Melissa Anderson
Select another critic »
For 276 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 4.9 points lower than other critics. (0-100 point scale)

Melissa Anderson's Scores

  • Movies
  • TV
Average review score: 55
Highest review score: 100 Celine and Julie Go Boating (1974)
Lowest review score: 0 Ghosts of Girlfriends Past
Score distribution:
  1. Positive: 93 out of 276
  2. Negative: 42 out of 276
276 movie reviews
    • 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.
    • 38 Metascore
    • 30 Melissa Anderson
    She is also played by Sarah Jessica Parker, a performer so aggressively determined to make us like her that no work-life conflicts in the film ever gain any traction; we're too distracted by the actress's manic tics (the head tilts, the popping of the wounded-deer eyes) to notice any real adversity.
    • 34 Metascore
    • 30 Melissa Anderson
    Hough emits all the charisma of a personal assistant.
    • 27 Metascore
    • 30 Melissa Anderson
    Yet it's not entirely forgettable. I'll long be haunted by Dennis Quaid's manic performance as a palm-greasing dad who seems to be under the influence of bath salts-tweaked-out acting that matches the camera movements.
    • 53 Metascore
    • 30 Melissa Anderson
    Proceeds as a tedious, clumsy diddle, constantly reminding viewers how much progress has been made since the Victorian era.
    • 37 Metascore
    • 30 Melissa Anderson
    Hoariest of all are the exhortations to make distinctions between "fiction" and "life."
    • 55 Metascore
    • 30 Melissa Anderson
    A sprawling mess of multiple romantic triangles in which all the angles are obtuse.
    • 50 Metascore
    • 30 Melissa Anderson
    Of sole interest is Benoît Magimel's Vincent, who sheepishly confesses a same-sex attraction to one in the cabal; his moments on-screen provide the only break from this slog.
    • 73 Metascore
    • 30 Melissa Anderson
    Audiard himself might have benefited from a simple reminder of left from right; his rudderless film confuses a pileup of preposterous, sentimental scenarios with genuine emotion.
    • 38 Metascore
    • 30 Melissa Anderson
    Screeches and scrambles from scene to scene with manic sitcom energy, much like the cherished pet hamster of one of its characters.
    • 51 Metascore
    • 30 Melissa Anderson
    Though Snitch loudly announces itself as a social-issues movie, its nominal outrage over the severity of our nation's sentencing laws for first-time drug offenders is quickly subsumed by a jacked-up narrative of a father going to extremes to save his son.
    • 56 Metascore
    • 30 Melissa Anderson
    Its characters are all too easily determined but never specific—or memorable.
    • 57 Metascore
    • 20 Melissa Anderson
    A misguided tale of sentimental education.
    • 38 Metascore
    • 20 Melissa Anderson
    Plays like both a supremely outmoded chick-lit adaptation and an outrageously obscene gesture as the economy continues to swallow up livelihoods, homes, and hope.
    • 43 Metascore
    • 20 Melissa Anderson
    Spread becomes a sloggy, tepid comeuppance tale.
    • 19 Metascore
    • 20 Melissa Anderson
    To Save a Life wants to rescue kids from the Satanic messages of "Gossip Girl"--a benign, even worthy enough objective, but must alternatives to empty, materialistic adolescence require baptism in the Pacific?
    • 13 Metascore
    • 20 Melissa Anderson
    Misery pile-up.
    • 51 Metascore
    • 20 Melissa Anderson
    Fifty years after her death, the actress's corpse is still being picked over with ever-diminishing returns, as evidenced in Liz Garbus's garish, misguided documentary.
    • 31 Metascore
    • 10 Melissa Anderson
    Curiously, Blackmail Boy's alternate title is "Oxygen"--and by film's end, you'll be gasping for it.
    • 40 Metascore
    • 10 Melissa Anderson
    A sloppy, desultory, depressive buddy comedy the color of beer-infused pee.
    • 58 Metascore
    • 10 Melissa Anderson
    Though its structure may be whittled down in comparison with the earlier works, Biutiful is even more morbidly obese than "Babel" in terms of soggy ideas, elephantine with miserabilist humanism and redemption jibber-jabber.
    • 22 Metascore
    • 10 Melissa Anderson
    A movie so excruciating that it makes its predecessor, "Valentine's Day," seem like "Nashville" in comparison.
    • 53 Metascore
    • 0 Melissa Anderson
    Blind Side the movie peddles the most insidious kind of racism, one in which whiteys are virtuous saviors, coming to the rescue of African-Americans who become superfluous in narratives that are supposed to be about them.
    • 35 Metascore
    • 0 Melissa Anderson
    Continuing both his bad filmmaking and obsession with lethal orifices, Mitchell Lichtenstein follows up "Teeth," his clumsy debut about a dismembering vagina, with a voluminous explosion of poop.
    • 34 Metascore
    • 0 Melissa Anderson
    Above all, it will make you long for a day when studio movies about relationships feel like they are by and for adults who have actually been in one.
    • 46 Metascore
    • 0 Melissa Anderson
    Hoping to distract us from the zero ideas found in his film, Levinson demands that his cast act loudly and unbearably, a task for which Demi Moore, as the second wife of Ellen's first husband, is perfectly suited.

Top Trailers