Melissa Anderson

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For 316 reviews, this critic has graded:
  • 29% higher than the average critic
  • 4% same as the average critic
  • 67% lower than the average critic
On average, this critic grades 5.4 points lower than other critics. (0-100 point scale)

Melissa Anderson's Scores

  • Movies
  • TV
Average review score: 55
Highest review score: 100 Poetry
Lowest review score: 0 Ghosts of Girlfriends Past
Score distribution:
  1. Negative: 50 out of 316
316 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.
    • 84 Metascore
    • 100 Melissa Anderson
    Unclassifiable, expansive, and breathtaking.
    • 89 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.
    • 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.
    • 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.
    • tbd 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.
    • 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.

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