Melissa Anderson
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For 278 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 4.8 points lower than other critics. (0-100 point scale)

Melissa Anderson's Scores

  • Movies
  • TV
Average review score: 55
Highest review score: 100 Word Is Out
Lowest review score: 0 Another Happy Day
Score distribution:
  1. Positive: 95 out of 278
  2. Negative: 42 out of 278
278 movie reviews
    • 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.
    • 43 Metascore
    • 40 Melissa Anderson
    Awkwardly mixes blue material with sob stories.
    • 36 Metascore
    • 40 Melissa Anderson
    Serious Moonlight has a backstory much more intriguingly dramatic than what's onscreen.
    • 27 Metascore
    • 40 Melissa Anderson
    Immediately forgettable family entertainment, suitable for release only in the dung-heap month of January.
    • 49 Metascore
    • 40 Melissa Anderson
    In this densely populated ensemble piece, Reeves stands out as the only actor whose damaged character evokes sympathy and avoids cliché. Pippa, played by Wright Penn in near-permanent Stepford Wife mode, isn't much more than a vehicle for false epiphanies and forced rapprochements.
    • 49 Metascore
    • 40 Melissa Anderson
    An earnest, if inert, civil rights docudrama clearly shot on the cheap (many of the wigs appear to have been borrowed from the Black Dynamite set).
    • 47 Metascore
    • 40 Melissa Anderson
    As subtle as a face-punch, La Mission nobly continues a necessary conversation about homophobia, but paves the way to hell with its own good intentions.
    • 75 Metascore
    • 40 Melissa Anderson
    This Down Under noir confuses incoherent body pileups with "twists."
    • 60 Metascore
    • 40 Melissa Anderson
    Beyond fans of Mélanie Laurent--who furiously fingers a fiddle and wears flashback wigs--The Concert may appeal to those who delight in stereotypes.
    • 22 Metascore
    • 40 Melissa Anderson
    Though Crawford's bangs and facial hair are the most art-directed aspect of the movie, he's costumed to look like a member of the Trenchcoat Mafia (Madison Avenue branch).
    • 56 Metascore
    • 40 Melissa Anderson
    In any language, the actress (Kristin Scott Thomas) does what she can to best serve her scripts, even when they're hopelessly beneath her.
    • 54 Metascore
    • 40 Melissa Anderson
    Blunt, loud, and showboaty, Illegal suffers even more when compared with another recent Liège-set film about the horrors faced by paperless immigrants: the Dardennes' "Lorna's Silence."
    • 69 Metascore
    • 40 Melissa Anderson
    Denied the opportunity to see Candy at her best, simultaneously mocking and paying homage to golden-age glamour, viewers instead get too much of Jeremiah Newton, a close friend of the actress's and guardian of her papers, personal effects, and ashes (and one of Beautiful Darling's producers).
    • 36 Metascore
    • 40 Melissa Anderson
    Crafted not to give the slightest offense, The Art of Getting By makes the great - and even the mediocre - teen movies of 30 years ago, like "Fast Times at Ridgemont High," "Fame," and "Foxes," look even more radical in comparison, with their depiction of obnoxious, horny, property-destroying teens.
    • 62 Metascore
    • 40 Melissa Anderson
    The pathetic attempts at outré, taboo-busting humor as sociopolitical commentary can't disguise what this film really is: a mawkish, MOR comedy of manners that even its straw man Nicolas Sarkozy would find suitable for date night.
    • 65 Metascore
    • 40 Melissa Anderson
    Life, Above All suggests that ignorance and stigmatization are a problem only in the village, not in the highest office of government.
    • 59 Metascore
    • 40 Melissa Anderson
    Dutifully follows the template of scores of movies about the Shoah: wringing from atrocity the most unseemly sentimentality.
    • 55 Metascore
    • 40 Melissa Anderson
    3
    More willing suspension of disbelief - or suppression of giggles - is required.

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