Melissa Anderson

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For 336 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 5.3 points lower than other critics. (0-100 point scale)

Melissa Anderson's Scores

  • Movies
  • TV
Average review score: 56
Highest review score: 100 Neruda
Lowest review score: 0 The Blind Side
Score distribution:
  1. Negative: 53 out of 336
336 movie reviews
    • 37 Metascore
    • 30 Melissa Anderson
    Though lazily mocking hyper-vigilant parenting, the film treats the moldiest clichés - as gospel.
    • 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.
    • 37 Metascore
    • 30 Melissa Anderson
    Greenspan and Harmon's paltry song of themselves concludes with five minutes of outtakes, capping the self-love.
    • 55 Metascore
    • 30 Melissa Anderson
    As generic and impersonal as a new credit card offer, Jodie Foster’s Money Monster is the latest big-studio production to try to cash in on populist outrage over Wall Street abuses and New Gilded Age inequality.
    • 59 Metascore
    • 30 Melissa Anderson
    Isabelle and Gérard's regrets and laments about their parenting skills betray no bone-deep rue or shame but are delivered with all the conviction of two luminaries merely running their lines.
    • 34 Metascore
    • 30 Melissa Anderson
    Wiig's cheering presence in an otherwise depleting project/cross-promoted product highlights the fact that Zoolander 2 is a referendum on dying industries: not just the portfolio of Condé Nast titles that Wintour oversees as artistic director, but also the Frat Pack.
    • 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?
    • 56 Metascore
    • 30 Melissa Anderson
    Glatze's blog entries are read aloud by Franco, an infamous graduate-degree collector not so long ago, in a voice that suggests poetry-MFA earnestness, horrible acting, or both.
    • 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.
    • 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.
    • 68 Metascore
    • 30 Melissa Anderson
    The tears and recriminations, eruptions and reconciliations hold a begrudging fascination for about an hour.... After that, though, the volume is never turned down and these characters are never less than the most unendurable company.
    • 53 Metascore
    • 30 Melissa Anderson
    Outrageously sentimental and retrograde.
    • 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.
    • 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.
    • 37 Metascore
    • 30 Melissa Anderson
    Hoariest of all are the exhortations to make distinctions between "fiction" and "life."
    • 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.
    • 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.
    • 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.
    • 58 Metascore
    • 30 Melissa Anderson
    This toothless, silken-looking satire takes aim at easy targets: white Williamsburg ennui, technology, yoga.
    • 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.
    • 42 Metascore
    • 30 Melissa Anderson
    As dull and impersonal as a sheaf of open-enrollment insurance forms, Office Christmas Party brings together — and underutilizes — several funny performers from TV shows (Silicon Valley, Veep, SNL) that pinpoint what this dim comedy does not: the specifics of workplace environments and their particular pathologies and joys.
    • 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.
    • 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.
    • 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.
    • 58 Metascore
    • 30 Melissa Anderson
    Binoche's hushed histrionics, though, are of a piece with the fruity portentousness of L'Attesa.
    • 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.
    • 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.
    • 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.

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