Melissa Anderson

Select another critic »
For 342 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 5.1 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 Another Happy Day
Score distribution:
  1. Negative: 54 out of 342
342 movie reviews
    • 69 Metascore
    • 90 Melissa Anderson
    Reichardt pays clear homage to Breathless and Badlands, but her movie, the title of which is a local name for the Everglades, operates in its own ecosystem, teeming with the droll, shrewd observations about downwardly mobile life explored more solemnly in Reichardt's next two films, Old Joy and Wendy and Lucy.
    • 94 Metascore
    • 90 Melissa Anderson
    A simple, powerful act of bearing witness, We Were Here is a sober reminder of the not-too-distant past, when gays were focused not on honeymoon plans but on keeping people alive.
    • tbd Metascore
    • 90 Melissa Anderson
    The quick-witted malcontent, a Morristown, New Jersey, refugee who arrived at Port Authority in 1969, is the best kind of New Yorker: one with a long memory who's averse to nostalgia.
    • 86 Metascore
    • 90 Melissa Anderson
    Millions of lives have been saved - and extended - as the result of a tireless cadre of advocates who, as Eigo states, "put their bodies on the line."
    • 74 Metascore
    • 90 Melissa Anderson
    Rapisarda Casanova's film shows just how much natural splendor dominates the region, here caught at the height of estival glory.
    • 74 Metascore
    • 90 Melissa Anderson
    In so shrewdly exploring the illusions — namely (self-) deception — required to keep a dyad functioning, Garrel shows just how much we all remain, consciously or not, in the dark.
    • 86 Metascore
    • 90 Melissa Anderson
    A transfixing Cold War thriller set in the East Germany of 1980, Christian Petzold's superb Barbara is made even more vivid by its subtle overlay of the golden-era "woman's picture," the woman in question being Dr. Barbara Wolff, brilliantly played by Nina Hoss in her fifth film with the writer-director.
    • 77 Metascore
    • 90 Melissa Anderson
    When one goes to see Kristen Stewart — among the most quicksilver of her generation's performers — in Olivier Assayas's Personal Shopper, a shape-shifting, resolutely of-this-moment ghost story that features her in nearly every frame, one goes not to watch her act but refract.
    • 87 Metascore
    • 90 Melissa Anderson
    As is his custom, Weerasethakul addresses his nation's martial history with the lightest of touches.
    • 80 Metascore
    • 90 Melissa Anderson
    His gift-and the film's-is to transform the seemingly banal relationship between pet and owner into something singular, inimitable, sacred.
    • 72 Metascore
    • 90 Melissa Anderson
    For all of its wise, welcome focus on the libidinal, Summertime additionally succeeds in presenting the liberationist fervor of the time without devolving into school-play pageantry.
    • 85 Metascore
    • 90 Melissa Anderson
    Despite a few missteps, Take Shelter powerfully lays bare our national anxiety disorder - a pervasive dread that Curtis can define only as "something that's not right."
    • 83 Metascore
    • 90 Melissa Anderson
    Not to detract from the pleasure of watching the consistently excellent actors, who enhance the dialogue's bite with their body language, but the script of In the Loop is so rich that it could work as a radio play.
    • 94 Metascore
    • 90 Melissa Anderson
    It's precisely Malle's omnivorous appetite that makes his first feature, adapted from a policier, so delectable, one stuffed with many sumptuous sights and sounds.
    • 72 Metascore
    • 80 Melissa Anderson
    Every shot and edit in Wiseman's film also suggests without over-explaining, allowing a viewer to lose herself in pleasure.
    • 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.
    • 71 Metascore
    • 80 Melissa Anderson
    Jerichow forgoes the prolonged double-crosses of "The Postman Always Rings Twice," its simpler ending made all the more powerful--and a little heartbreaking.
    • 73 Metascore
    • 80 Melissa Anderson
    You Don't Like the Truth focuses on the pathetic manipulations of Canadian intelligence officers as they interrogate Toronto-born Omar Khadr, the youngest prisoner held in Guantánamo Bay.
    • 79 Metascore
    • 80 Melissa Anderson
    Hawkes and Hunt nobly tackle the physical demands their roles require.
    • 67 Metascore
    • 80 Melissa Anderson
    Those who groan that the writer-director has made another indulgent film about the obscenely privileged have overlooked Coppola's redoubtable gifts at capturing milieu, languor, and exacting details.
    • 89 Metascore
    • 80 Melissa Anderson
    The Artist is movie love at its most anodyne; where Guy Maddin has used the conventions of silent film to express his loony psychosexual fantasias for more than a decade, Hazanavicius sweetly asks that we not be afraid of the past.
    • 83 Metascore
    • 80 Melissa Anderson
    Pina gives us the supreme pleasure of watching fascinating bodies of widely varying ages in motion, whether leaping, falling, catching, diving, grieving, or exulting. Wenders's expert use of 3-D puts viewers up close to the spaces, both psychic and physical, inside and out, of Bausch's work.
    • 76 Metascore
    • 80 Melissa Anderson
    Filmed during the months leading up to the 2009 presidential election in Iran, The Hunter still seethes with fury - and anticipates the blood that would spill after the vote.
    • 74 Metascore
    • 80 Melissa Anderson
    Tomboy astutely explores the freedom, however brief, of being untethered to the highly rule-bound world of gender codes.
    • 86 Metascore
    • 80 Melissa Anderson
    The Tillman Story goes deeper, exposing a system of arrogance and duplicity that no WikiLeak could ever fully capture.
    • 86 Metascore
    • 80 Melissa Anderson
    The Interrupters reminds us of the powers and pleasures of well-crafted, immersive nonfiction filmmaking.
    • 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.
    • 73 Metascore
    • 80 Melissa Anderson
    Jordenö, in a recurring motif, honors the kiki denizens the most when she captures them motionless, staring directly into the camera, regal and indefatigable.
    • 62 Metascore
    • 80 Melissa Anderson
    Never a banal depiction of dysfunctional group dynamics, Stinking Heaven, which was shaped, as in Silver's previous work, largely through improvisation, remains consistently absorbing.
    • 72 Metascore
    • 80 Melissa Anderson
    Formally spartan, Ousmane Sembène's Black Girl (1966) is dense with cool fury.

Top Trailers