Melissa Anderson

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For 311 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 5.3 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. Negative: 49 out of 311
311 movie reviews
    • 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.
    • 92 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.
    • 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.
    • 66 Metascore
    • 80 Melissa Anderson
    For many of the film's brisk 84 minutes, Fox eclipses his earlier work-and several other same-sex tragedies-by immersing us in his protagonist's quiet turmoil.
    • 76 Metascore
    • 80 Melissa Anderson
    A fiction film that documents the unpredictable, unscripted actions of its pint-size lead, Nana offers new ways of thinking about childhood, or, at the very least, about children in movies.
    • tbd Metascore
    • 80 Melissa Anderson
    Echeverria [has a] gift for capturing detail-dense moments in the most casual way.
    • 69 Metascore
    • 80 Melissa Anderson
    The animation studio's first film with a female protagonist, a defiant lass who acts as a much-welcome corrective to retrograde Disney heroines of the past and the company's unstoppable pink-princess merchandising.
    • tbd Metascore
    • 80 Melissa Anderson
    "Beautiful clothes on good-looking people just moving across the stage" to the sounds of Barry White and Al Green. "It was the presence of these African-American models that really animated the stage," notes Harold Koda of the Met's Costume Institute-- a sentiment that fashion historian Barbara Summers expresses more memorably: The crowd was "peeing in their seats because these girls were so fabulous."
    • 75 Metascore
    • 80 Melissa Anderson
    If Side Effects, an immensely pleasurable thriller centering around psychotropic drugs, really is Steven Soderbergh's final big-screen film, as the director claims it will be, then he has peaked in the Valley of the Dolls.
    • 77 Metascore
    • 80 Melissa Anderson
    Watching this taciturn man grow close to mother and child - close enough that he experiences twinges of jealousy and abandonment toward the end of Las Acacias - is one of the most satisfying spectacles in a movie this year, a time-lapse of emotions rendered perfectly.
    • 70 Metascore
    • 80 Melissa Anderson
    Moves briskly, unfolding as one lively sit-down after another with artists, scholars, and curators who established themselves at the height of second-wave feminism.
    • 72 Metascore
    • 80 Melissa Anderson
    Undeniably, the rhythms — of clanging machines, of humans at work and repose — seen and heard here are the tempo of the quotidian and the repetitive. Yet even in their mundanity, these factory routines are not without their exalted moments.

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