Michelle Orange

Select another critic »
For 221 reviews, this critic has graded:
  • 74% higher than the average critic
  • 2% same as the average critic
  • 24% lower than the average critic
On average, this critic grades 2.8 points higher than other critics. (0-100 point scale)

Michelle Orange's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 90 The Gatekeepers
Lowest review score: 20 Zookeeper
Score distribution:
  1. Negative: 11 out of 221
221 movie reviews
    • 91 Metascore
    • 90 Michelle Orange
    The existence of The Gatekeepers is its own chief statement. You don't get the sense that it's any easier for these men to question Israel's leadership from the safety of retirement.
    • 89 Metascore
    • 90 Michelle Orange
    What anchors Two Days, One Night, and eases its gaps, is Cotillard's extraordinary performance.
    • 88 Metascore
    • 90 Michelle Orange
    The imperatives of history are manifold, and this film is among the most urgent of them. You cannot look, and you must look: This happened. They were human beings. All of them.
    • 88 Metascore
    • 85 Michelle Orange
    Even more than it wants to inform Inside Job seeks to enrage.
    • 86 Metascore
    • 85 Michelle Orange
    The success of this exuberant, affecting debut feature from director Benh Zeitlin depends on his ability to universalize the particular, in this case by drawing us into the perspective of a six-year-old girl living in squalor and feeling and uncertainty in the Louisiana bayou, then telling our own story from behind it.
    • 84 Metascore
    • 80 Michelle Orange
    [A] powerful, exacting depiction of Egypt's struggle for meaningful change.
    • 83 Metascore
    • 85 Michelle Orange
    "A chimp could not have a better mother," Terrace declares of his decision. The people in this film say stuff like that a lot.
    • 83 Metascore
    • 75 Michelle Orange
    Because Animal Kingdom is so richly suffused with atmosphere and style, you could almost float right past the deficiencies in its story in an admiring trance.
    • 82 Metascore
    • 85 Michelle Orange
    Tectonic pacing builds to a series of imperceptible and yet earth-moving moments in Nuri Bilge Ceylan's Once Upon a Time in Anatolia, a habeas corpus procedural stretched across two and a half discursive hours.
    • 81 Metascore
    • 80 Michelle Orange
    With Huppert as her paradoxical lightning rod, Denis courts class and colonial tensions until they fly apart in the last moments of the film.
    • 81 Metascore
    • 75 Michelle Orange
    Waiting For Superman may rub a little raw here and there, but if it stirs that memory in enough voting and tax-paying Americans, it has at least begun to do its job.
    • 80 Metascore
    • 75 Michelle Orange
    It's a matinee treat for the very little ones, after all.
    • 80 Metascore
    • 85 Michelle Orange
    It's as subversive and penetrating a treatment of the British character as we get on the big screen, and it's why I don't mind that Leigh keeps them coming 'round with the reliability of the cocktail hour.
    • 80 Metascore
    • 70 Michelle Orange
    There are no simple denials, nor anything simple at all in Last of the Unjust. Only stories, recovered and retold, of a reality beyond their reach.
    • 79 Metascore
    • 80 Michelle Orange
    Bold, weird, and a little stalkerish in its intensity, Luca Guadagnino's third feature is an open cinematic buffet, as ready to satisfy as it is to displease, depending on your taste and appetite.
    • 79 Metascore
    • 75 Michelle Orange
    Sugar Man is most interesting when it touches on the conditions that combined to draw a cult hero out of some decent music and a generously enabled, imagination-firing mystique.
    • 78 Metascore
    • 85 Michelle Orange
    Slick without feeling over-determined, Racing Dreams evokes -- just as, oddly enough, "Toy Story 3" does -- the more general feeling of childhood on the precipice.
    • 78 Metascore
    • 75 Michelle Orange
    The Dark Knight aspires to the epic and reaches it on a number of impressive and less impressive levels. That it is a frequently, unnervingly glorious triumph of brawn over brains is not despite but in spite of Nolan's admirably stubborn - if persistently, risibly serious - insistence that the modern superhero can have it all.
