For 52 reviews, this critic has graded:
  • 46% higher than the average critic
  • 3% same as the average critic
  • 51% lower than the average critic
On average, this critic grades 3.6 points higher than other critics. (0-100 point scale)

Melissa Levine's Scores

  • Movies
Average review score: 63
Highest review score: 90 The Wild Parrots of Telegraph Hill
Lowest review score: 30 Rent
Score distribution:
  1. Positive: 26 out of 52
  2. Negative: 1 out of 52
52 movie reviews
    • 80 Metascore
    • 90 Melissa Levine
    Mostly, Wild Parrots is a great, important, and unforgettable movie.
    • 82 Metascore
    • 90 Melissa Levine
    The result is a mood movie that sweeps you into its infatuation and holds you there.
    • 63 Metascore
    • 90 Melissa Levine
    Bubble is a strong film with a gorgeously minimal script by Coleman Hough. Soderbergh has directed his actors to perfection, rendering them indistinguishable from their roles. And, though the story resorts to sensationalism for its conflict, the film is eloquent in its portrayal of silence, depression, repression, denial and the woes of the Midwestern white working class.
    • 78 Metascore
    • 80 Melissa Levine
    A solid, well-crafted drama, with a tight script, sharp editing, and strong performances by the leads. Beware, however: This is no comedy.
    • 48 Metascore
    • 80 Melissa Levine
    An entertainment success, a triple threat of fresh writing, inspired directing, and, yes, good acting.
    • 71 Metascore
    • 80 Melissa Levine
    Wildly enjoyable look at the fifth-grade ballroom dance competition held annually in New York City.
    • 67 Metascore
    • 80 Melissa Levine
    Through hilarious and charming interviews with the kids, extended chat sessions with Green, a few words from parents, and a healthy dose of performance footage, we get a sense of what sort of community Green has created, for better and worse.
    • 71 Metascore
    • 80 Melissa Levine
    For all of its turgid self-importance, its anthropocentric theater of classical music and sound effects, Deep Blue is a gorgeous film with scene after scene of incredible footage.
    • 69 Metascore
    • 80 Melissa Levine
    Supremely enjoyable.
    • 87 Metascore
    • 80 Melissa Levine
    The result is an experience rich in pleasure and surprise, one that easily stands up to multiple viewings.
    • 74 Metascore
    • 80 Melissa Levine
    One of the powerful things about After Innocence is that, no matter what your position on punitive justice, you can't argue with the film's position.
    • 65 Metascore
    • 80 Melissa Levine
    A fascinating documentary by Bruce's longtime friend Rupert Murray, uses footage taken by both Bruce and Murray to document Bruce's harrowing, enlightening and occasionally hilarious experience. It's a wild ride.
    • 70 Metascore
    • 80 Melissa Levine
    But except for a few missteps, the movie is so beautifully and sensitively rendered in its particulars, in its characterizations of soldiers and officers, and in its dramatization of a nearly miraculous event, that the result is an affecting piece of cinema.
    • 79 Metascore
    • 80 Melissa Levine
    Astonishing if imperfect nature documentary.
    • 61 Metascore
    • 70 Melissa Levine
    The film is rich with real feeling. And Dench's performance is a heartbreaker.
    • 64 Metascore
    • 70 Melissa Levine
    Its characters are complex and engaging, its central mystery pulls the action forward at a clip, and the performances by Paltrow and Davis are excellent. At the same time, it's a little too slick.
    • 71 Metascore
    • 70 Melissa Levine
    An affecting piece of work.
    • 44 Metascore
    • 70 Melissa Levine
    An interesting film, and a good one, with a harrowing performance by Depp, whose apparent enjoyment of the role seems only to increase as his character deteriorates.
    • 52 Metascore
    • 70 Melissa Levine
    In the end, The Producers is an enjoyable romp, and at times--as when Hitler sings "Heil Myself"--it's hilarious. But it's not transcendent.
    • 57 Metascore
    • 70 Melissa Levine
    It's a sweet, silly and not unintelligent romantic comedy: For a period farce, you could do worse.
    • 54 Metascore
    • 70 Melissa Levine
    Bleak, minimal, bone-dry and hilarious, it creates a rich and layered world from deft strokes of dialogue and action.
    • 77 Metascore
    • 70 Melissa Levine
    In many ways, The Devil and Daniel Johnston is a beautiful work, a painstakingly crafted portrait of a talented self-saboteur--a man consistently done in by a vicious mental illness. But it's not as compelling as one would hope.
    • 68 Metascore
    • 70 Melissa Levine
    Smart, patient and ruefully funny... Yet because the film never digs too far into any single person's world, it doesn't build toward much.
    • 73 Metascore
    • 70 Melissa Levine
    Mostly it's just a sweet and lightly funny piece of highbrow piffle, as enjoyable as it is forgettable. There's no harm done, but there's not much else either.
    • 56 Metascore
    • 70 Melissa Levine
    This is the kind of documentary that, though not particularly accomplished by way of direction, writing, or editing, has such a compelling subject that there's no question about its worth.
    • 57 Metascore
    • 70 Melissa Levine
    Watching Cowboy del Amor is like sitting in a room with someone who's making funny racist cracks; you can't help but laugh, but you feel sullied by the implicit collusion. For that reason, the film tips over into the camp of tragedy. Or if it is a comedy, it's the Shakespearean kind, where the marriages at the end are utterly unsettling.
