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
Highest review score: 100 Leviathan
Lowest review score: 0 The Blind Side
Score distribution:
  1. Positive: 97 out of 280
  2. Negative: 42 out of 280
280 movie reviews
    • 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.
    • 81 Metascore
    • 70 Melissa Anderson
    Sometimes you just can't fight the funk; as much as you might resist the film's more maudlin scenes, not succumbing to the band's signature tune, "Head Wiggle," is impossible.
    • 68 Metascore
    • 70 Melissa Anderson
    Spitzer, whose tireless efforts to redeem himself led to his cooperation in this doc, receives an entirely sympathetic-yet thoroughly researched-treatment from Gibney.
    • 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.
    • 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.
    • 69 Metascore
    • 70 Melissa Anderson
    Henriette's last thought will forever be a mystery, but the grandeur of Romanticism is tartly, pleasingly demystified.
    • 74 Metascore
    • 70 Melissa Anderson
    Director Sean Baker, co-writing his fourth feature with Chris Bergoch, does some deft balancing of his own: His genuine admiration for these two women extends to their idiosyncrasies, yet they never become fools, whores, saints, or coots.
    • 69 Metascore
    • 60 Melissa Anderson
    Though these mismatched cops bounce well off each other, Tatum, in his first comedic lead role, is the better performer, both more riotous and affecting.
    • 69 Metascore
    • 60 Melissa Anderson
    In its closing minutes Potter restores the calmer observational tone and mood that distinguish much of Ginger & Rosa, providing a lovely summation of its main character's age-appropriate contradictions.
    • 43 Metascore
    • 60 Melissa Anderson
    The biggest surprise here is Tatum, whose butch reticence has never been put to better use: His saddest farewell isn’t to his lady, but to a man even more uncommunicative than he is.
    • 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.
    • 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."
    • 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.
    • 50 Metascore
    • 60 Melissa Anderson
    Conveying, with a light touch, important lessons for kids on the necessity of civic engagement, the perils of edit-ad conflicts, and the need to honor difference, Miss Minoes is also an ailurophile's dream, featuring a fantastic array of tabbies, calicos, and Birmans that always hit their marks.
    • 67 Metascore
    • 60 Melissa Anderson
    The pleasure of Jacquot's film is in watching various strains of discreet, heated, and deluded passionate attachment performed.
    • 65 Metascore
    • 60 Melissa Anderson
    Though nothing here is as rousing as "The Pajama Game's" raise-baiting "Seven and a Half Cents," the always-welcome Miranda Richardson steals the film in a small role as Barbara Castle, Labour P.M.
    • 31 Metascore
    • 60 Melissa Anderson
    Surveillance is the work of a director who has made significant strides in both storytelling and control of the medium, deftly interweaving a grisly thriller, a sicko "Rashômon," a switcheroo, a psychotic love story, an imaginative paean to children, and an inspired resurrection of Julia Ormond.
    • 55 Metascore
    • 60 Melissa Anderson
    The principals, especially Ejiofor, rise above the starchiness that often hampers portrayals of recent, monumental history.
    • 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.
    • 68 Metascore
    • 60 Melissa Anderson
    Usually an enervating process to witness onscreen, Steen's subtle calibrations of self-hatred and raging narcissism exhilarate.
    • 35 Metascore
    • 60 Melissa Anderson
    Adults will be thrilled to see Anna Faris as nature documentarian Rachel. Greeting Yogi by speaking in "brown bear," the actress never fails to be seriously goofy.
    • 66 Metascore
    • 60 Melissa Anderson
    In equal parts mesmerizing and disorienting, Over Your Cities (the title comes from the biblical story of Lilith) plunges viewers into the earth, wind, and fire of Kiefer's massive-scale projects.
    • 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.
    • 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."
    • 71 Metascore
    • 60 Melissa Anderson
    Crayton Robey's documentary on this queer cultural touchstone admirably presents both sides of the divide.
    • 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.
    • 36 Metascore
    • 60 Melissa Anderson
    Tatum is touching as the stressed, decent provider trying to make something bad from his past not destroy his future. Yet the real surprise is Tracy Morgan, in a small but transformative role as the heavily medicated adult incarnation of Jonathan's childhood friend.
    • 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.
    • 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.
    • 65 Metascore
    • 60 Melissa Anderson
    Thankfully, Peddle's film is much more illuminating than a grad school seminar.

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