    • 78 Metascore
    • 55 Michelle Orange
    Like the recent "Perrier's Bounty," The Guard feels like it might play better at home than overseas.
    • 78 Metascore
    • 60 Michelle Orange
    Heavy with pop allusions and references to other crime underworld movies, including The Godfather and Chinatown, Zootopia is impressive in its visual conception and scope: At once straightforward and densely layered with wit and incident, it manages a lively clip and the odd fresh joke.
    • 78 Metascore
    • 80 Michelle Orange
    A dump is a dump, but it's immediately clear that these are working people who are making the best of their options and who have built a shared camaraderie out of that determination.
    • 77 Metascore
    • 70 Michelle Orange
    We also gain a keen sense of how chess in particular helps otherwise academically challenged kids find a way into their own brains.
    • 76 Metascore
    • 80 Michelle Orange
    Soft-spoken and stoical, Brannaman is a firm but sensitive presence in front of the camera and facing down a spooked horse.
    • 76 Metascore
    • 80 Michelle Orange
    Hansen-Løve’s gifts for mood and eliciting controlled, empathetic performances are well-suited to her sensitive material, and ultimately overshadow the film’s difficult and uneven central characterization.
    • 76 Metascore
    • 80 Michelle Orange
    Proof that Ruiz was still teeming with ideas himself, Night is a characteristic work of surreal wit and circuitousness—and the filmmaker's winking but mournful goodbye.
    • 76 Metascore
    • 70 Michelle Orange
    Divided into three chapters in a largely unsuccessful attempt at structure, the voice and the style don't combine as explosively as they should to pick up the material's slack.
    • 75 Metascore
    • 80 Michelle Orange
    Warmly observed and solicitous of its audience to the point of caress, Win Win is as comfortable an experience at the movies as you might have this year.
    • 75 Metascore
    • 90 Michelle Orange
    To muddle through confusion, boredom, vaguely formed interest, brief elation, and confusion again is to experience the work as its creator intended.
    • 74 Metascore
    • 80 Michelle Orange
    An elegantly observed, sleekly packaged look at an artist whose career-long balance of enigma and self-exposure culminated in a 2010 retrospective at New York City's Museum of Modern Art.
    • 74 Metascore
    • 85 Michelle Orange
    The effect recalls the beguiling lightness of the good old Disney, where clever visual and thematic feats are deftly interwoven and yet tossed off with an insouciance that favors playfulness above all.
    • 74 Metascore
    • 80 Michelle Orange
    Farmiga closes in on moments that express mood and character so lightly and perceptively that you don't notice them gently - sometimes too gently - moving the story forward.
    • 74 Metascore
    • 80 Michelle Orange
    The Town lacks Gone's operatic ambitions. And the irony is that that lack of a grand or even grandiose plan keeps this very good film from being a truly great one.
    • 74 Metascore
    • 55 Michelle Orange
    Rather than beginning with the assumption that there is no possibility of our coming to know that kind of suffering exactly and using imagination and insight to truly take us inside the Lvov Jews' plight, Holland makes the base conditions of their confinement a narrative as well as aesthetic priority. And frankly it's boring as shit.
    • 74 Metascore
    • 75 Michelle Orange
    Hill cuts a hilariously adversarial figure.
    • 74 Metascore
    • 75 Michelle Orange
    The audience is never seen and only faintly heard. This puts a lot of visual pressure on a very inward performer. Young is a beast onstage, to be sure - he seems to re-grow an appendix for each song.
    • 73 Metascore
    • 75 Michelle Orange
    Ultimately -- and perhaps fittingly -- Cropsey is most effective as a study of Staten Island and its inhabitants, specifically the half-life of grief as it is manifested in a self-contained community.
    • 73 Metascore
    • 70 Michelle Orange
    The film's delighted affinity with Ungerer's well-turned perspective does lend an advertorial slickness to what might have been a more challenging study of a fascinating and famously elusive subject.
    • 73 Metascore
    • 80 Michelle Orange
    A brightly lit nightmare of patriarchy run amok.
    • 73 Metascore
    • 70 Michelle Orange
    It's all rather casual - not unengaging, exactly, but lacking a narrative energy all its own.
