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 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 221
221 movie reviews
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 50 Metascore
    • 80 Michelle Orange
    Aside from the showy, overwrought credits sequence, it's silly and self-conscious and still scary as hell.
    • 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
    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.
    • 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.
    • 56 Metascore
    • 80 Michelle Orange
    The writing is relaxed in the right places and heightened to a largely effective degree when it counts.
    • 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.
    • 74 Metascore
    • 75 Michelle Orange
    Hill cuts a hilariously adversarial figure.
    • 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.
    • 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.
    • 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.
    • 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.
    • 51 Metascore
    • 75 Michelle Orange
    Minor but still quite enjoyable. And like other minor Woody Allen pictures it becomes more interesting when placed in their larger context.
    • 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.
    • 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.
    • 60 Metascore
    • 75 Michelle Orange
    RED
    The result is like a sugar rush after a visit to the vintage candy store.
    • 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.
    • 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.
    • 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
    • 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.
    • 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.
    • 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.
    • 33 Metascore
    • 75 Michelle Orange
    It's all sweet and very, very silly. I was surprised by the subtleties - both comedic and thematic.
    • 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.

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