Melissa Anderson

Select another critic »
For 342 reviews, this critic has graded:
  • 29% higher than the average critic
  • 3% same as the average critic
  • 68% lower than the average critic
On average, this critic grades 5.1 points lower than other critics. (0-100 point scale)

Melissa Anderson's Scores

  • Movies
  • TV
Average review score: 56
Highest review score: 100 45 Years
Lowest review score: 0 The Blind Side
Score distribution:
  1. Negative: 54 out of 342
342 movie reviews
    • tbd Metascore
    • 100 Melissa Anderson
    Charlie Is My Darling captures the quintet at their most impossibly vernal and beautiful.
    • 79 Metascore
    • 100 Melissa Anderson
    When Guadagnino focuses solely on the primal, the effect is spellbinding. Only the words get in the way.
    • 93 Metascore
    • 100 Melissa Anderson
    Delving into microeconomics and macroaggressions, Toni Erdmann, the dynamite, superbly acted third feature from writer-director Maren Ade, is social studies at its finest.
    • 84 Metascore
    • 100 Melissa Anderson
    Unclassifiable, expansive, and breathtaking.
    • 87 Metascore
    • 100 Melissa Anderson
    A perfectly paced and performed character study of a woman raising a child on her own who must contend with a heinous act of violence.
    • tbd Metascore
    • 100 Melissa Anderson
    Extraordinary, groundbreaking documentary.
    • 65 Metascore
    • 100 Melissa Anderson
    As personal as it is political, Olson's meditative project offers a profound lesson on intimacy and history — and the ways in which both are distorted and remade by memory.
    • 99 Metascore
    • 100 Melissa Anderson
    A question is posed to the main character of Barry Jenkins's wondrous, superbly acted new film, Moonlight: "Who is you, man?" The beauty of Jenkins's second feature...radiates from the way that query is explored and answered: with specifics and expansiveness, not with foregone conclusions.
    • 94 Metascore
    • 100 Melissa Anderson
    With 45 Years, [Haigh] has created not only a searching examination of a long-term marriage — and the myths that sustain it — but also a compassionate portrait of a woman reconciling herself with those false notions.
    • tbd Metascore
    • 100 Melissa Anderson
    The playfulness of Rivette's sublime female-buddy picture, recalling the fun of "Gentlemen Prefer Blondes," would inform Susan Seidelman's "Desperately Seeking Susan" 11 years later. But its greatest descendant is David Lynch's "Mulholland Drive," another film about two women erotically attached, a house with a secret, and transformation.
    • 82 Metascore
    • 100 Melissa Anderson
    Referents and identities are always slightly unfixed in Neruda, a film that reaches dizzying, exhilarating velocity by flouting the conventions of its hidebound genre.
    • 81 Metascore
    • 100 Melissa Anderson
    Plunging viewers into the thick of chaos, Leviathan explodes the antiquated paradigm of the documentary or ethnographic film, whose mission has traditionally been to educate or elucidate, to create something that seizes us, never letting us forget just how disordered the world is. This may be the greatest lesson any nonfiction film can teach us.
    • tbd Metascore
    • 100 Melissa Anderson
    Rohmer's 1986 masterpiece (being re-released with its original French title, which translates as "The Green Ray"), Le Rayon Vert centers on those themes, too, but delivers something much richer: an absorbing, empathic portrait of a complex woman caught between her own obstinacy and melancholy.
    • 82 Metascore
    • 100 Melissa Anderson
    Stranger abounds with precision and detail, evinced not just in the spectacular visual composition but also in the observation of behavioral codes in carnally charged spaces.
    • 65 Metascore
    • 90 Melissa Anderson
    Nothing tops ILYPM's Jim Carrey ... in the most gloriously raunchy, unrepentant moment in the an(n)als of Hollywood A-listers doing gay-for-pay.
    • 80 Metascore
    • 90 Melissa Anderson
    Sweetgrass reminds us of the stupefying magnificence of its setting—beautiful for spacious skies and mountain majesties—while never letting us forget its formidable perils.
    • 87 Metascore
    • 90 Melissa Anderson
    Funny (sometimes caustically so), rueful, and bracingly honest, Happy Hour is also a movie defined by an unshakeable belief that any encounter holds the promise of magic.
