Melissa Anderson
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For 275 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 5 points lower than other critics. (0-100 point scale)

Melissa Anderson's Scores

  • Movies
  • TV
Average review score: 54
Highest review score: 100 Leviathan
Lowest review score: 0 Another Happy Day
Score distribution:
  1. Positive: 92 out of 275
  2. Negative: 42 out of 275
275 movie reviews
    • 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.
    • 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.
    • 76 Metascore
    • 50 Melissa Anderson
    Unlike "The Company Men," which successfully explored the moral conscience and despair of its corporate titans and middle managers, Margin Call's bids for sympathy for its most conflicted character, Spacey's Sam, fail.
    • 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.
    • 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."
    • 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.
    • 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.
    • 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!"
    • 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."
    • 70 Metascore
    • 50 Melissa Anderson
    Like its title, Turn Me On, Dammit! is a jokey pseudo-provocation.
    • 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.
    • 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.
    • 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.
    • 65 Metascore
    • 50 Melissa Anderson
    Reveals itself to be a project of few interesting ideas.
    • 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
    • 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.
    • 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.
    • 52 Metascore
    • 50 Melissa Anderson
    It's about as exciting as watching David Blaine play Stratego and makes you miss the power of the first four films all the more: the uncontainable yearning of the Bella-Edward-Jacob triangle.
    • 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.
    • 64 Metascore
    • 50 Melissa Anderson
    Sentimental and pandering.
    • 73 Metascore
    • 50 Melissa Anderson
    These horrors, and the absorbing performances of Watts and McGregor, will soon be undermined by a surfeit of sentiment.
    • 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.
    • 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.
    • 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.
    • 58 Metascore
    • 40 Melissa Anderson
    A film only Hilton Kramer could love, (Untitled) aims wide and misses.
    • 72 Metascore
    • 40 Melissa Anderson
    Breezy, superficial documentary.