Melissa Anderson

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For 364 reviews, this critic has graded:
  • 30% higher than the average critic
  • 3% same as the average critic
  • 67% lower than the average critic
On average, this critic grades 5.5 points lower than other critics. (0-100 point scale)

Melissa Anderson's Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 100 The Royal Road
Lowest review score: 0 The Blind Side
Score distribution:
  1. Negative: 54 out of 364
364 movie reviews
    • 65 Metascore
    • 70 Melissa Anderson
    As we watch Haenel — whose piercing gaze is only one aspect of her luminosity — stride through these overdetermined scenes, clutching a medical bag to her side, we are reminded that even the most timeworn of conventions can be made electric and alive.
    • 67 Metascore
    • 40 Melissa Anderson
    “The white Precious,” as one rival calls her, may be trying to master a musical genre known for ingenious metaphors and similes, but Patti Cake$ rarely rises above the literal.
    • 64 Metascore
    • 80 Melissa Anderson
    We’re fortunate to witness such impassioned consideration of Houston’s art, career, and life from the people who actually knew her. Still, it’s notable that Crawford isn’t interviewed here.
    • 71 Metascore
    • 80 Melissa Anderson
    The film mesmerizes and alienates equally.
    • 73 Metascore
    • 80 Melissa Anderson
    Reybaud’s film similarly serves as a tonic lesson in physical specifics, each location populated with richly idiosyncratic conversation partners.
    • 63 Metascore
    • 60 Melissa Anderson
    The most coherent moments of the simultaneously byzantine and dumb Atomic Blonde are its nimbly choreographed fight scenes, episodes that best show off the aloof appeal of Theron.
    • 71 Metascore
    • 70 Melissa Anderson
    Malcolm D. Lee’s comedy, written by Kenya Barris and Tracy Oliver — the same creative team behind last year’s uneven Barbershop: The Next Cut — pops with next-level ribaldry and smack talk, especially in its first half. But in the remaining hour, the laughs arrive less often as the gender politics grow weirder.
    • 41 Metascore
    • 50 Melissa Anderson
    In Luc Bondy’s largely inert False Confessions, the tedium is broken by the [Isabelle Huppert's] outfits, and by the way she moves in them.
    • 84 Metascore
    • 60 Melissa Anderson
    “Every love story is a ghost story,” David Foster Wallace wrote more than once. That evocative observation is probed in David Lowery’s A Ghost Story, a film that occasionally reaches a similar level of eloquence.
    • 85 Metascore
    • 100 Melissa Anderson
    Though full of mysteries, and, like all of Rodrigues’s work, consistently unpredictable from scene to scene, The Ornithologist may be the director’s most conventional narrative.
    • 69 Metascore
    • 60 Melissa Anderson
    Though it’s a phlegmatic, sometimes stumbling thriller, Moka, directed and co-written by Frédéric Mermoud, still has its share of gripping suspense.
    • 68 Metascore
    • 70 Melissa Anderson
    Beatriz, a person committed to doing good in the world, can be obtuse in reading social cues and fatiguingly sanctimonious, her wearisome traits finely calibrated by Hayek.
    • 76 Metascore
    • 50 Melissa Anderson
    When the separatist compound must accommodate an interloper — Steve Trevor, fished out of the sea by Diana after his plane goes down — any hopes that Wonder Woman will sustain its appealing misandry are soon dashed.
    • 45 Metascore
    • 40 Melissa Anderson
    The noxious self-absorption of straight white women that Schumer has sent up so blisteringly on her Comedy Central show is extolled more than it is lampooned.
    • 76 Metascore
    • 80 Melissa Anderson
    Jacobs lets casually observed details and offhand humor advance the story. There are no grand pronouncements in The Lovers, which smartly communicates its ideas about relationships during its long stretches of silence.
    • 72 Metascore
    • 60 Melissa Anderson
    [A] densely packed but occasionally facile documentary.
    • 72 Metascore
    • 50 Melissa Anderson
    Obit rarely strays from the anodyne tone of the advertorial.
    • 63 Metascore
    • 40 Melissa Anderson
    10 minutes early to the Free Fire press screening, I grew restless as “Annie’s Song” played on a continuous loop in the theater; the gimmick filled up my senses with the quickly confirmed fear that Wheatley’s film would rarely rise above the dopey and obvious.
    • 77 Metascore
    • 100 Melissa Anderson
    In his sympathetic and intelligent Dickinson biopic, A Quiet Passion, Terence Davies honors his subject by remaining true to this observation from the poet herself: "To live is so startling, it leaves but little room for other occupations."
    • 70 Metascore
    • 50 Melissa Anderson
    Engaging ideas bubble up every so often in Colossal, a film that carries out magical thinking to its extreme. But the audacity of its conceit is inexorably tamed, becoming an all-too-familiar lesson on saying no.
    • 76 Metascore
    • 70 Melissa Anderson
    Delicately balanced between grandeur and absurdity, Serra's film maintains this tricky equilibrium largely thanks to the icon whose face fills the screen.
    • 73 Metascore
    • 50 Melissa Anderson
    As too often happens in nonfiction movies, their exploration of these concepts is undermined by ill-considered execution.
    • 49 Metascore
    • 30 Melissa Anderson
    Inevitably, his generic disgruntlement will soften: Amerindie dyspeptic-comedy formula dictates that the man who rants two times too many against the addiction to phones and the internet will, by film’s end, have a heart-stirring video chat.
    • 73 Metascore
    • 60 Melissa Anderson
    The savage derangements of grief so guttingly explored by Ozon in Under the Sand (2000), a career-revitalizing project for Charlotte Rampling, are decorously treated in Frantz.
    • 77 Metascore
    • 90 Melissa Anderson
    When one goes to see Kristen Stewart — among the most quicksilver of her generation's performers — in Olivier Assayas's Personal Shopper, a shape-shifting, resolutely of-this-moment ghost story that features her in nearly every frame, one goes not to watch her act but refract.
    • 73 Metascore
    • 80 Melissa Anderson
    Jordenö, in a recurring motif, honors the kiki denizens the most when she captures them motionless, staring directly into the camera, regal and indefatigable.
    • tbd Metascore
    • 90 Melissa Anderson
    Les Hautes Solitudes is both ravishing portraiture and wordless biography, a life and aura distilled to glances and gestures.
    • 74 Metascore
    • 60 Melissa Anderson
    Like its central not-couple, two women tongue-tied about their desire for each other, So Yong Kim's Lovesong frustrates with its lack of articulation.
    • 33 Metascore
    • 30 Melissa Anderson
    Despite the nonstop banality, Johnson remains the sole source of allure: Her sleepy eyes suggest nights devoted to pleasure inconceivable to James.

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