    • 58 Metascore
    • 60 Melissa Levine
    Schreiber's edits gut the story of its power and punch. His film is strong on comedy and farce, enjoyable as a quirky-friendship gag, but it fails in its attempt at tragedy.
    • 72 Metascore
    • 60 Melissa Levine
    3-Iron is at times deliciously sensual, creepily somnolent, whimsically spiritual and disturbingly violent. But it is never quite coherent.
    • 66 Metascore
    • 60 Melissa Levine
    The result is a constant feeling of summary, saddled with four times the usual number of after-school issues. Tamblyn is a treat, playing intelligence and anger, and there are some real moments of connection between characters, but the film is hysterical with self-promotion.
    • 80 Metascore
    • 60 Melissa Levine
    This uneven new film, a series of dialogues from the legendary Ingmar Bergman, is assembled like movements of a concerto.
    • 82 Metascore
    • 60 Melissa Levine
    Most of The Constant Gardener is made with good taste and with respect for its African subjects. But when Fiennes flees a Kenyan village as bandits begin their merciless attack, it's hard not to feel a little uneasy with the medium. We're meant to get a thrill out of the chase, but it's not thrilling. Sickening's more like it.
    • 52 Metascore
    • 60 Melissa Levine
    Its smarmy resolution just doesn't work; the lessons learned are a bit too medicinal. But we're willing to forgive, since it's otherwise a good-natured and enjoyable ride.
    • 62 Metascore
    • 60 Melissa Levine
    One of the most schizoid films in recent memory. It opens with crystalline originality, a shimmering comedy with meticulous timing and sharply drawn characters. Then it careens carelessly into syrup. How could he (Martin) not have noticed?
    • 59 Metascore
    • 60 Melissa Levine
    It's facile, predictable, and contrived, but there's still something winning about this multicultural drama from South Africa.
    • 62 Metascore
    • 60 Melissa Levine
    Wacky, hodgepodge and decidedly homemade, CSA nevertheless is worth seeing. Sure, it veers off into nonsense, and there are times when the film loses its center. But the premise, the passion and the scathing political commentary ultimately keep CSA afloat.
    • 44 Metascore
    • 50 Melissa Levine
    A clunky, obvious film, it makes the mistake of asking drama to do what documentary should.
    • 54 Metascore
    • 50 Melissa Levine
    It's merely all right--very high-concept and on its way to interesting, but never there.
    • 65 Metascore
    • 50 Melissa Levine
    Part of the reason that it doesn't quite succeed is that these messages are so tried and true.
    • 65 Metascore
    • 50 Melissa Levine
    The film is beautifully shot and well-acted, but, like the book, it never achieves anything like the import of the stories that inspired it. Balzac is even a little dull, especially toward the end.
    • 47 Metascore
    • 50 Melissa Levine
    Again, Lohman's lack of power--and passion--saps the story of its life. It's a shame, because a bold performance would have given Firth and Bacon even more to work with, and the relationships between and among the members of that ménage à trois could have really begun to zing.
    • 54 Metascore
    • 50 Melissa Levine
    This is inelegant storytelling, and it almost entirely cancels out what's good about the film: Max Minghella, for one thing. The son of director Anthony, he gives a very fresh performance, popping with energy that the other characters seem to drain.
    • 49 Metascore
    • 50 Melissa Levine
    If you're going to fall for this movie, you're going to have to buy not only the idea that adultery is excusable if you're "following your heart," but also that following your heart amounts to falling in love at first sight, a formulation that seems adolescent at best.
    • 65 Metascore
    • 50 Melissa Levine
    The trouble with 12 and Holding, which pits four young protagonists in intertwining battles for spiritual (and, well, literal) survival, is that it's just too much.
    • 45 Metascore
    • 50 Melissa Levine
    However you slice it, Bleep remains a work of naive invention and wannabe spirituality.
    • 63 Metascore
    • 40 Melissa Levine
    It's a slow and laborious persona piece.
    • 35 Metascore
    • 40 Melissa Levine
    At first, Ma Mère is shocking and even alluring, but it doesn't take long for the conceit to wear thin, especially since the characters so rarely act as recognizable humans.
    • 62 Metascore
    • 40 Melissa Levine
    5x2
    For anyone who believes in the gorgeously messy truth of French social drama, it's a grave disappointment.
    • 45 Metascore
    • 40 Melissa Levine
    A film that aspires to join the company of its predecessors--smart, funny satires that skewered the hypocrisy and cruelty of high school life. But it won't. For starters, Pretty Persuasion commits a fatal error: It forgets to side with the students.
    • 58 Metascore
    • 40 Melissa Levine
    The film congeals from dripping sentimentality into emulsified schmaltz when it brings in the actual Ryan family, all 10 children (now in their fifties and sixties), for a final scene. The intentions are clearly honorable, and we certainly wish these people well, but this isn't a memorial service, it's a movie.
    • 38 Metascore
    • 40 Melissa Levine
    Has its heart in the right place, but its head seems to be lost in a swirling maelstrom of teen movies that have come before.
    • 56 Metascore
    • 40 Melissa Levine
    The title pretty much says it all: syrupy romantic comedy dripping with unearned sentiment.
    • 53 Metascore
    • 30 Melissa Levine
    Rent plays as a very long joke with no punch line, an exercise in mawkish sentimentality that's embarrassing to watch. Kudos to the actors for truly committing to their roles, but with this material, it might have been better if they hadn't.