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 Le Rayon Vert (1986)
Lowest review score: 0 Another Happy Day
Score distribution:
  1. Negative: 50 out of 316
316 movie reviews
    • 81 Metascore
    • 50 Melissa Anderson
    Guggenheim's insistence on not engaging with the injustices that children of certain races and classes face outside of school makes his reiteration of the obvious-that "past all the noise and the debate, nothing will change without great teachers"-seem all the more willfully naïve.
    • 76 Metascore
    • 50 Melissa Anderson
    Unlike "The Company Men," which successfully explored the moral conscience and despair of its corporate titans and middle managers, Margin Call's bids for sympathy for its most conflicted character, Spacey's Sam, fail.
    • 75 Metascore
    • 50 Melissa Anderson
    Terrified of alienating those who were raised on the originals, The Muppets panders to them instead, constantly blasting or restaging Top 40 hits from the past three-plus decades, continuing the cheap strategy that worked well on YouTube two years ago with the Muppets' cover of "Bohemian Rhapsody."
    • 75 Metascore
    • 40 Melissa Anderson
    This Down Under noir confuses incoherent body pileups with "twists."
    • 74 Metascore
    • 50 Melissa Anderson
    As with most fam-cam documentaries, dysfunction pushes the story along, tipping over into exploitation.
    • 74 Metascore
    • 60 Melissa Anderson
    Guadagnino inserts a plot thread indicting Europe's response to the migrant crisis, shoehorning an issue of utmost gravity into a pulpy sex thriller. Not even this flamboyant project, however satisfying in its excesses otherwise, can accommodate the inept civics lesson.
    • 74 Metascore
    • 60 Melissa Anderson
    The Wise Kids suffers from a theater workshop-y tendency to rest too long on pauses and silences to convey dramatic heft. But the blunder is ultimately overshadowed by Cone's excellent young actors, particularly Torem, burrowing deeply into her character's zealotry and anguish about being left behind.
    • 74 Metascore
    • 50 Melissa Anderson
    Even with her beatific face (the actress looks like one of Parmigianino's Madonnas), Farmiga is never wholly believable as a woman shaken by a crisis of belief.
    • 74 Metascore
    • 50 Melissa Anderson
    Tellingly, it's not the queers, but a cop--Seymour Pine, the 90-year-old retired NYPD morals inspector who led the raid on the Stonewall Inn--who gets the last word.
    • 73 Metascore
    • 50 Melissa Anderson
    Despite From Afar's lumbering solemnity, Castro, a Chilean actor best known for his collaborations with compatriot Pablo Larraín, proves ever supple.
    • 73 Metascore
    • 50 Melissa Anderson
    These horrors, and the absorbing performances of Watts and McGregor, will soon be undermined by a surfeit of sentiment.
    • 73 Metascore
    • 50 Melissa Anderson
    Despite the clumsy script and a shaky acting partner, Cattani, at least, is fascinating to watch, never demanding audience sympathy.
    • 73 Metascore
    • 50 Melissa Anderson
    Produced by his youngest daughter, Gina, this profile of Harry Belafonte, foregrounding the 84-year-old actor and singer's political activism, is a moving if occasionally wearying hagiography.
    • 72 Metascore
    • 60 Melissa Anderson
    The Island President also shows how the most high-minded idealists inevitably become deal-makers: The toothless agreement eventually ratified in Copenhagen - which calls for but doesn't require CO2 reductions - is lauded by Nasheed as "a very good, planet-saving document."
    • 72 Metascore
    • 40 Melissa Anderson
    Breezy, superficial documentary.
    • 72 Metascore
    • 50 Melissa Anderson
    Aiming to be a seriocomic movie of ideas but desperate not to offend or challenge, Let It Rain soon settles for being another smug comedy of bourgeois manners.
    • 72 Metascore
    • 60 Melissa Anderson
    Now 79, the man with the snow-white ponytail in the radio booth hasn't flagged; as one of Fass's contemporaries says, "He can let someone go on and on and on."
    • 72 Metascore
    • 50 Melissa Anderson
    The brothers' latest also has a certain buoyancy...The fizziness, though, proves fleeting, and Hail, Caesar! too often goes flat.
    • 72 Metascore
    • 50 Melissa Anderson
    As far as teen comedies informed by 10th-grade English syllabi go, Easy A, partly inspired by "The Scarlet Letter," is remedial ed compared with "Clueless" and "10 Things I Hate About You."
    • 72 Metascore
    • 60 Melissa Anderson
    Ron Howard's documentary often plays as an advertorial gunning for maximum intergenerational appeal.
    • 72 Metascore
    • 60 Melissa Anderson
    As Alex Ross Perry's "The Color Wheel" - another micro-budgeted sibling story - shows, a film about relentlessly repellent characters is much more fascinating, if not courageous, than one that tries to explain, redeem, or forgive them so easily.
    • 72 Metascore
    • 50 Melissa Anderson
    More an intriguing premise than a successful film, the Malmö-set Sound of Noise, about a group of "musical terrorists," quickly loses its novelty and becomes about as bold as a Swedish production of "Stomp."
    • 71 Metascore
    • 50 Melissa Anderson
    Constance Marks's documentary on Kevin Clash, the kind, gentle man who created the Muppet beloved by every single child in the world, rushes through the intriguing points its interviewees bring up to devote more time to banalities.
    • 71 Metascore
    • 50 Melissa Anderson
    The growing disgust of both his family and business associates, all hazily drawn, may knock the magnate down, but it's a limp substitute for the public fury that still burns after the fall of 2008.
    • 71 Metascore
    • 60 Melissa Anderson
    Crayton Robey's documentary on this queer cultural touchstone admirably presents both sides of the divide.
    • 71 Metascore
    • 50 Melissa Anderson
    Though calling out the abominable oppression of women, even in a vehicle as didactic as Bliss, serves at least some redeemable purpose.
    • 70 Metascore
    • 50 Melissa Anderson
    Works best when its director tamps down his impulse to enhance the performances with florid narratives, focusing on just the singer and the song.
    • 70 Metascore
    • 50 Melissa Anderson
    Like its title, Turn Me On, Dammit! is a jokey pseudo-provocation.
    • 70 Metascore
    • 40 Melissa Anderson
    Boy
    The abundant charm of first-time actor James Rolleston, playing the 11-year-old of the title in Boy, doesn't quite save the aimless, nostalgia-woozy second feature from Taika Waititi (2007's Eagle vs. Shark).
    • 69 Metascore
    • 60 Melissa Anderson
    The outsize ideas, creativity, and spirit of this birdlike, unconventional-looking woman - called "my ugly little monster" by her mother, Vreeland resembles John Hurt in a jet-black wig - still dominate a project occasionally lacking the same attributes.

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