Melissa Anderson

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For 311 reviews, this critic has graded:
  • 29% higher than the average critic
  • 4% same as the average critic
  • 67% lower than the average critic
On average, this critic grades 5.2 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 Ghosts of Girlfriends Past
Score distribution:
  1. Negative: 49 out of 311
311 movie reviews
    • 43 Metascore
    • 40 Melissa Anderson
    Awkwardly mixes blue material with sob stories.
    • 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."
    • 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.
    • 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.
    • 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.
    • 62 Metascore
    • 40 Melissa Anderson
    There is exactly one unexpected moment in the otherwise drearily predictable The Five-Year Engagement that, though little more than a throwaway line, at least adds a bit of political reality to puncture Nicholas Stoller's limp, hermetic comedy of deferred nuptials.
    • 75 Metascore
    • 40 Melissa Anderson
    This Down Under noir confuses incoherent body pileups with "twists."
    • 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.
    • 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.
    • 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.
    • 41 Metascore
    • 40 Melissa Anderson
    The film is endurable owing solely to Johnson, a veteran of bad kids' movies whose sense of when to dial up the charm in such a generic, soulless entertainment remains impeccable.
    • 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.
    • 45 Metascore
    • 40 Melissa Anderson
    An incompetently structured film that pits hippies against squares with the usual wearying results.
    • 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.
    • 62 Metascore
    • 40 Melissa Anderson
    A film that puts too much faith in the appeal of its garrulous, aimless leads.
    • 55 Metascore
    • 40 Melissa Anderson
    3
    More willing suspension of disbelief - or suppression of giggles - is required.
    • 51 Metascore
    • 40 Melissa Anderson
    Enduring a day-long session of couples' therapy is more fun (and flies by faster) than this film.
    • 67 Metascore
    • 40 Melissa Anderson
    The film too often relies on rote sermonizing when tackling the city's scourge of shootings, a grave topic that The Next Cut is simply too feeble to examine with any real depth or meaning.
    • 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.
    • 60 Metascore
    • 40 Melissa Anderson
    There is an easy camaraderie and chemistry among the central quartet, a harmony that continues when Chris Hemsworth, charmingly stupid, enters as the phantom-vanquishing squad's receptionist. Yet the main performers rarely get to display their individual idiosyncratic strengths.
    • 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).
    • 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
    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."
    • 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
    Just as Friends With Kids compares unfavorably to Westfeldt's earlier effort, her cast members' previous projects further highlight this film's shortcomings.
    • 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.

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