Michelle Orange
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For 217 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 5.3 points higher than other critics. (0-100 point scale)

Michelle Orange's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 90 Nymphomaniac: Volume II
Lowest review score: 20 Zookeeper
Score distribution:
  1. Negative: 11 out of 217
217 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.
    • 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.
    • 71 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.
    • 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.
    • 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).
    • 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.
    • 88 Metascore
    • 85 Michelle Orange
    Even more than it wants to inform Inside Job seeks to enrage.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 67 Metascore
    • 85 Michelle Orange
    July is more of a presence than an actress, or even a believable persona.
    • 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.
    • 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.
    • 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.
    • 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.
    • 66 Metascore
    • 80 Michelle Orange
    Change may be elusive, Optimists confirms, but the will to make it blazes.
    • 84 Metascore
    • 80 Michelle Orange
    [A] powerful, exacting depiction of Egypt's struggle for meaningful change.
    • 58 Metascore
    • 80 Michelle Orange
    More redux than sequel, the final Shrek is more parent- (and specifically dad-) oriented than ever; it may also produce the first twinge of nostalgia in the kids who thrilled to the original at a formative age.
    • 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.
    • 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.
    • 73 Metascore
    • 80 Michelle Orange
    A brightly lit nightmare of patriarchy run amok.
    • 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
    • 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."
    • 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.
    • 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.
    • 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.
    • 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.

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