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 Leviathan
Lowest review score: 0 Another Happy Day
Score distribution:
  1. Positive: 95 out of 278
  2. Negative: 42 out of 278
278 movie reviews
    • 59 Metascore
    • 40 Melissa Anderson
    That so many of the colossal yokel's mental states are literalized, as when the screen fills with thousands of rats while Margueritte reads Camus's "The Plague" aloud to her new pal, typifies the movie's antipathy to nuance.
    • 37 Metascore
    • 40 Melissa Anderson
    For a film that's supposed to be rooted in such a specific time and place, Sylvia isn't really concerned with details: Costumes, hair, and décor appear to be the work of "That '70s Show" interns; William H. Macy, as Danielle's Mormon soon-to-be stepdad, continuously muffs a Sooner State drawl.
    • 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).
    • 52 Metascore
    • 40 Melissa Anderson
    All the words that follow assault the ear in this unnecessary rehashing of the earthy virtues of low-paid laborers versus the stiffness of the bourgeoisie.
    • 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.
    • 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.
    • 36 Metascore
    • 40 Melissa Anderson
    Serious Moonlight has a backstory much more intriguingly dramatic than what's onscreen.
    • 62 Metascore
    • 40 Melissa Anderson
    Ted
    It's dispiriting enough to witness Kunis still waiting for a comic lead role worthy of her. But the usually nimble Wahlberg - who at least has one great moment rattling off "white-trash girls' names" - suffers the most, playing second fiddle to a knee-high Gund knockoff.
    • 47 Metascore
    • 40 Melissa Anderson
    Too limp and scattershot to warrant anything stronger than indifference.
    • 49 Metascore
    • 40 Melissa Anderson
    Appears to have been made on a budget equivalent to the cost of a WNBA fleece hoodie. But even at that price, the first feature by Tim Chambers is profligate with sports-movie clichés.
    • 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.
    • 52 Metascore
    • 40 Melissa Anderson
    Nivola and Breslin sing and perform the original numbers, welcome interludes that provide respite from Rosenthal's lousy script.
    • 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.
    • 44 Metascore
    • 40 Melissa Anderson
    Speaking of camp, the diva battle teased in the trailer for Joyful Noise between its two stars, Queen Latifah and Dolly Parton, flatlines, as do most of the movie's jokes.
    • 27 Metascore
    • 40 Melissa Anderson
    Immediately forgettable family entertainment, suitable for release only in the dung-heap month of January.
    • 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).
    • 58 Metascore
    • 40 Melissa Anderson
    A film only Hilton Kramer could love, (Untitled) aims wide and misses.
    • 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.
    • 72 Metascore
    • 40 Melissa Anderson
    Breezy, superficial documentary.
    • 43 Metascore
    • 40 Melissa Anderson
    Impersonally directed by cinéma du look pioneer Luc Besson, The Lady was written by first-timer Rebecca Frayn, whose script has all the elegance and nuance of Google Translate.
    • 45 Metascore
    • 40 Melissa Anderson
    Unconvincing, flawed matriarch Mendes and junior showboat Ramirez appear to be acting in entirely different movies.
    • 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.
    • 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).
    • 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.
    • 61 Metascore
    • 40 Melissa Anderson
    While rooting for the marine mammals (and wishing for more footage of them - and even of their animatronic incarnations), your heart will also go out to the cast, stuck even more pitiably in syrupy manufactured crises.
    • 37 Metascore
    • 30 Melissa Anderson
    Though lazily mocking hyper-vigilant parenting, the film treats the moldiest clichés - as gospel.
    • 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
    Greenspan and Harmon's paltry song of themselves concludes with five minutes of outtakes, capping the self-love.
    • 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?

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