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
Lowest review score: 0 Another Happy Day
Score distribution:
  1. Positive: 97 out of 280
  2. Negative: 42 out of 280
280 movie reviews
    • 65 Metascore
    • 50 Melissa Anderson
    The first from the Democratic Republic of Congo to be distributed in the U.S. That in itself is worthy of some kind of celebration, even if Viva Riva! too lazily indulges in shapeless genre excess.
    • 58 Metascore
    • 50 Melissa Anderson
    In her second film, writer-director Julie Bertuccelli, adapting Judy Pascoe's 2002 novel, "Our Father Who Art in the Tree," is sometimes partial to clumsy dialogue and scattershot pacing.
    • 75 Metascore
    • 50 Melissa Anderson
    Terrified of alienating those who were raised on the originals, The Muppets panders to them instead, constantly blasting or restaging Top 40 hits from the past three-plus decades, continuing the cheap strategy that worked well on YouTube two years ago with the Muppets' cover of "Bohemian Rhapsody."
    • 58 Metascore
    • 50 Melissa Anderson
    Shameless Eisenhower-era corn.
    • 63 Metascore
    • 50 Melissa Anderson
    The Hunter is too many films in one.
    • 74 Metascore
    • 50 Melissa Anderson
    As with most fam-cam documentaries, dysfunction pushes the story along, tipping over into exploitation.
    • 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.
    • 50 Metascore
    • 50 Melissa Anderson
    Americano, which Demy also wrote and stars in, is an ambivalent, occasionally touching work of homage to his parents, yet one whose clumsiness only underscores the superiority of their directly quoted films.
    • 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.
    • 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.
    • 71 Metascore
    • 50 Melissa Anderson
    The growing disgust of both his family and business associates, all hazily drawn, may knock the magnate down, but it's a limp substitute for the public fury that still burns after the fall of 2008.
    • 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.
    • 57 Metascore
    • 50 Melissa Anderson
    Reteaming with Silverstone, the alpha matchmaker of "Clueless," for Vamps, Heckerling uses the actress as the mouthpiece for her complaints about how dumb everyone is today. The writer-director's nostalgia feeds the laziest type of cultural critique: never piercing, just grumpy.
    • 64 Metascore
    • 50 Melissa Anderson
    Sentimental and pandering.
    • 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.
    • 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.
    • 70 Metascore
    • 50 Melissa Anderson
    Like its title, Turn Me On, Dammit! is a jokey pseudo-provocation.
    • 63 Metascore
    • 50 Melissa Anderson
    "I think their marriage was a mystery to everyone," an Eames worker notes - an observation true of every couple that you'll wish the filmmakers had explored more deeply.
    • 59 Metascore
    • 50 Melissa Anderson
    There's trouble in Paradis-and in a script that prizes frenzy over any actual feeling.
    • 68 Metascore
    • 50 Melissa Anderson
    The sentiment, just like the repeated shots of Jacky lying in the fetal position in a tub, shadowboxing, and erupting into a bestial 'roid rage, typifies the film's habit of flattening an idea rather than developing it.
    • 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.
    • 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.
    • 48 Metascore
    • 50 Melissa Anderson
    Levine, previously a writer for "Nip/Tuck," sets the bar low, content to work within the shopworn crises, lazy epiphanies, and eye-rolling moments of redemption that have become standard formula in Amerindie family dramedies of the past 20 years.
    • 64 Metascore
    • 50 Melissa Anderson
    Watching Balasko, a veteran actor-writer-director in thick-browed, frumped-up drag, sitting at her kitchen table reading Tolstoy and nibbling on dark chocolate with a cat in her lap, is one of The Hedgehog's purest delights. At the very least, it provides relief from the prating of that junior wisenheimer.
    • 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.
    • 37 Metascore
    • 50 Melissa Anderson
    A home-invasion movie as instantly forgettable as its title, Trespass is not without disturbing images: namely, Nicolas Cage and Nicole Kidman as spouses.
    • 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."
    • 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.
    • 63 Metascore
    • 50 Melissa Anderson
    More accurately titled "Vidal Sassoon: The Slavering Advertorial," Craig Teper's obsequious documentary on the stylist who popularized geometric haircuts in the '60s is in desperate need of shaping and trimming itself.
    • 42 Metascore
    • 50 Melissa Anderson
    In Davis's case, marveling at yet another fine performance doesn't stop you from wishing that her first leading role was in a worthier vehicle

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