For 274 reviews, this critic has graded:
  • 27% higher than the average critic
  • 4% same as the average critic
  • 69% lower than the average critic
On average, this critic grades 4.8 points lower than other critics. (0-100 point scale)

Melissa Anderson's Scores

  • Movies
Average review score: 54
Highest review score: 100 The Rolling Stones: Charlie Is My Darling - Ireland 1965
Lowest review score: 0 Ghosts of Girlfriends Past
Score distribution:
  1. Positive: 91 out of 274
  2. Negative: 42 out of 274
274 movie reviews
    • 37 Metascore
    • 30 Melissa Anderson
    Greenspan and Harmon's paltry song of themselves concludes with five minutes of outtakes, capping the self-love.
    • 53 Metascore
    • 30 Melissa Anderson
    Outrageously sentimental and retrograde.
    • tbd Metascore
    • 30 Melissa Anderson
    With all due respect to Leo Tolstoy, all unhappy film families in which someone ascends those "12 steps" are exactly alike.
    • 40 Metascore
    • 30 Melissa Anderson
    Like Amélie's scrubbed-up "City of Lights," Paris 36 is an antiseptic arthouse trifle, so eager to soothe that it only numbs.
    • 58 Metascore
    • 30 Melissa Anderson
    Sheridan, repeatedly drawn to family sagas, including his own (2002's In America), aims for Greek tragedy but ends up with a PTSD melodrama, with Maguire able to produce slobber almost as effortlessly as Portman can summon up tears--essentially all her role calls for.
    • 51 Metascore
    • 30 Melissa Anderson
    Grossly exaggerating his characters' either/or constructions, Moodysson forgoes any real ideas about the world's vast inequities, content to pummel his audience with portentous global guilt-tripping.
    • 51 Metascore
    • 30 Melissa Anderson
    If Markell's instincts for script exhumation are questionable, she's the victim of even worse timing: Who thought releasing her film 10 days after Liv Ullmann and Cate Blanchett's praised-to-the-high-heavens "A Streetcar Named Desire" closed was a good idea?
    • 48 Metascore
    • 30 Melissa Anderson
    It's heartbreaking to see Lathan, an underemployed actress whose talents were last put to good use in 2006's "Something Else," in such a ridiculous, impossible role.
    • 34 Metascore
    • 30 Melissa Anderson
    It's uncertain whether or not Taranto and debuting helmer Anders Anderson looked at the "Law & Order: SVU" and "Cold Case" episodes that also used the crime as a plot thread; the sub-televisual incompetence of their film suggests not.
    • 51 Metascore
    • 30 Melissa Anderson
    Another movie, not as awful as this one, might one day find better use for the easygoing vibe between Queen Latifah and Common, the stars of Just Wright.
    • 37 Metascore
    • 30 Melissa Anderson
    Hackford's pacing throughout is continuously off, with scenes extending several beats too long, his two leads adrift and bored.
    • 50 Metascore
    • 30 Melissa Anderson
    The greatest frustration-not just in For Colored Girls, but in Perry's entire oeuvre-is witnessing talented (and often criminally underemployed) actresses struggle with the material they've been given.
    • 37 Metascore
    • 30 Melissa Anderson
    Though lazily mocking hyper-vigilant parenting, the film treats the moldiest clichés - as gospel.
    • 63 Metascore
    • 30 Melissa Anderson
    What's most crushing is witnessing what should have been the dream pairing of Kunis and Timberlake - both foxy, loose, confident performers - here generating zero chemistry.
    • 38 Metascore
    • 30 Melissa Anderson
    She is also played by Sarah Jessica Parker, a performer so aggressively determined to make us like her that no work-life conflicts in the film ever gain any traction; we're too distracted by the actress's manic tics (the head tilts, the popping of the wounded-deer eyes) to notice any real adversity.
    • 57 Metascore
    • 30 Melissa Anderson
    Close's prosthetic makeup renders her face too immobile, a marked contrast with her unfixed accent; both highlight the pitfalls of a star's idée fixe. It's a shame, because the material - based on a novella by George Moore published in the 1927 collection Celibate Lives - deserves better.
    • 22 Metascore
    • 30 Melissa Anderson
    Making even more appearances than the rodent is the Big Gulp; the lady bounty hunter is constantly consuming junk - though at least when Heigl is snacking, she isn't talking.
    • 48 Metascore
    • 30 Melissa Anderson
    "There's a midget in the oven!" is about as inspired as the dialogue and set pieces get in this queasy-making entertainment.
    • 53 Metascore
    • 30 Melissa Anderson
    Proceeds as a tedious, clumsy diddle, constantly reminding viewers how much progress has been made since the Victorian era.
    • 55 Metascore
    • 30 Melissa Anderson
    A sprawling mess of multiple romantic triangles in which all the angles are obtuse.
    • 50 Metascore
    • 30 Melissa Anderson
    Of sole interest is Benoît Magimel's Vincent, who sheepishly confesses a same-sex attraction to one in the cabal; his moments on-screen provide the only break from this slog.
    • 37 Metascore
    • 30 Melissa Anderson
    Hoariest of all are the exhortations to make distinctions between "fiction" and "life."
    • 73 Metascore
    • 30 Melissa Anderson
    Audiard himself might have benefited from a simple reminder of left from right; his rudderless film confuses a pileup of preposterous, sentimental scenarios with genuine emotion.
    • 38 Metascore
    • 30 Melissa Anderson
    Screeches and scrambles from scene to scene with manic sitcom energy, much like the cherished pet hamster of one of its characters.
    • 27 Metascore
    • 30 Melissa Anderson
    Yet it's not entirely forgettable. I'll long be haunted by Dennis Quaid's manic performance as a palm-greasing dad who seems to be under the influence of bath salts-tweaked-out acting that matches the camera movements.
    • 34 Metascore
    • 30 Melissa Anderson
    Hough emits all the charisma of a personal assistant.
    • 51 Metascore
    • 30 Melissa Anderson
    Though Snitch loudly announces itself as a social-issues movie, its nominal outrage over the severity of our nation's sentencing laws for first-time drug offenders is quickly subsumed by a jacked-up narrative of a father going to extremes to save his son.
    • 56 Metascore
    • 30 Melissa Anderson
    Its characters are all too easily determined but never specific—or memorable.
    • 57 Metascore
    • 20 Melissa Anderson
    A misguided tale of sentimental education.
    • 38 Metascore
    • 20 Melissa Anderson
    Plays like both a supremely outmoded chick-lit adaptation and an outrageously obscene gesture as the economy continues to swallow up livelihoods, homes, and hope.