    • 76 Metascore
    • 90 Melissa Anderson
    Despite the claustrophobic setting and Tsangari's observational style, Chevalier doesn't register as hermetic or coolly condescending; the film feels loose and agile even amid so much capricious rule-making.
    • 70 Metascore
    • 90 Melissa Anderson
    Firmly rooted in everyday particulars — primarily the transactions (business, emotional, or otherwise) facilitated by the time- and space-obliterating devices to which we are constantly tethered — Ferran's movie dares to venture, for much of its second half, into fantasy.
    • 80 Metascore
    • 90 Melissa Anderson
    A triumph of maximalist filmmaking. And you won't look at your watch once.
    • tbd Metascore
    • 90 Melissa Anderson
    A riot of technical tricks, Daisies shifts between color, black-and-white, and tinted images and includes a scene in which the two Maries, wielding scissors, essentially turn themselves into paper dolls.
    • 82 Metascore
    • 90 Melissa Anderson
    Thoroughly researched and packed with phenomenal archival footage, it's a rousing tribute to a mesmerizing performer that forgoes blind hero worship.
    • 92 Metascore
    • 90 Melissa Anderson
    35 Shots is Denis's warmest, most radiant work, honoring a family of two's extreme closeness while suggesting its potential for suffocation.
    • tbd Metascore
    • 90 Melissa Anderson
    What's left to be said about Marcel Carné's towering intimate epic of early 19th-century love and the lives of performers, often heralded as the greatest French film of all time?
    • 75 Metascore
    • 90 Melissa Anderson
    In the thinly veiled version of her life that appears onscreen, the actress unforgettably shows the deadening toll of always being on the move, only to return to the exact same place.
    • tbd Metascore
    • 90 Melissa Anderson
    Les Hautes Solitudes is both ravishing portraiture and wordless biography, a life and aura distilled to glances and gestures.
    • 81 Metascore
    • 90 Melissa Anderson
    Daughters of the Dust abounds with stunning motifs and tableaux, the iconography seemingly sourced from dreams as much as from history and folklore. But however seductive and trance-inducing, the visual splendor of Dash's film is never vaporous.
    • 69 Metascore
    • 90 Melissa Anderson
    Reichardt pays clear homage to Breathless and Badlands, but her movie, the title of which is a local name for the Everglades, operates in its own ecosystem, teeming with the droll, shrewd observations about downwardly mobile life explored more solemnly in Reichardt's next two films, Old Joy and Wendy and Lucy.
    • 94 Metascore
    • 90 Melissa Anderson
    A simple, powerful act of bearing witness, We Were Here is a sober reminder of the not-too-distant past, when gays were focused not on honeymoon plans but on keeping people alive.
    • tbd Metascore
    • 90 Melissa Anderson
    The quick-witted malcontent, a Morristown, New Jersey, refugee who arrived at Port Authority in 1969, is the best kind of New Yorker: one with a long memory who's averse to nostalgia.
    • 86 Metascore
    • 90 Melissa Anderson
    Millions of lives have been saved - and extended - as the result of a tireless cadre of advocates who, as Eigo states, "put their bodies on the line."
    • 74 Metascore
    • 90 Melissa Anderson
    Rapisarda Casanova's film shows just how much natural splendor dominates the region, here caught at the height of estival glory.
    • 74 Metascore
    • 90 Melissa Anderson
    In so shrewdly exploring the illusions — namely (self-) deception — required to keep a dyad functioning, Garrel shows just how much we all remain, consciously or not, in the dark.
    • 86 Metascore
    • 90 Melissa Anderson
    A transfixing Cold War thriller set in the East Germany of 1980, Christian Petzold's superb Barbara is made even more vivid by its subtle overlay of the golden-era "woman's picture," the woman in question being Dr. Barbara Wolff, brilliantly played by Nina Hoss in her fifth film with the writer-director.
    • 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.
    • 87 Metascore
    • 90 Melissa Anderson
    As is his custom, Weerasethakul addresses his nation's martial history with the lightest of touches.
    • 80 Metascore
    • 90 Melissa Anderson
    His gift-and the film's-is to transform the seemingly banal relationship between pet and owner into something singular, inimitable, sacred.
