Melissa Anderson

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For 364 reviews, this critic has graded:
  • 30% higher than the average critic
  • 3% same as the average critic
  • 67% lower than the average critic
On average, this critic grades 5.5 points lower than other critics. (0-100 point scale)

Melissa Anderson's Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 100 The Ornithologist
Lowest review score: 0 Ghosts of Girlfriends Past
Score distribution:
  1. Negative: 54 out of 364
364 movie reviews
    • 56 Metascore
    • 50 Melissa Anderson
    A docudrama with a good heart but a heavy hand.
    • 56 Metascore
    • 50 Melissa Anderson
    A late-act crisis precipitated by scandalous maternity news is straight out of the Tyler Perry Academy of Plotting, and all the beseeching of the Lord sounds like little more than product placement.
    • 56 Metascore
    • 60 Melissa Anderson
    Real, dramatic tension erupts as the strains placed on the women's relationship surface, offering a candid look at what the stresses of parenthood can do to any couple.
    • 56 Metascore
    • 50 Melissa Anderson
    In its rushed, implausible moment of reckoning, Douchebag ends up validating the frat-boy credo: Bros before hos.
    • 56 Metascore
    • 50 Melissa Anderson
    Joy
    Russell enthusiasts — and I consider myself one — often applaud the director's abiding interest in the messiness of his characters' lives, most vividly on display in American Hustle, a movie animated by flamboyant dissemblers and depressives. But the disorder found in Joy is a reflection not of any quicksilver dynamics among the actors but of the odd tonal shifts in the film itself.
    • 56 Metascore
    • 70 Melissa Anderson
    Going below the surface, the filmmakers and the cast (including a marvelous performance by Marian Seldes as an osteoporotic doyenne) successfully create the hardest characters to pull off: exotic yet recognizable New Yorkers.
    • 55 Metascore
    • 40 Melissa Anderson
    Just as Friends With Kids compares unfavorably to Westfeldt's earlier effort, her cast members' previous projects further highlight this film's shortcomings.
    • 55 Metascore
    • 40 Melissa Anderson
    Writer-director Talbert similarly follows formula for the overcrowded and overplotted Noel-season movie, ladling out too-generous portions of churchiness, multigenerational dance-off, and Mars vs. Venus sermonizing.
    • 55 Metascore
    • 40 Melissa Anderson
    Little music from the concert itself is heard. On display instead are inane, occasionally borderline offensive portrayals of Jews, performance artists, trannies, Vietnam vets, squares, and freaks.
    • 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.
    • 55 Metascore
    • 60 Melissa Anderson
    The principals, especially Ejiofor, rise above the starchiness that often hampers portrayals of recent, monumental history.
    • 55 Metascore
    • 40 Melissa Anderson
    3
    More willing suspension of disbelief - or suppression of giggles - is required.
    • 55 Metascore
    • 30 Melissa Anderson
    A sprawling mess of multiple romantic triangles in which all the angles are obtuse.
    • 55 Metascore
    • 50 Melissa Anderson
    And yet for all of its obtuse choices, there's still something commendable, if daffy, about trying to turn the high holy father of German literature into a rock star.
    • 54 Metascore
    • 40 Melissa Anderson
    For a film about the perils of too much talk, there's quite a lot of babbling presented as profundity. The political statements in Pontypool, much like those in another recent Canadian offering, Atom Egoyan's trite terrorism hand-wringer "Adoration," seem all the less provocative for appearing several years too late--McDonald's film might have had more punch if it were released when Bluetooth first rolled out.
    • 54 Metascore
    • 50 Melissa Anderson
    Unremarkable, thinly sketched characters, many adorned with creative careers or hobbies, populate the romantic dramedy Save the Date, yet another unfocused movie about generic relationship quandaries.
    • 54 Metascore
    • 50 Melissa Anderson
    The forebear's underwritten melodrama has been supplanted by Tyler Perry–like soap operatics and much jawing about the Lord, riots in the Motor City, marriage proposals, and maternal heartbreak and disapproval.
    • 54 Metascore
    • 40 Melissa Anderson
    Blunt, loud, and showboaty, Illegal suffers even more when compared with another recent Liège-set film about the horrors faced by paperless immigrants: the Dardennes' "Lorna's Silence."
    • 53 Metascore
    • 0 Melissa Anderson
    Blind Side the movie peddles the most insidious kind of racism, one in which whiteys are virtuous saviors, coming to the rescue of African-Americans who become superfluous in narratives that are supposed to be about them.
    • 53 Metascore
    • 40 Melissa Anderson
    Tautou, playing workaholic widow Nathalie in Delicacy, gives off a sexless, cutie-pie charm - not as aggressively as she did in "Amélie," but still gratingly. The actress, therefore, is perfect for this dainty, inconsequential romantic dramedy.
    • 53 Metascore
    • 50 Melissa Anderson
    Ozon's fractured-working-class-family magical realism, liberally adapted from Rose Tremain's short story, "Moth," works best in specific moments.
    • 53 Metascore
    • 30 Melissa Anderson
    Proceeds as a tedious, clumsy diddle, constantly reminding viewers how much progress has been made since the Victorian era.
    • 53 Metascore
    • 60 Melissa Anderson
    Writer-director James C. Strouse's The Winning Season respects its misfits (and its audience) by not stripping away their foibles in the service of sports-movie clichés.
    • 53 Metascore
    • 30 Melissa Anderson
    Outrageously sentimental and retrograde.
    • 53 Metascore
    • 70 Melissa Anderson
    A pleasing, often rousing movie for the 99 percent, In Time is not without flaws.
    • 52 Metascore
    • 40 Melissa Anderson
    LUV
    Although Common and Rainey make a well-matched duo, their chemistry is frequently squandered by a script that boxes them into impossible roles in one clichéd scene after another.
    • 52 Metascore
    • 50 Melissa Anderson
    Once the second act begins with a title card announcing "The Last 3 Months"-the amount of time John spends cooking up labyrinthine plans to spring Lara-Haggis's film becomes interminably nonsensical.
    • 52 Metascore
    • 40 Melissa Anderson
    All the words that follow assault the ear in this unnecessary rehashing of the earthy virtues of low-paid laborers versus the stiffness of the bourgeoisie.
    • 52 Metascore
    • 50 Melissa Anderson
    It's about as exciting as watching David Blaine play Stratego and makes you miss the power of the first four films all the more: the uncontainable yearning of the Bella-Edward-Jacob triangle.
    • 52 Metascore
    • 40 Melissa Anderson
    Nivola and Breslin sing and perform the original numbers, welcome interludes that provide respite from Rosenthal's lousy script.

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