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
    • 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.
    • 60 Metascore
    • 75 Michelle Orange
    Manages to surprise with a charm and wit all its own.
    • 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.
    • 60 Metascore
    • 75 Michelle Orange
    RED
    The result is like a sugar rush after a visit to the vintage candy store.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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
    • 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.
    • 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.
    • 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.
    • 66 Metascore
    • 70 Michelle Orange
    Former "Frontline" producer Brian Knappenberger's fascinating, incisive social history of the online network known as Anonymous.
    • 56 Metascore
    • 70 Michelle Orange
    No longer silent but still the lesser talker between them, Ilya is marvelously fluent in spatial forms.
    • 55 Metascore
    • 70 Michelle Orange
    8 is most coherent as a chilling confirmation of both the mind-warping power of an institution like the Mormon Church and the extent to which politics is, above all, a marketing game.
    • 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.
    • 57 Metascore
    • 70 Michelle Orange
    In its most tiresome moments, Noodle Shop overestimates the wit of its formal exertions, and feels less like a film than an exercise that will leave fans of the original comparatively cold.
    • 55 Metascore
    • 70 Michelle Orange
    The film's bleak conclusion becomes unbearable in context: Hypatia's death also signals the end of women in positions of intellectual prominence and the beginning of a period known -- not coincidentally -- as the Dark Ages.
    • 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.
    • 51 Metascore
    • 70 Michelle Orange
    Amid the macho poses and reloading of his unbelievably enormous weapon, I was distracted by the notion of Brody’s participation as a kind of privately satisfying performance art (a similar impulse found James Franco doing a guest stint on "General Hospital").
    • 65 Metascore
    • 70 Michelle Orange
    At its finest and most affecting, The We and the I is a window onto youth’s forever moments
    • 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.
    • 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.
    • 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."
    • 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.
    • 63 Metascore
    • 70 Michelle Orange
    Wait a second, is this a horror movie or an episode of The Hills?
    • 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.
    • 65 Metascore
    • 70 Michelle Orange
    Too often the story feels like it's being mined for recycled beats.
    • 49 Metascore
    • 70 Michelle Orange
    I salute the effort to go somewhere strange in Mars Needs Moms; if only a fully realized idea - and not the same, barely concealed right-wing rap, different planet - had been the destination.

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