    • 72 Metascore
    • 90 Melissa Anderson
    For all of its wise, welcome focus on the libidinal, Summertime additionally succeeds in presenting the liberationist fervor of the time without devolving into school-play pageantry.
    • 85 Metascore
    • 90 Melissa Anderson
    Despite a few missteps, Take Shelter powerfully lays bare our national anxiety disorder - a pervasive dread that Curtis can define only as "something that's not right."
    • 83 Metascore
    • 90 Melissa Anderson
    Not to detract from the pleasure of watching the consistently excellent actors, who enhance the dialogue's bite with their body language, but the script of In the Loop is so rich that it could work as a radio play.
    • 94 Metascore
    • 90 Melissa Anderson
    It's precisely Malle's omnivorous appetite that makes his first feature, adapted from a policier, so delectable, one stuffed with many sumptuous sights and sounds.
    • 72 Metascore
    • 80 Melissa Anderson
    Every shot and edit in Wiseman's film also suggests without over-explaining, allowing a viewer to lose herself in pleasure.
    • 64 Metascore
    • 80 Melissa Anderson
    The force of the acting alone almost compensates for some of the more difficult (and realistic) questions about not giving birth that García willfully sidesteps.
    • 71 Metascore
    • 80 Melissa Anderson
    Jerichow forgoes the prolonged double-crosses of "The Postman Always Rings Twice," its simpler ending made all the more powerful--and a little heartbreaking.
    • 73 Metascore
    • 80 Melissa Anderson
    You Don't Like the Truth focuses on the pathetic manipulations of Canadian intelligence officers as they interrogate Toronto-born Omar Khadr, the youngest prisoner held in Guantánamo Bay.
    • 79 Metascore
    • 80 Melissa Anderson
    Hawkes and Hunt nobly tackle the physical demands their roles require.
    • 67 Metascore
    • 80 Melissa Anderson
    Those who groan that the writer-director has made another indulgent film about the obscenely privileged have overlooked Coppola's redoubtable gifts at capturing milieu, languor, and exacting details.
    • 89 Metascore
    • 80 Melissa Anderson
    The Artist is movie love at its most anodyne; where Guy Maddin has used the conventions of silent film to express his loony psychosexual fantasias for more than a decade, Hazanavicius sweetly asks that we not be afraid of the past.
    • 83 Metascore
    • 80 Melissa Anderson
    Pina gives us the supreme pleasure of watching fascinating bodies of widely varying ages in motion, whether leaping, falling, catching, diving, grieving, or exulting. Wenders's expert use of 3-D puts viewers up close to the spaces, both psychic and physical, inside and out, of Bausch's work.
    • 76 Metascore
    • 80 Melissa Anderson
    Filmed during the months leading up to the 2009 presidential election in Iran, The Hunter still seethes with fury - and anticipates the blood that would spill after the vote.
    • 74 Metascore
    • 80 Melissa Anderson
    Tomboy astutely explores the freedom, however brief, of being untethered to the highly rule-bound world of gender codes.
    • 86 Metascore
    • 80 Melissa Anderson
    The Tillman Story goes deeper, exposing a system of arrogance and duplicity that no WikiLeak could ever fully capture.
    • 86 Metascore
    • 80 Melissa Anderson
    The Interrupters reminds us of the powers and pleasures of well-crafted, immersive nonfiction filmmaking.
    • 64 Metascore
    • 80 Melissa Anderson
    Crucially, all four men, plus the ancillary characters who appear throughout the film, prove to be excellent company, holding forth on literature, Europe's future, inner-ear ailments, and side triceps.
    • 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.
    • 62 Metascore
    • 80 Melissa Anderson
    Never a banal depiction of dysfunctional group dynamics, Stinking Heaven, which was shaped, as in Silver's previous work, largely through improvisation, remains consistently absorbing.
    • 72 Metascore
    • 80 Melissa Anderson
    Formally spartan, Ousmane Sembène's Black Girl (1966) is dense with cool fury.
    • 66 Metascore
    • 80 Melissa Anderson
    For many of the film's brisk 84 minutes, Fox eclipses his earlier work-and several other same-sex tragedies-by immersing us in his protagonist's quiet turmoil.
