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 The Gatekeepers
Lowest review score: 20 Battle: Los Angeles
Score distribution:
  1. Negative: 11 out of 217
217 movie reviews
    • 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.
    • 45 Metascore
    • 75 Michelle Orange
    In catsuits, swimsuits, and skimpy underthings, Saldana is as potently elusive as a shadow can be.
    • 69 Metascore
    • 75 Michelle Orange
    By the time he's putting the entire metro area on notice -- having thrashed his father and all the local bullies -- Andrew has no camera and the metaphor has run away with the story entirely. The crazy thing is it almost works.
    • 80 Metascore
    • 75 Michelle Orange
    It's a matinee treat for the very little ones, after all.
    • 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.
    • 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.
    • 79 Metascore
    • 75 Michelle Orange
    Sugar Man is most interesting when it touches on the conditions that combined to draw a cult hero out of some decent music and a generously enabled, imagination-firing mystique.
    • 66 Metascore
    • 70 Michelle Orange
    Former "Frontline" producer Brian Knappenberger's fascinating, incisive social history of the online network known as Anonymous.
    • 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.
    • 65 Metascore
    • 70 Michelle Orange
    At its finest and most affecting, The We and the I is a window onto youth’s forever moments
    • 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.
    • 73 Metascore
    • 70 Michelle Orange
    The film's delighted affinity with Ungerer's well-turned perspective does lend an advertorial slickness to what might have been a more challenging study of a fascinating and famously elusive subject.
    • 56 Metascore
    • 70 Michelle Orange
    No longer silent but still the lesser talker between them, Ilya is marvelously fluent in spatial forms.
    • 78 Metascore
    • 70 Michelle Orange
    There are no simple denials, nor anything simple at all in Last of the Unjust. Only stories, recovered and retold, of a reality beyond their reach.
    • 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.
    • 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."
    • 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.
    • 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.
    • 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").
    • 49 Metascore
    • 70 Michelle Orange
    Though the movie is largely vanilla in its pleasures, film lovers will eat it up.
    • 71 Metascore
    • 70 Michelle Orange
    An earnest and occasionally poignant attempt to penetrate Rebney's potent man-on-fire image and explore the impact of becoming an Internet sideshow.
    • 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.
    • 47 Metascore
    • 70 Michelle Orange
    Because of the movie's episodic structure and lack of expository detail, the visuals bear the greatest narrative burden.
    • 62 Metascore
    • 70 Michelle Orange
    If you're like me, and you find yourself retreating to a safe place in your mind whenever human beings are being graphically decapitated on screen, you'll spend the majority of Centurion, horror maestro (The Descent) Neil Marshall's Roman bloodbath, on psychological lockdown.
    • 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.
    • 63 Metascore
    • 70 Michelle Orange
    The result is more fancy than funky, but the directors' aim is true and occasionally hits its mark.
    • 25 Metascore
    • 70 Michelle Orange
    There is enough lurid, ludicrous subtext in the material to keep fans of such things happy. As trash, this is top of the line.
    • 63 Metascore
    • 70 Michelle Orange
    Wait a second, is this a horror movie or an episode of The Hills?

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