    • 72 Metascore
    • 65 Michelle Orange
    The main and most enjoyable difference between the second installment and the first is the greater opportunity the latter provides Cassel to sketch some dimension into the coded mythologizing of his character.
    • 72 Metascore
    • 80 Michelle Orange
    It's a mark of Shelton's ability to create living characters from seemingly minor shared moments -- the ones that wind up meaning everything.
    • 72 Metascore
    • 85 Michelle Orange
    The complementary tone of droll but freighted psychodrama she strikes in Tiny Furniture feels like a significant but precarious achievement. I feel a pinch of worry for her - as I did for Aura - looking into a future of Rudins and Apatows.
    • 72 Metascore
    • 85 Michelle Orange
    To say too much about what actually happens would be to rob you of the film's risks and narrative ripostes. What should be noted is that Capotondi makes ambitious use of an unreliable narrator in a way that is rarely seen in modern films.
    • 71 Metascore
    • 90 Michelle Orange
    An awkward, frequently transcendent document whose sense of rhythm, purpose, and narrative is as unlikely as it is ultimately persuasive, and whose fascination with moments of haunted impermanence signals, perhaps more than anything else, the mark of its maker.
    • 71 Metascore
    • 70 Michelle Orange
    The story had great optics but not a lot of action, I suppose, though as a child who walked around in towel-fashioned headdresses to simulate the long hair my mother wouldn't let me have, Rapunzel's was the story I longed to thrill to on the big screen.
    • 71 Metascore
    • 70 Michelle Orange
    An earnest and occasionally poignant attempt to penetrate Rebney's potent man-on-fire image and explore the impact of becoming an Internet sideshow.
    • 71 Metascore
    • 55 Michelle Orange
    Mostly it's frustrating; the film is an episodic jumble that runs hot and cold not in some implied thematic synchronicity with its subject's character but as part of a misguided approach that assumes the audience will find whatever Mesrine does, in whatever order and with whatever emphasis, inherently fascinating.
    • 70 Metascore
    • 60 Michelle Orange
    Though the film concerns events contained within the roughly 50 square blocks of the East Village, it suffers from the narrative equivalent of urban sprawl.
    • 69 Metascore
    • 60 Michelle Orange
    Peepli Live opens out slowly to encompass several factions of Indian society, including the press, local, state, and federal politicians, and the shady elements binding them all together. It's a meticulously engineered design that a show like The Wire took several years to execute; here the strain shows within the first half hour.
    • 69 Metascore
    • 75 Michelle Orange
    Dark to a specific point of dullness or even opacity, Solondz requires patience, as always, but indulgence as well. He relies on your remembrance of his other films and characters but also on your willingness to overlook his redeployment of tactics that range from puerile to mildly -- and somehow always self-skeptically -- profound.
    • 69 Metascore
    • 80 Michelle Orange
    The climax errs on the side of the overwrought and overdetermined, like an earnest adolescent's first attempt at a short story. And yet Papoulia's extraordinary performance lingers, as does the film's provocative existential fog.
    • 69 Metascore
    • 75 Michelle Orange
    By the time he's putting the entire metro area on notice -- having thrashed his father and all the local bullies -- Andrew has no camera and the metaphor has run away with the story entirely. The crazy thing is it almost works.
    • 69 Metascore
    • 85 Michelle Orange
    Arthur Christmas is a Grinch-style story of rekindled Christmas spirit told from inside Santa's compound at the North Pole.
    • 69 Metascore
    • 65 Michelle Orange
    As a character study Solitary Man, like Ben, has no center. What he amounts to is a pretty consistent set of attitudes and behaviors which, while shocking, are not all that interesting.
    • 69 Metascore
    • 75 Michelle Orange
    Physically Watts is of course a decent match for the even more aggressively glamorous Plame; in spirit, it would seem, they are even closer. In the field Plame was first and foremost an actress, a pretender whose belief in her pretending was often of mortal consequence.
    • 68 Metascore
    • 80 Michelle Orange
    A sweeping theme writ small and somewhat gnarly, The Milk of Sorrow is, as Llosa has written, about "unresolved, violent, personal and collective memory" and a "metaphor for breakdown."
