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 5.1 points lower than other critics. (0-100 point scale)

Melissa Anderson's Scores

  • Movies
  • TV
Average review score: 55
Lowest review score: 0 Ghosts of Girlfriends Past
Score distribution:
  1. Positive: 97 out of 280
  2. Negative: 42 out of 280
280 movie reviews
    • 44 Metascore
    • 50 Melissa Anderson
    Tsukerman is not interested in disproving or discounting theories, but merely assembling them.
    • 58 Metascore
    • 50 Melissa Anderson
    Shameless Eisenhower-era corn.
    • 51 Metascore
    • 50 Melissa Anderson
    A clumsy spoof of Hollywood, EP always roots for its hapless heroine. But where this trifle fascinates most is in its connections to David Lynch's masterpiece.
    • 59 Metascore
    • 50 Melissa Anderson
    The film tries--and fails--to swing both ways, nostalgically glorifying its subject only to smugly revel in Levenson's ignominious demise.
    • 56 Metascore
    • 50 Melissa Anderson
    A docudrama with a good heart but a heavy hand.
    • 35 Metascore
    • 50 Melissa Anderson
    Lang's film, the last he made in the U.S., exposed the immorality of the death penalty; Hyams's retread offers only more plot and longer, louder car chases.
    • 41 Metascore
    • 50 Melissa Anderson
    A typically bombastic lives-of-the-artists production made even more stilted by having all the actors (including the Spanish ones) speak accented English.
    • 39 Metascore
    • 50 Melissa Anderson
    The sanitized moppets in the new Fame sing the body generic.
    • 71 Metascore
    • 50 Melissa Anderson
    Though calling out the abominable oppression of women, even in a vehicle as didactic as Bliss, serves at least some redeemable purpose.
    • 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.
    • 65 Metascore
    • 50 Melissa Anderson
    The Coco of Fontaine's project--which she co-wrote with her sister, Camille, freely adapting Edmonde Charles-Roux's book L'Irrégulière: ou, Mon itinéraire Chanel--can be described as courtesan before couturiere.
    • 65 Metascore
    • 50 Melissa Anderson
    No matter how many trips to Kung Fu Island our hero makes, nothing in Black Dynamite captures the exhilarating absurdity of Pam Grier hiding razors in her Afro in "Coffy"--or the loony genre experimentation in "Pootie Tang."
    • 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.
    • 25 Metascore
    • 50 Melissa Anderson
    Bell, unlike Katherine Heigl and Sandra Bullock, who executive-produced their big-screen debasements of 2009, brings enough effervescence to the film that she's able to spark believable chemistry with a usual dud like Josh Duhamel.
    • 74 Metascore
    • 50 Melissa Anderson
    As with most fam-cam documentaries, dysfunction pushes the story along, tipping over into exploitation.
    • 33 Metascore
    • 50 Melissa Anderson
    I can’t recall ever squirming as much as I did during Ronnie and Will’s first kiss; shiny, buff Hemsworth looks like he’s locking lips with an Andy Hardy–era Mickey Rooney in a wig.
    • 59 Metascore
    • 50 Melissa Anderson
    As in the films that precede it, the mysteries--and terrors--of desire also propel Handsome Harry, which reunites Gordon with Luminous Motion's Jamey Sheridan, here in the title role.
    • 72 Metascore
    • 50 Melissa Anderson
    Aiming to be a seriocomic movie of ideas but desperate not to offend or challenge, Let It Rain soon settles for being another smug comedy of bourgeois manners.
    • 74 Metascore
    • 50 Melissa Anderson
    Tellingly, it's not the queers, but a cop--Seymour Pine, the 90-year-old retired NYPD morals inspector who led the raid on the Stonewall Inn--who gets the last word.
    • 59 Metascore
    • 50 Melissa Anderson
    A comedy of manners in need of Ritalin.
    • 59 Metascore
    • 50 Melissa Anderson
    There's trouble in Paradis-and in a script that prizes frenzy over any actual feeling.
    • 39 Metascore
    • 50 Melissa Anderson
    Though the redemption/coming-of-age narrative is highly predictable-with Glover appearing intermittently only to dispense bromides-Clarkson, at least, remains reliable.
    • 69 Metascore
    • 50 Melissa Anderson
    Most of the culinary footage is devoted to documenting-in flat, dull DV-the finalists' piece montée, or "sugar showpiece," in which sucrose is manipulated for its chemical properties, and dessert becomes a weird, often tacky sculpture.
    • 72 Metascore
    • 50 Melissa Anderson
    As far as teen comedies informed by 10th-grade English syllabi go, Easy A, partly inspired by "The Scarlet Letter," is remedial ed compared with "Clueless" and "10 Things I Hate About You."
    • 81 Metascore
    • 50 Melissa Anderson
    Guggenheim's insistence on not engaging with the injustices that children of certain races and classes face outside of school makes his reiteration of the obvious-that "past all the noise and the debate, nothing will change without great teachers"-seem all the more willfully naïve.
    • 56 Metascore
    • 50 Melissa Anderson
    In its rushed, implausible moment of reckoning, Douchebag ends up validating the frat-boy credo: Bros before hos.
    • 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.
    • 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.
    • 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.
    • 66 Metascore
    • 50 Melissa Anderson
    Watching Nénette watch those who gape at her is an intriguing, multi-layered exercise of voyeurism, but one that wanes after our gaze is demanded for too long.

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