Melissa Anderson
Select another critic »
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 Holy Motors
Lowest review score: 0 Another Happy Day
Score distribution:
  1. Positive: 92 out of 275
  2. Negative: 42 out of 275
275 movie reviews
    • 70 Metascore
    • 40 Melissa Anderson
    Boy
    The abundant charm of first-time actor James Rolleston, playing the 11-year-old of the title in Boy, doesn't quite save the aimless, nostalgia-woozy second feature from Taika Waititi (2007's Eagle vs. Shark).
    • 44 Metascore
    • 40 Melissa Anderson
    Forget "Son of Brazil": This syrupy origin story/biopic on the nation's beloved reformist president, whose second term ended in 2010, should be titled Mama's Boy.
    • 45 Metascore
    • 40 Melissa Anderson
    Unconvincing, flawed matriarch Mendes and junior showboat Ramirez appear to be acting in entirely different movies.
    • 44 Metascore
    • 40 Melissa Anderson
    L!fe Happens is a blonde-brunette buddy comedy with a charmless cast (Rachel Bilson plays the third roomie, a Christian virgin) and banter as flat as Deena's favorite no-strings imperative, "Bone and bolt."
    • 47 Metascore
    • 40 Melissa Anderson
    Too limp and scattershot to warrant anything stronger than indifference.
    • 45 Metascore
    • 40 Melissa Anderson
    An incompetently structured film that pits hippies against squares with the usual wearying results.
    • 41 Metascore
    • 40 Melissa Anderson
    The handsome pooch is also the only appealing aspect of the latest tale of privileged boomer pulse-taking from Lawrence Kasdan.
    • 53 Metascore
    • 40 Melissa Anderson
    Tautou, playing workaholic widow Nathalie in Delicacy, gives off a sexless, cutie-pie charm - not as aggressively as she did in "Amélie," but still gratingly. The actress, therefore, is perfect for this dainty, inconsequential romantic dramedy.
    • 30 Metascore
    • 40 Melissa Anderson
    The zippy screwball energy - and fantastic roster of cameos - that mitigated the fratty humor of Broken Lizard's last movie, the restaurant send-up "The Slammin' Salmon," is missing here, resulting in generic, feeble laffs and an ending as sticky as the pilfered substance.
    • 57 Metascore
    • 40 Melissa Anderson
    Mama never delivers the primal terror its premise would suggest.
    • 52 Metascore
    • 40 Melissa Anderson
    LUV
    Although Common and Rainey make a well-matched duo, their chemistry is frequently squandered by a script that boxes them into impossible roles in one clichéd scene after another.
    • 62 Metascore
    • 40 Melissa Anderson
    A film that puts too much faith in the appeal of its garrulous, aimless leads.
    • 60 Metascore
    • 40 Melissa Anderson
    Straining for "teachable moments," the film has one noteworthy, unintentional function: to remind us that though LGBT rights are continually evolving, the laws of kitsch remain immutable.
    • 58 Metascore
    • 30 Melissa Anderson
    Sheridan, repeatedly drawn to family sagas, including his own (2002's In America), aims for Greek tragedy but ends up with a PTSD melodrama, with Maguire able to produce slobber almost as effortlessly as Portman can summon up tears--essentially all her role calls for.
    • 51 Metascore
    • 30 Melissa Anderson
    If Markell's instincts for script exhumation are questionable, she's the victim of even worse timing: Who thought releasing her film 10 days after Liv Ullmann and Cate Blanchett's praised-to-the-high-heavens "A Streetcar Named Desire" closed was a good idea?
    • 37 Metascore
    • 30 Melissa Anderson
    Greenspan and Harmon's paltry song of themselves concludes with five minutes of outtakes, capping the self-love.
    • 53 Metascore
    • 30 Melissa Anderson
    Outrageously sentimental and retrograde.
    • tbd Metascore
    • 30 Melissa Anderson
    With all due respect to Leo Tolstoy, all unhappy film families in which someone ascends those "12 steps" are exactly alike.
    • 40 Metascore
    • 30 Melissa Anderson
    Like Amélie's scrubbed-up "City of Lights," Paris 36 is an antiseptic arthouse trifle, so eager to soothe that it only numbs.
    • 48 Metascore
    • 30 Melissa Anderson
    It's heartbreaking to see Lathan, an underemployed actress whose talents were last put to good use in 2006's "Something Else," in such a ridiculous, impossible role.
    • 51 Metascore
    • 30 Melissa Anderson
    Grossly exaggerating his characters' either/or constructions, Moodysson forgoes any real ideas about the world's vast inequities, content to pummel his audience with portentous global guilt-tripping.
    • 51 Metascore
    • 30 Melissa Anderson
    Another movie, not as awful as this one, might one day find better use for the easygoing vibe between Queen Latifah and Common, the stars of Just Wright.
    • 34 Metascore
    • 30 Melissa Anderson
    It's uncertain whether or not Taranto and debuting helmer Anders Anderson looked at the "Law & Order: SVU" and "Cold Case" episodes that also used the crime as a plot thread; the sub-televisual incompetence of their film suggests not.
    • 37 Metascore
    • 30 Melissa Anderson
    Hackford's pacing throughout is continuously off, with scenes extending several beats too long, his two leads adrift and bored.
    • 50 Metascore
    • 30 Melissa Anderson
    The greatest frustration-not just in For Colored Girls, but in Perry's entire oeuvre-is witnessing talented (and often criminally underemployed) actresses struggle with the material they've been given.
    • 37 Metascore
    • 30 Melissa Anderson
    Though lazily mocking hyper-vigilant parenting, the film treats the moldiest clichés - as gospel.
    • 63 Metascore
    • 30 Melissa Anderson
    What's most crushing is witnessing what should have been the dream pairing of Kunis and Timberlake - both foxy, loose, confident performers - here generating zero chemistry.
    • 22 Metascore
    • 30 Melissa Anderson
    Making even more appearances than the rodent is the Big Gulp; the lady bounty hunter is constantly consuming junk - though at least when Heigl is snacking, she isn't talking.
    • 48 Metascore
    • 30 Melissa Anderson
    "There's a midget in the oven!" is about as inspired as the dialogue and set pieces get in this queasy-making entertainment.
    • 57 Metascore
    • 30 Melissa Anderson
    Close's prosthetic makeup renders her face too immobile, a marked contrast with her unfixed accent; both highlight the pitfalls of a star's idée fixe. It's a shame, because the material - based on a novella by George Moore published in the 1927 collection Celibate Lives - deserves better.