Michelle Orange

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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 3.1 points higher than other critics. (0-100 point scale)

Michelle Orange's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 90 Goodbye to Language 3D
Lowest review score: 20 Silver Circle
Score distribution:
  1. Negative: 11 out of 221
221 movie reviews
    • 49 Metascore
    • 70 Michelle Orange
    Though the movie is largely vanilla in its pleasures, film lovers will eat it up.
    • 49 Metascore
    • 70 Michelle Orange
    Off-handed and yet quite artfully observed, The Happy Poet's winsome deadpan offsets its skewering of class and sustainability issues, right through to a tricky ending that, like Bill himself, may not be what it seems.
    • 48 Metascore
    • 30 Michelle Orange
    A party disaster movie targeted at kids who find the "Hangover" franchise too sophisticated.
    • 48 Metascore
    • 60 Michelle Orange
    Disappointingly ordinary film.
    • 48 Metascore
    • 60 Michelle Orange
    Based on a true story which director Marco Amenta explored 12 years ago in documentary form, The Sicilian Girl feels powered by unfocused preoccupation, rather than by a more compelling creative ambition.
    • 48 Metascore
    • 35 Michelle Orange
    The problem is, whether real, not real, or some Spector-headed stepchild of the two, meltdowns are still not inherently interesting.
    • 48 Metascore
    • 65 Michelle Orange
    You'll have to hang on to something to get through the hairpins in The Perfect Host, a chamber piece hostage thriller black comedy undone less by its twists than by the stretches of bad road between them.
    • 47 Metascore
    • 55 Michelle Orange
    Dark and queer enough to catch your attention but lacking the story power to hold it, Metropia is an aesthetic in search of an author.
    • 47 Metascore
    • 70 Michelle Orange
    Because of the movie's episodic structure and lack of expository detail, the visuals bear the greatest narrative burden.
    • 47 Metascore
    • 70 Michelle Orange
    Loose, flinty, and a little in love with itself, Perrier’s Bounty struts the fine line of self-consciousness drawn by neo-gangster capers like "The Usual Suspects," "In Bruges" and "Lock, Stock and Two Smoking Barrels."
    • 46 Metascore
    • 50 Michelle Orange
    The Dilemma is bad in a way that seems to parody all the ways in which a film like, say, "The 40-Year-Old Virgin" was good.
    • 46 Metascore
    • 75 Michelle Orange
    There are a couple of scenes of pure, sentimental genius, as well as appealingly boggled turns by Rudd and Wilson.
    • 45 Metascore
    • 60 Michelle Orange
    Girl in Progress feels a little trapped by its own conceits: It plays with the idea that all rebellion is in some sense performed and makes a caricature out of the immature, attention-hungry mother, but it never liberates its characters from their molds.
    • 45 Metascore
    • 75 Michelle Orange
    In catsuits, swimsuits, and skimpy underthings, Saldana is as potently elusive as a shadow can be.
    • 45 Metascore
    • 45 Michelle Orange
    As an insult comic, Madea has gone the way of her low-hanging bosom. There's little pleasure in watching her go off, and Perry's direction is reliably drab: Sitcom setups dominate, with strange blown-out lighting occasionally swapped in for the flat tones of a WB soundstage.
    • 45 Metascore
    • 60 Michelle Orange
    A movie about childhood nightmares that plays too much like an actual, incoherent nightmare to make a good movie, Intruders is a psychodrama divided against itself.
    • 45 Metascore
    • 55 Michelle Orange
    Though he lavishes praise on his subjects for being hyper-masculine and free-thinking, Stone is downright girlish in his devotion, scoffing at charges made against the leaders rather than examining them.
    • 45 Metascore
    • 60 Michelle Orange
    Portman is also a producer of Hesher; it is the first of her new company's films. It's not too tough to see what might have drawn a producer to the project: The story's mix of the mythical and the mundane has become an indie staple, and Hesher's edge might have proved artful instead of shredding everything in its path. For any actress, however, the part of Nicole is embarrassingly thin.
    • 45 Metascore
    • 75 Michelle Orange
    Country Strong rides pretty high in the saddle, confident in the remarkably realized world Feste has created for her characters.
    • 45 Metascore
    • 75 Michelle Orange
    The result is way out there - so far that you won't quite recognize the terrain, and still feel strangely at home. The look has the impossible feel of a CGI soundstage: Not cheap, not even necessarily fake, just… weird.
    • 44 Metascore
    • 70 Michelle Orange
    Built for speed, and for an action-savvy audience who can appreciate a throwaway vengeance flick for exactly what it is.
    • 43 Metascore
    • 60 Michelle Orange
    While Survival of the Dead does its best to work up a decent allegorical bent -- this time involving territorial pissing matches within a country under siege -- its power is diffused (and frankly, confused) by its execution.
    • 43 Metascore
    • 75 Michelle Orange
    Veering between the windswept and the simply windy, The Tempest, I suspect, will provoke purists and only intermittently win the attention of less interested parties.
    • 43 Metascore
    • 50 Michelle Orange
    There's something immobile at the center of The Lady, a kind of Botoxed biopic with an unlikely director - Luc Besson - manning the syringe.
    • 43 Metascore
    • 70 Michelle Orange
    As in "Country Strong," Meester's crack timing and irresistible poignancy illuminate a part that would leave other actresses simpering themselves off the screen.
    • 42 Metascore
    • 65 Michelle Orange
    On the whole Bel Ami is highly watchable.
    • 41 Metascore
    • 60 Michelle Orange
    Designed to be both essential history lesson and costume weeper, Princess Kaiulani comes up short on both fronts: Deadly earnest intentions and lack of dramatic gumption ensure that the story of Hawaii’s favored daughter remains under-told.
    • 41 Metascore
    • 30 Michelle Orange
    Oblique and thickly layered with rhetoric, this account does little to illuminate Mumia the man, but it sets Mumia the statue aglow.
    • 41 Metascore
    • 60 Michelle Orange
    It's hard to tell what Wild Target is offering, besides the pleasure of its company.
    • 40 Metascore
    • 65 Michelle Orange
    It's still a kick to watch Kathleen Turner don a housedress and trade soothing pieties with Richard Chamberlain. The Perfect Family feels like it could have been more than that, but I suppose counting its blessings is the more Christian thing to do.

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