    • 76 Metascore
    • 80 Melissa Anderson
    A fiction film that documents the unpredictable, unscripted actions of its pint-size lead, Nana offers new ways of thinking about childhood, or, at the very least, about children in movies.
    • tbd Metascore
    • 80 Melissa Anderson
    Echeverria [has a] gift for capturing detail-dense moments in the most casual way.
    • 69 Metascore
    • 80 Melissa Anderson
    The animation studio's first film with a female protagonist, a defiant lass who acts as a much-welcome corrective to retrograde Disney heroines of the past and the company's unstoppable pink-princess merchandising.
    • tbd Metascore
    • 80 Melissa Anderson
    "Beautiful clothes on good-looking people just moving across the stage" to the sounds of Barry White and Al Green. "It was the presence of these African-American models that really animated the stage," notes Harold Koda of the Met's Costume Institute-- a sentiment that fashion historian Barbara Summers expresses more memorably: The crowd was "peeing in their seats because these girls were so fabulous."
    • 75 Metascore
    • 80 Melissa Anderson
    If Side Effects, an immensely pleasurable thriller centering around psychotropic drugs, really is Steven Soderbergh's final big-screen film, as the director claims it will be, then he has peaked in the Valley of the Dolls.
    • 77 Metascore
    • 80 Melissa Anderson
    Watching this taciturn man grow close to mother and child - close enough that he experiences twinges of jealousy and abandonment toward the end of Las Acacias - is one of the most satisfying spectacles in a movie this year, a time-lapse of emotions rendered perfectly.
    • 70 Metascore
    • 80 Melissa Anderson
    Moves briskly, unfolding as one lively sit-down after another with artists, scholars, and curators who established themselves at the height of second-wave feminism.
    • 72 Metascore
    • 80 Melissa Anderson
    Undeniably, the rhythms — of clanging machines, of humans at work and repose — seen and heard here are the tempo of the quotidian and the repetitive. Yet even in their mundanity, these factory routines are not without their exalted moments.
    • 82 Metascore
    • 80 Melissa Anderson
    Without a trace of didacticism, Boden and Fleck portray the insidious details of exploitation and hollow American maxims.
    • 64 Metascore
    • 80 Melissa Anderson
    Dalle, with a mouth that could devour the world, unravels inexorably but with decadent dignity, and Chiha's singular film never relies on cliché in its examination of illness, disappointment, and abandonment.
    • 82 Metascore
    • 80 Melissa Anderson
    El Velador still sharply conveys what life is like in a traumatized nation.
    • 65 Metascore
    • 80 Melissa Anderson
    As always with Guiraudie’s films, Staying Vertical shrewdly (and often hilariously) captures both the seriousness and the absurdity of sex.
    • 79 Metascore
    • 80 Melissa Anderson
    The first 10 minutes of Dee Rees's funny, moving, nuanced, and impeccably acted first feature, in which coming of age and coming out are inseparable, sharply reveal the conflicts that 17-year-old Alike (Adepero Oduye) faces.
    • 84 Metascore
    • 80 Melissa Anderson
    Matching the precision of the film's title, remembrances of things past-whether destructive or salutary, quickly mentioned or dilated upon-are shaped by just enough exacting detail.
    • 75 Metascore
    • 80 Melissa Anderson
    The Art of the Steal's thorough research, bolstered by many fiery talking heads, makes it one of the most successful advocacy docs in recent years and may prompt some firsthand investigating of your own.
    • 82 Metascore
    • 80 Melissa Anderson
    A funky, nonfiction tribute to the great avant-garde saxophonist Ornette Coleman, Ornette upends the staid portrait-of-the-artist formula, and it tinkers with and discards the conventions of the bio documentary just as its pioneering musician subject exploded those of jazz.
    • 62 Metascore
    • 70 Melissa Anderson
    If director James Watkins's second film is about as scary as the haunted house your big cousins made in the basement, Radcliffe, as widowed lawyer Arthur Kipps, at least gives a moving portrayal of grief.
    • 73 Metascore
    • 70 Melissa Anderson
    Stratman often juxtaposes static, serene landscape footage with an increasingly agitated soundtrack, arriving at an odd consonance amid so much dissonance.
    • tbd Metascore
    • 70 Melissa Anderson
    For a movement that was "fundamentally leaderless," Braderman's film gives its participants an opportunity to rightfully claim: "We thought we could change things--and, in fact, we did."