    • 68 Metascore
    • 80 Michelle Orange
    Fittingly, there is something both thrilling and deeply unpleasant about looking at Galella's body of work -- there is casual genius in some of the captured moments, a combination of access, timing, and luck, with the subject almost always carrying most of the image's weight.
    • 68 Metascore
    • 75 Michelle Orange
    As Gibney and Spitzer are at pains to point out, it's a story as old as Icarus: Man rises to power; man makes enemies; man gets greedy and is undone.
    • 67 Metascore
    • 75 Michelle Orange
    Scenic, inventively playful, and successfully serious when it wants to be.
    • 67 Metascore
    • 80 Michelle Orange
    It looks more like your teenage world than such films generally allow, and it's not pretty. It's beautiful.
    • 67 Metascore
    • 75 Michelle Orange
    Although this is a film about the influential women in Lennon's life, it succeeds equally in its evocation of the family Lennon built among his boyhood mates.
    • 67 Metascore
    • 85 Michelle Orange
    July is more of a presence than an actress, or even a believable persona.
    • 66 Metascore
    • 60 Michelle Orange
    Insofar as Ushpiz succeeds in putting the most provocative, salient, and damning aspects of Arendt's work into a lucid context, she exposes the limits of her own approach.
    • 66 Metascore
    • 80 Michelle Orange
    Carancho moves into heist mode in its final act, and the lovingly balanced, placid frames give way to thrilling turbulence.
    • 66 Metascore
    • 80 Michelle Orange
    Change may be elusive, Optimists confirms, but the will to make it blazes.
    • 66 Metascore
    • 85 Michelle Orange
    Heady, creaturely, and looking for trouble, Splice is also a sovereign creation: Conceived and midwived by Vincenzo Natali (Cube), it suggests the pure-bred Canadian love child of James Cameron and Margaret Atwood (I see David Cronenberg presiding over the baptism).
    • 66 Metascore
    • 70 Michelle Orange
    Former "Frontline" producer Brian Knappenberger's fascinating, incisive social history of the online network known as Anonymous.
    • 65 Metascore
    • 60 Michelle Orange
    The scenes between the young actresses are the film's most compelling: Both first-timers, Manamela and Makanyane are possessed of extraordinary faces and plain attitudes.
    • 65 Metascore
    • 80 Michelle Orange
    Ferrell as Nick Halsey still feels like a fresh idea, a testament to the actor's reliable but rarely tested mettle as much as his long parade of post-2006 buffoons.
    • 65 Metascore
    • 70 Michelle Orange
    Too often the story feels like it's being mined for recycled beats.
    • 65 Metascore
    • 75 Michelle Orange
    The roots of romantic feeling, as explored in Wild Grass, Alain Resnais's jazzy ode to cinema and the love impulse in later life, are equally, spectacularly random.
    • 65 Metascore
    • 70 Michelle Orange
    At its finest and most affecting, The We and the I is a window onto youth’s forever moments
    • 65 Metascore
    • 70 Michelle Orange
    Most successful are the scenes involving Marcus and Iris, a 10-year-old girl who grew up fatherless and watchful of her tumultuous surroundings.
    • 64 Metascore
    • 70 Michelle Orange
    Garcia, despite creating yet another vibrant canvas for his actors, deflects the burden of this toughest and most modern of familial conundrums, offering instead the bland, regressive ideal of motherhood as not only redemptive but required.
    • 64 Metascore
    • 70 Michelle Orange
    Bichir - who played Fidel Castro in "Che" - resists the pathetic impulse, bringing dignity and distinction to a man who wakes up every morning knowing it's not just his burden but his job to be invisible.
    • 64 Metascore
    • 70 Michelle Orange
    Without a strong story to dance with, all of those fabulous tracking shots, lovingly uncanny art direction details and flickering shafts of light can make The Innkeepers feel more like an exercise in craft than a scary movie.
    • 64 Metascore
    • 65 Michelle Orange
    Fright Night glides into its first climax with some funny touches but without building much structure or suspense.
    • 63 Metascore
    • 70 Michelle Orange
    Wait a second, is this a horror movie or an episode of The Hills?
