Michelle Orange
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For 218 reviews, this critic has graded:
  • 75% higher than the average critic
  • 2% same as the average critic
  • 23% lower than the average critic
On average, this critic grades 5.1 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 Battle: Los Angeles
Score distribution:
  1. Negative: 11 out of 218
218 movie reviews
    • 39 Metascore
    • 55 Michelle Orange
    Like the recent and only slightly less fantastical "Never Let Me Go," Inhale manages little more than a gesture toward untying its bundled moral knots.
    • 39 Metascore
    • 40 Michelle Orange
    Tainted by a script (by Jon Lucas and Scott Moore) so risibly broad it makes "Wedding Crashers" look like Bergman in the Hamptons.
    • 39 Metascore
    • 60 Michelle Orange
    Despite these two actors' decent - and occasionally very charming - performances the film stacks the odds of the audience caring about Heigl and Duhamel against a narrative vacuum that favors eye candy and cheap effect over emotional logic.
    • 38 Metascore
    • 65 Michelle Orange
    The story's obvious and various potential is left to stand on its own, and the scares are largely uninspired.
    • 38 Metascore
    • 70 Michelle Orange
    It wouldn't go so far as to say it feels like you went through Jeremy's ordeal for nothing, but I did wish I had come to know as much about Dorff's character as I did about the size and shape of his nostrils.
    • 37 Metascore
    • 55 Michelle Orange
    It would be a real shame, with this much money and this many effects artists, if there were not a few purely visual wows. Wrath manages exactly two, and not where you might expect.
    • 37 Metascore
    • 70 Michelle Orange
    The vehicle may get a little jacked up along the way, but its passenger arrives in style: The kid's a star.
    • 37 Metascore
    • 50 Michelle Orange
    The film is being released in both 2- and 3-D, and from what I could tell the 3-D version is still almost 50-50. What use is made of the technology is hardly worth the effort, unless you've always wanted to experience a cascade of cheesies in 3-D.
    • 37 Metascore
    • 60 Michelle Orange
    Mirren tricked out in mid-70's pimp wear -- ahead of her time, she even brandishes a cane -- has a certain charm, but novelty alone can't keep Love Ranch's tiresome tropes and plodding storyline from dragging the film down through the Nevada dust.
    • 37 Metascore
    • 20 Michelle Orange
    It really is just sensory bombardment, and in two dimensions you have even less of a grasp of what's happening and of what you're looking at than the poor bastards on-screen.
    • 36 Metascore
    • 45 Michelle Orange
    I found myself forgetting The Art of Getting By as it unfolded, as though the Looney Tunes art department were two steps behind the characters, rolling up the scenery like so much carpeting.
    • 36 Metascore
    • 55 Michelle Orange
    It's not that The Watch is terrible – it's not not terrible, but there are sufficient diversions and more punitive ways to spend your evening – but that it's one of those smoke bomb comedies that seems to disappear even while you're watching, leaving no trace of itself behind.
    • 36 Metascore
    • 45 Michelle Orange
    It's tailored more to a gamer's eyes and expectations than a moviegoer's. On the whole the scenes play like levels, with one connecting in only the most basic way to the next.
    • 35 Metascore
    • 50 Michelle Orange
    There's enough froth along the way to keep the memory of Will Ferrell's recent "Casa Di Me Padre" close at hand.
    • 35 Metascore
    • 55 Michelle Orange
    On the whole the film is not much fun to watch. A job is a job, though; Yogi Bear did little to make it more than that.
    • 33 Metascore
    • 75 Michelle Orange
    It's all sweet and very, very silly. I was surprised by the subtleties - both comedic and thematic.
    • 33 Metascore
    • 55 Michelle Orange
    Because his character is never clear, Manolo's choices lack emotional interest and narrative urgency.
    • 33 Metascore
    • 45 Michelle Orange
    Just Go With It attempts to merge farce and romantic comedy with the Sandler sensibility, and the result is a story that evades where it should engage and a whiplash tone that dispirits when it should delight.
    • 33 Metascore
    • 55 Michelle Orange
    Defiantly unwatchable if occasionally transfixing, the film is essentially the home movies of three marauding burnouts.
    • 31 Metascore
    • 60 Michelle Orange
    Chastain, an incandescent redhead with a heart-shaped face and round, shining eyes, does more justice to the part than it deserves.
    • 31 Metascore
    • 55 Michelle Orange
    The puffy high tones of medieval fantasy punctured by the flatly vulgar and colloquial - is the film's central comic vein, one McBride taps it like it's never been tapped before.
    • 30 Metascore
    • 50 Michelle Orange
    The film’s most impressive feat may be bringing a cartoon character to life while turning actual humans into 2-D cutouts.
    • 30 Metascore
    • 20 Michelle Orange
    The talking animals, though less tough to look at than those in "Marmaduke," are murder on the ears: Maya Rudolph as a neurotic giraffe and Sandler voicing a monkey could take the paint off of a Buick.
    • 29 Metascore
    • 60 Michelle Orange
    Unfortunately, outside of the proxy satisfaction it will give those who are dying to see the grim reaper let loose on the set of a very special episode of "Glee," the pleasures of Don't Go in the Woods can't quite compensate for its straggly bits.
    • 29 Metascore
    • 30 Michelle Orange
    Greenfield works against her own interests with absurdly selective arguments and sloppy filmmaking.
    • 28 Metascore
    • 30 Michelle Orange
    Infinitely worse than you dared to hope it wouldn't be, You Again dumbfounded and then defeated me.
    • 28 Metascore
    • 50 Michelle Orange
    Though based on the Hemingway novel published 25 years after his death, Hemingway's Garden of Eden feels more like the result of an ungodly alliance between Harlequin house writers and the cut-and-paste masterminds at A&E Biography.
    • 27 Metascore
    • 45 Michelle Orange
    This latest is grim stuff: Little Fockers hardly bothers with finding a reason to exist, although one might assume a focus on the abiding hilarity of life with small children. That assumption would be wrong.
    • 26 Metascore
    • 65 Michelle Orange
    The goof on New York's awful elite only gets grimmer and less viable as the film goes on.
    • 26 Metascore
    • 35 Michelle Orange
    In another light the group's - and the film's - portentous resolution looks a lot like quitting, in true slacker style.

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