Melissa Anderson
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For 280 reviews, this critic has graded:
  • 28% higher than the average critic
  • 4% same as the average critic
  • 68% lower than the average critic
On average, this critic grades 4.9 points lower than other critics. (0-100 point scale)

Melissa Anderson's Scores

  • Movies
  • TV
Average review score: 55
Lowest review score: 0 Another Happy Day
Score distribution:
  1. Positive: 97 out of 280
  2. Negative: 42 out of 280
280 movie reviews
    • 64 Metascore
    • 70 Melissa Anderson
    Bitton, best known for her 2004 nonfiction film "Wall," about the barrier Israel is building along its border with the occupied territories of the West Bank, questions her interviewees calmly and dispassionately (though her voice is heard, she is never seen). It's a strategy that yields damning revelations.
    • 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.
    • 64 Metascore
    • 50 Melissa Anderson
    Weitz and screenwriter Eric Eason are unable to commit fully even to this sudsy vision, tacking on a coda that completely undermines their already timid message.
    • 64 Metascore
    • 50 Melissa Anderson
    Sentimental and pandering.
    • 64 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.
    • 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.
    • 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.
    • 64 Metascore
    • 50 Melissa Anderson
    Watching Balasko, a veteran actor-writer-director in thick-browed, frumped-up drag, sitting at her kitchen table reading Tolstoy and nibbling on dark chocolate with a cat in her lap, is one of The Hedgehog's purest delights. At the very least, it provides relief from the prating of that junior wisenheimer.
    • 64 Metascore
    • 50 Melissa Anderson
    Until the potent concluding scene, the humor and shallow profundities of We Have a Pope pivot on the cuteness of geriatrics, especially when they're spiking a volleyball in slo-mo.
    • 63 Metascore
    • 50 Melissa Anderson
    Even KST is left floundering as the misconceived, underwritten totem of today's amoral, power-mad executive, wearing flowing trousers and medallion necklaces not seen since Faye Dunaway demanded a meeting in "Network."
    • 63 Metascore
    • 40 Melissa Anderson
    Frears and Hampton's missteps begin immediately, with the director providing pinched narration as he recounts, over so many cartes de visite, the histories of other famous ladies who made a handsome living on their backs.
    • 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.
    • 63 Metascore
    • 50 Melissa Anderson
    More accurately titled "Vidal Sassoon: The Slavering Advertorial," Craig Teper's obsequious documentary on the stylist who popularized geometric haircuts in the '60s is in desperate need of shaping and trimming itself.
    • 63 Metascore
    • 50 Melissa Anderson
    The Hunter is too many films in one.
    • 63 Metascore
    • 50 Melissa Anderson
    "I think their marriage was a mystery to everyone," an Eames worker notes - an observation true of every couple that you'll wish the filmmakers had explored more deeply.
    • 63 Metascore
    • 60 Melissa Anderson
    The played-out scenarios in Olnek's first feature, such as Jane's sessions with her therapist, are soon outnumbered by inspired silliness, like tears shed over a revolving dessert tray in a diner.
    • 62 Metascore
    • 70 Melissa Anderson
    The beloved Kiwi duo, who frequently perform as a rotating cast of corny alter egos, can charm even the crankiest viewers, thanks to their soaring, clarion harmonies and cuddly-butch personas.
    • 62 Metascore
    • 50 Melissa Anderson
    Occasionally diverting but ultimately forgettable, My One and Only will become unforgivable if it inspires other former competitors from "Dancing With the Stars" to go in search of lost time.
    • 62 Metascore
    • 70 Melissa Anderson
    Aided by an excellent ensemble cast, director Xavier Durringer and his co-scripter, Patrick Rotman, don't refrain from showing this truly repellent side of Sarko during his rise from minister of justice in 2002 to the highest elected office.
    • 62 Metascore
    • 40 Melissa Anderson
    Ted
    It's dispiriting enough to witness Kunis still waiting for a comic lead role worthy of her. But the usually nimble Wahlberg - who at least has one great moment rattling off "white-trash girls' names" - suffers the most, playing second fiddle to a knee-high Gund knockoff.
    • 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.
    • 62 Metascore
    • 40 Melissa Anderson
    There is exactly one unexpected moment in the otherwise drearily predictable The Five-Year Engagement that, though little more than a throwaway line, at least adds a bit of political reality to puncture Nicholas Stoller's limp, hermetic comedy of deferred nuptials.
    • 62 Metascore
    • 40 Melissa Anderson
    A film that puts too much faith in the appeal of its garrulous, aimless leads.
    • 62 Metascore
    • 40 Melissa Anderson
    The pathetic attempts at outré, taboo-busting humor as sociopolitical commentary can't disguise what this film really is: a mawkish, MOR comedy of manners that even its straw man Nicolas Sarkozy would find suitable for date night.
    • 61 Metascore
    • 40 Melissa Anderson
    While rooting for the marine mammals (and wishing for more footage of them - and even of their animatronic incarnations), your heart will also go out to the cast, stuck even more pitiably in syrupy manufactured crises.
    • 61 Metascore
    • 50 Melissa Anderson
    In all fairness, Swank's unsubtle performance is often an extension of the bluntly dumb lines she and other cast members must deliver.
    • 61 Metascore
    • 70 Melissa Anderson
    10 Years is an uncommonly magnanimous project, kind not only to its stumbling characters but also to audiences tired of films pruned of unruly emotions.
    • 61 Metascore
    • 60 Melissa Anderson
    Polytechnique smartly exposes the spectrum of misogyny without overplaying the connection between the two incidents. Which makes the concluding flash-forward scene all the more disappointing: Designed to give hope, it comes off as an emotional sop instead.
    • 60 Metascore
    • 50 Melissa Anderson
    Like the first two Millennium movies, this final installment feels thoughtlessly put together, its script unpruned and rushed through, all to capitalize on the staggering worldwide popularity of its dead author.
    • 60 Metascore
    • 70 Melissa Anderson
    When isn't it a good time to show a movie tracing the development of a kind, charismatic yellow Labrador retriever from frolicsome puppy to devoted seeing-eye companion to weary senior?

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