    • 63 Metascore
    • 70 Michelle Orange
    The result is more fancy than funky, but the directors' aim is true and occasionally hits its mark.
    • 63 Metascore
    • 70 Michelle Orange
    Scene by scene The Hunter, adapted from a novel by Julia Leigh, holds your attention like a pair of big, inquisitive eyes, or perhaps the point-blank scope of an automatic rifle.
    • 63 Metascore
    • 55 Michelle Orange
    The result is the double shrift of a thinly sketched background and a story that has trouble standing up on its own.
    • 62 Metascore
    • 65 Michelle Orange
    In its own way and to its own detriment, William Friedkin's splattery, southern gothic return to the screen seeks to amuse as well as shake and stir.
    • 62 Metascore
    • 40 Michelle Orange
    With some focus and critical perspective, The Source Family might have documented more than a spectacle of its time.
    • 62 Metascore
    • 70 Michelle Orange
    Watching True Legend, a wuxia film crossed with classic vaudeville, it's hard to figure out who's borrowing from whom anymore.
    • 62 Metascore
    • 75 Michelle Orange
    The result is a shaggy rise-and-fall story that is deceptively well-wrought, playing at times like an extremely hip, deep-access concert film.
    • 62 Metascore
    • 80 Michelle Orange
    Ultimately, the effort, however rough in patches, is to be admired. We need our best minds on this subject, in all arenas, and Beautiful Boy is another jagged, early piece in a puzzle whose borders haven't formed yet.
    • 62 Metascore
    • 70 Michelle Orange
    If you're like me, and you find yourself retreating to a safe place in your mind whenever human beings are being graphically decapitated on screen, you'll spend the majority of Centurion, horror maestro (The Descent) Neil Marshall's Roman bloodbath, on psychological lockdown.
    • 61 Metascore
    • 75 Michelle Orange
    The casting of Jespersen, with his sub-Wookie intonations and granite stare, is key: If this pillar of masculinity says there be trolls, I don't have to be bitten by one to believe it.
    • 61 Metascore
    • 60 Michelle Orange
    The story is so bounteous that Goldwyn can't quite get a grip on it.
    • 61 Metascore
    • 70 Michelle Orange
    Timoner attempts - with talking heads, travelogues, and a little alarmist flair of her own - to articulate Lomborg's central idea that not doing enough good might be the same as doing harm.
    • 61 Metascore
    • 70 Michelle Orange
    If only the director had learned Mr. Han’s most important lesson: Being still and doing nothing are two very different things.
    • 60 Metascore
    • 90 Michelle Orange
    Nymphomaniac is a jigsaw opus, an extended and generally exquisitely crafted riff. Story, theme, and character (despite Gainsbourg's captivations) bow to von Trier's gamesmanship, which makes his own promiscuities the film's true subject.
    • 60 Metascore
    • 55 Michelle Orange
    The latest from brothers Mark and Jay Duplass (who co-wrote and directed) seems to expose the limits of a certain kind of realism by stretching them one man-child too far.
    • 60 Metascore
    • 65 Michelle Orange
    A pleasant dramatic caper that wears out its welcome, The Concert is the houseguest who sings a little too loudly and too long for his supper, tone deaf to the line between charm and imposition.
    • 60 Metascore
    • 50 Michelle Orange
    "Mandela" is not without the capacity to move.
    • 60 Metascore
    • 75 Michelle Orange
    RED
    The result is like a sugar rush after a visit to the vintage candy store.
    • 60 Metascore
    • 85 Michelle Orange
    One of the most chilling things about Trust is how well it lays out the grooming strategies used by expert predators.
    • 60 Metascore
    • 75 Michelle Orange
    Manages to surprise with a charm and wit all its own.
    • 60 Metascore
    • 65 Michelle Orange
    Wilson's unflappable, deeply sympathetic affect and aging golden-boy visage have a very Jack-like smoothing effect on the story's rough patches.
    • 59 Metascore
    • 60 Michelle Orange
    It's difficult to get a firm grip on most of what Disco and Atomic War, constructed in a mish-mash collage style, has to offer.

Top Trailers