbues with the indignation of youth—something the rest of the characters have long outgrown, but which the story was always going to need.
    • 68 Metascore
    • 70 John Anderson
    The pacing is good, the atmosphere authentic, and even the paperwork — which is where the real revolutions in law occur — has a certain kinetic quality to it. And while viewers might think they know where the film is going, and what the payoff is going to be, they’ll still be caught off guard emotionally.
    • 78 Metascore
    • 80 John Anderson
    Still, one needn’t be British to feel the epic loss and grief of 1917, thanks to some very committed performances, the intimacy achieved by the movie’s style and camera — the cinematographer is the celebrated Roger Deakins — and Mr. Mendes’s obvious devotion to what he’s doing.
    • 78 Metascore
    • 100 John Anderson
    With A Hidden Life and the story of Franz Jägerstätter, the director has found the ideal vehicle for his cosmic inquiries, and has created a film that is mournful, memorable and emotionally exhilarating.
    • 74 Metascore
    • 70 John Anderson
    In Queen’s case, this means a tiger-striped stripper dress and snake-print go-go boots, which she will wear for the rest of the movie. It makes for terrific visuals, but like the sex scene to come it’s not a dignified enough use of this actress, and makes a blaxploitation film out of something that seemed to harbor loftier ambitions.
    • 76 Metascore
    • 70 John Anderson
    As constructed, Citizen K serves as a briskly paced primer into all things Putin, Russian and, incidentally, Khodorkovskian.
    • 64 Metascore
    • 70 John Anderson
    Mr. Fellowes, being something of a genius at briskly established plotlines and characterizations, clearly knew that a regal visit would be an ideal way to show off the best and worst of each Downton habitué.
    • 80 Metascore
    • 90 John Anderson
    To lavish too much praise on Mr. Pitt’s performance would be to somehow suggest he isn’t already among the best actors on screen. He is. Between this film and the current “Once Upon a Time in Hollywood,” he could and should be a double Oscar nominee next year. If he’s not, it doesn’t mean his performance in Ad Astra isn’t an epic one.
    • 66 Metascore
    • 90 John Anderson
    Art is supposed to help us see the world in novel ways. The Sound of Silence, in its quietly exhilarating manner, may make us hear it differently, too.
    • 69 Metascore
    • 70 John Anderson
    If Mr. Fessenden had a gospel to preach it would be about the virtues of low-budget, intellectually rigorous, topical, mayhem-rich movies. Of which Depraved is a perfect example.
    • 76 Metascore
    • 70 John Anderson
    Mr. Nelson’s movie is a gossipy and very musical primer on Davis, who is, needless to say (though it is said and said), among the giants of jazz.
    • 63 Metascore
    • 70 John Anderson
    As played by Keira Knightley, Katharine is sympathetic, as is the cause of an unabashedly political movie that is, essentially, a procedural, but also a very sophisticated, ornate, complex and convincing thriller.
    • 57 Metascore
    • 70 John Anderson
    A modest film about a modest man and benefits enormously from Mr. Wyman’s apparent obsessive-compulsive drive to collect, record and photograph.
    • 72 Metascore
    • 70 John Anderson
    Many things are possible in Midsommar, but the surest is that there’s nothing else like it at the movies.
    • 82 Metascore
    • 100 John Anderson
    What we have from director Alex Holmes — a guy who knows a great cinematic story when he hears one — is a documentary with all the nervous-making energy of a first-rate drama; a cast of sailors who are both endearing and intelligent; and a delicately wrought suspense story.
    • 75 Metascore
    • 70 John Anderson
    In Fyre, Mr. Smith tells a story of character, or lack thereof.
    • Wall Street Journal
    • 74 Metascore
    • 70 John Anderson
    Colette is not really a coming-of-age story, except as regards France itself. It’s a liberation story, one witty enough to be worthy of its subject.
    • 86 Metascore
    • 100 John Anderson
    Museo is in part a caper film, a heist film, and while it leans on such classics as “Topkapi” and “Rififi” the robbery has its own signature and is done in a visual style that’s hypnotic.
    • 73 Metascore
    • 80 John Anderson
    That the circuitous international influence of the western should manifest itself in South Africa is no surprise. Neither is the fact that someone as charismatic as Mr. Dabula should be the star of such a story, which is ripe with indignation, injustice, righteous violence and, ultimately, a shootout of cosmic resonance.
    • 85 Metascore
    • 100 John Anderson
    The unlikely, bittersweet, bristling comedy Support the Girls is easily one of the best films of the year, and the most sympathetic to women, despite having been made by a man. How can this be? Luckily, Andrew Bujalski’s remarkable movie — with its killer performance by Regina Hall — is not just about women. It’s about men being idiots. And no one is arguing ownership of that narrative.
    • 62 Metascore
    • 70 John Anderson
    Ms. Clarkson is always fascinating; only on second viewing did I notice how much Ms. Mortimer was doing while Mr. Nighy was stealing a scene. In the end, though, it’s his movie. And likely wasn’t supposed to be.
    • 58 Metascore
    • 80 John Anderson
    A daring little drama with a heavyweight cast, a gracefully delivered message and a hellish problem — specifically, other people.
    • 77 Metascore
    • 80 John Anderson
    It’s a story that doesn’t quite follow the money. The money is a maguffin, as per Hitchcock.

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