For 196 reviews, this critic has graded:
  • 78% higher than the average critic
  • 2% same as the average critic
  • 20% lower than the average critic
On average, this critic grades 6 points higher than other critics. (0-100 point scale)

Michelle Orange's Scores

  • Movies
Average review score: 65
Highest review score: 90 A Film Unfinished
Lowest review score: 20 Battle: Los Angeles
Score distribution:
  1. Negative: 8 out of 196
196 movie reviews
    • 45 Metascore
    • 60 Michelle Orange
    Girl in Progress feels a little trapped by its own conceits: It plays with the idea that all rebellion is in some sense performed and makes a caricature out of the immature, attention-hungry mother, but it never liberates its characters from their molds.
    • 33 Metascore
    • 55 Michelle Orange
    Defiantly unwatchable if occasionally transfixing, the film is essentially the home movies of three marauding burnouts.
    • 47 Metascore
    • 55 Michelle Orange
    Dark and queer enough to catch your attention but lacking the story power to hold it, Metropia is an aesthetic in search of an author.
    • 45 Metascore
    • 55 Michelle Orange
    Though he lavishes praise on his subjects for being hyper-masculine and free-thinking, Stone is downright girlish in his devotion, scoffing at charges made against the leaders rather than examining them.
    • 52 Metascore
    • 55 Michelle Orange
    Relies almost entirely on its tunnel-vision, single-player style for its scares. It’s a strategy that stalls out halfway through, which means it works for twice as long as it should.
    • 51 Metascore
    • 55 Michelle Orange
    A film loaded with interest that somehow fails to be interesting, La Soga is inspired by true events and not much else.
    • 71 Metascore
    • 55 Michelle Orange
    Mostly it's frustrating; the film is an episodic jumble that runs hot and cold not in some implied thematic synchronicity with its subject's character but as part of a misguided approach that assumes the audience will find whatever Mesrine does, in whatever order and with whatever emphasis, inherently fascinating.
    • 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.
    • 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.
    • 40 Metascore
    • 55 Michelle Orange
    Beastly manages to show you all the ways it might have worked by missing every available mark, sometimes by the gaping expanse between Alex Pettyfer's ears, sometimes only by the feline curl of Vanessa Hudgens' smile.
    • 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.
    • 33 Metascore
    • 55 Michelle Orange
    Because his character is never clear, Manolo's choices lack emotional interest and narrative urgency.
    • 78 Metascore
    • 55 Michelle Orange
    Like the recent "Perrier's Bounty," The Guard feels like it might play better at home than overseas.
    • 63 Metascore
    • 55 Michelle Orange
    The result is the double shrift of a thinly sketched background and a story that has trouble standing up on its own.
    • 74 Metascore
    • 55 Michelle Orange
    Rather than beginning with the assumption that there is no possibility of our coming to know that kind of suffering exactly and using imagination and insight to truly take us inside the Lvov Jews' plight, Holland makes the base conditions of their confinement a narrative as well as aesthetic priority. And frankly it's boring as shit.
    • 52 Metascore
    • 55 Michelle Orange
    For a movie with a comedic premise this simple – essentially: can you believe we made a movie with a premise this simple? – Casa de Mi Padre can feel pretty exhausting.
    • 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.
    • 60 Metascore
    • 55 Michelle Orange
    The latest from brothers Mark and Jay Duplass (who co-wrote and directed) seems to expose the limits of a certain kind of realism by stretching them one man-child too far.
    • 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.
    • 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.
    • 55 Metascore
    • 50 Michelle Orange
    At 84 he describes himself as being kept alive by young women's laughter and infernal baby-talk, marking off perhaps his final, groaning aspirational standard. Almost makes me feel sorry for those men still trying to keep up.
    • 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.
    • 46 Metascore
    • 50 Michelle Orange
    The Dilemma is bad in a way that seems to parody all the ways in which a film like, say, "The 40-Year-Old Virgin" was good.
    • 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.
    • 43 Metascore
    • 50 Michelle Orange
    There's something immobile at the center of The Lady, a kind of Botoxed biopic with an unlikely director - Luc Besson - manning the syringe.
    • 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.
    • tbd Metascore
    • 45 Michelle Orange
    The writing and directing debut of Italian actress Marta Mondelli, is a classic example of a director who wanted to make a film but lacked a story that demanded telling.
    • 22 Metascore
    • 45 Michelle Orange
    Over-narrated by Kiefer Sutherland in full "this is extremely important and also very, very cool" mode, from its first self-important minutes Twelve seems as if it can't possibly be serious. Would that it were not.
    • 18 Metascore
    • 45 Michelle Orange
    Somewhere in there is a little blonde girl and her dreamy princeling, but damned if I could see them through the dreck.
    • 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.