Melissa Anderson
Select another critic »
For 276 reviews, this critic has graded:
  • 27% higher than the average critic
  • 4% same as the average critic
  • 69% 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 Holy Motors
Lowest review score: 0 Happy Tears
Score distribution:
  1. Positive: 93 out of 276
  2. Negative: 42 out of 276
276 movie reviews
    • 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.
    • 43 Metascore
    • 50 Melissa Anderson
    Machine Gun Preacher is the umpteenth onscreen iteration of a white savior aiding the most desperate in Africa.
    • 57 Metascore
    • 50 Melissa Anderson
    Sharp and precise as its tableaux might be, though, Sleeping Beauty never burrows into the brain, and its tenuous provocations fizzle out quickly.
    • 71 Metascore
    • 50 Melissa Anderson
    Constance Marks's documentary on Kevin Clash, the kind, gentle man who created the Muppet beloved by every single child in the world, rushes through the intriguing points its interviewees bring up to devote more time to banalities.
    • 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.
    • 73 Metascore
    • 50 Melissa Anderson
    Despite the clumsy script and a shaky acting partner, Cattani, at least, is fascinating to watch, never demanding audience sympathy.
    • 36 Metascore
    • 50 Melissa Anderson
    Too cute by half, Beware the Gonzo will appeal to the 20 people left on earth who insist on broadsheets over iPad apps and/or those bewitched by star Ezra Miller's pretty cheekbones.
    • 55 Metascore
    • 50 Melissa Anderson
    And yet for all of its obtuse choices, there's still something commendable, if daffy, about trying to turn the high holy father of German literature into a rock star.
    • 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.
    • 54 Metascore
    • 50 Melissa Anderson
    The forebear's underwritten melodrama has been supplanted by Tyler Perry–like soap operatics and much jawing about the Lord, riots in the Motor City, marriage proposals, and maternal heartbreak and disapproval.
    • 67 Metascore
    • 50 Melissa Anderson
    Dori Berinstein's desultory, fawning profile of the nonagenarian performer devotes many of its padded 88 minutes to Channing's greatest success, playing the title yenta in "Hello, Dolly!"
    • 70 Metascore
    • 50 Melissa Anderson
    Like its title, Turn Me On, Dammit! is a jokey pseudo-provocation.
    • 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
    • 73 Metascore
    • 50 Melissa Anderson
    Produced by his youngest daughter, Gina, this profile of Harry Belafonte, foregrounding the 84-year-old actor and singer's political activism, is a moving if occasionally wearying hagiography.
    • 64 Metascore
    • 50 Melissa Anderson
    Until the potent concluding scene, the humor and shallow profundities of We Have a Pope pivot on the cuteness of geriatrics, especially when they're spiking a volleyball in slo-mo.
    • 63 Metascore
    • 50 Melissa Anderson
    The Hunter is too many films in one.
    • 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
    More an intriguing premise than a successful film, the Malmö-set Sound of Noise, about a group of "musical terrorists," quickly loses its novelty and becomes about as bold as a Swedish production of "Stomp."
    • 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.
    • 73 Metascore
    • 50 Melissa Anderson
    These horrors, and the absorbing performances of Watts and McGregor, will soon be undermined by a surfeit of sentiment.
    • 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.
    • 65 Metascore
    • 50 Melissa Anderson
    Reveals itself to be a project of few interesting ideas.
    • 58 Metascore
    • 50 Melissa Anderson
    Making a kid "the old-fashioned way" becomes the plot engine for the second time this year - after Jennifer Westfeldt's "Friends With Kids" - in Gayby, a comedy that, much like the perfunctory p-in-the-v it depicts, gives about 30 seconds of pleasure before going limp.
    • 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.
    • 27 Metascore
    • 40 Melissa Anderson
    Immediately forgettable family entertainment, suitable for release only in the dung-heap month of January.
    • 68 Metascore
    • 40 Melissa Anderson
    Dedicated follower of fashion Matt Tyrnauer crafts the slick, superficial portrait that you might expect from a Vanity Fair special correspondent.
    • 54 Metascore
    • 40 Melissa Anderson
    For a film about the perils of too much talk, there's quite a lot of babbling presented as profundity. The political statements in Pontypool, much like those in another recent Canadian offering, Atom Egoyan's trite terrorism hand-wringer "Adoration," seem all the less provocative for appearing several years too late--McDonald's film might have had more punch if it were released when Bluetooth first rolled out.
    • 63 Metascore
    • 40 Melissa Anderson
    Frears and Hampton's missteps begin immediately, with the director providing pinched narration as he recounts, over so many cartes de visite, the histories of other famous ladies who made a handsome living on their backs.
    • 55 Metascore
    • 40 Melissa Anderson
    Little music from the concert itself is heard. On display instead are inane, occasionally borderline offensive portrayals of Jews, performance artists, trannies, Vietnam vets, squares, and freaks.

Top Trailers