    • 77 Metascore
    • 70 Melissa Anderson
    A hazy drift through vast subjects — the fluidity of adolescence and the fragility of family — Anna Muylaert's Don't Call Me Son works best when it goes small.
    • 74 Metascore
    • 70 Melissa Anderson
    Her (Davis) homage--tender, never hagiographic--also contains some biting analysis of the racism, both overt and insidious, that the artist was up against.
    • tbd Metascore
    • 70 Melissa Anderson
    In a career that began nearly 60 years ago, Agnès Varda has shown an extraordinary gift for capturing the theatricality of the mundane, particularly in her documentaries.
    • 70 Metascore
    • 70 Melissa Anderson
    There's great archival footage.
    • 74 Metascore
    • 70 Melissa Anderson
    Recalling other cine-duets, both straight (Richard Linklater's Before Sunrise) and gay (Andrew Haigh's Weekend), Paris 05:59 distinguishes itself by seamlessly including a lesson on HIV post-exposure prophylaxis.
    • 84 Metascore
    • 70 Melissa Anderson
    Whether or not James Longley's boldly stylized reportage breaches public indifference, its enduring value is assured: When the war is long gone, this deft construction will persist in relevance, if not for what it says about the mess we once made, then as a model of canny cinematic construction.
    • 69 Metascore
    • 70 Melissa Anderson
    Though The Sleeping Beauty ends ambiguously, it remains consistent with the logic that Breillat has laid out: A girl's childhood and adolescence are often culturally sanctioned confinements. But the prisoners aren't always victims; the jails can be escaped through the courage to "go alone into the world."
    • 69 Metascore
    • 70 Melissa Anderson
    Wintour's arctic imperiousness has a way of creating the most masochistic deference, a dynamic that R.J Cutler superficially explores--and becomes prone to--in his documentary The September Issue.
    • 77 Metascore
    • 70 Melissa Anderson
    What's riveting and attention grabbing in Jarecki's recapitulations of failed policy are some of the talking heads he has assembled, including "The Wire" creator David Simon and historian Richard Lawrence Miller.
    • 63 Metascore
    • 70 Melissa Anderson
    Rejuvenating the romantic comedy through its unusual premise — in which training for an elite army unit releases a flood of pheromones — Cailley's film is also buoyed by its enormously appealing leads, Kévin Azaïs and Adèle Haenel.
    • 66 Metascore
    • 70 Melissa Anderson
    An affectionate portrait of a lower-middle-class, outer-borough clan, City Island works best as an actor's showcase, with Margulies's aggrieved, simmering wife the stand-out.
    • tbd Metascore
    • 70 Melissa Anderson
    The definitive postcolonial cult-movie musical.
    • 40 Metascore
    • 70 Melissa Anderson
    Likably stoopid, the latest from comedy troupe Broken Lizard (Super Troopers, Beerfest) mines plenty of jokes from eating out and being served.
    • 73 Metascore
    • 70 Melissa Anderson
    Crucially, the variety of interviewees in Hubbard's doc - men and women of different races and classes - underscores just how diverse ACT UP was in its heyday.
    • 72 Metascore
    • 70 Melissa Anderson
    The frontman's reminiscences, though, are invariably eloquent, witty, and often moving.
    • 69 Metascore
    • 70 Melissa Anderson
    The film courageously shows its reprobate hero sliding further, not redeeming himself.
    • 72 Metascore
    • 70 Melissa Anderson
    A collection of "small great stories," in the words of its unobtrusive narrator, Pietro Marcello's singular doc/fiction hybrid salutes the crumbling grandeur of the northern Italian seaport Genoa.
    • 68 Metascore
    • 70 Melissa Anderson
    Like the pacing of the novel, the film, even at almost two and a half hours, moves briskly, continuously drawing us in.
    • 65 Metascore
    • 70 Melissa Anderson
    Against interpretation, Heisenberg (who is, after all, the grandson of the physicist who gave us the uncertainty principle) has nonetheless created a nimble, dynamic character study of a fiercely guarded loner on the run.
    • 53 Metascore
    • 70 Melissa Anderson
    A pleasing, often rousing movie for the 99 percent, In Time is not without flaws.

Top Trailers