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 Zookeeper
Score distribution:
  1. Negative: 11 out of 217
217 movie reviews
    • 48 Metascore
    • 60 Michelle Orange
    Disappointingly ordinary film.
    • 22 Metascore
    • 60 Michelle Orange
    It goes down like a canned but genial '80s comedy: Without fanfare or much nutrition; part of your balanced breakfast.
    • 52 Metascore
    • 60 Michelle Orange
    A concerted effort to make a scary movie without spilling a drop of blood, Insidious is earnest to the point of suffocation about scaring you silly.
    • 70 Metascore
    • 60 Michelle Orange
    Though the film concerns events contained within the roughly 50 square blocks of the East Village, it suffers from the narrative equivalent of urban sprawl.
    • 56 Metascore
    • 60 Michelle Orange
    Despite heavy-handed characterizations, Devine and Bassett make their stake in the union felt, and it's anything but superficial.
    • 45 Metascore
    • 60 Michelle Orange
    Portman is also a producer of Hesher; it is the first of her new company's films. It's not too tough to see what might have drawn a producer to the project: The story's mix of the mythical and the mundane has become an indie staple, and Hesher's edge might have proved artful instead of shredding everything in its path. For any actress, however, the part of Nicole is embarrassingly thin.
    • 59 Metascore
    • 60 Michelle Orange
    Despite its tai chi pace and genre-friendly characters, it's almost impossible to tell what's happening in the intriguing, intractable Road to Nowhere.
    • 53 Metascore
    • 60 Michelle Orange
    The film is so busy rifling through genres that it fails to develop a coherent flavor of its own.
    • 65 Metascore
    • 60 Michelle Orange
    The scenes between the young actresses are the film's most compelling: Both first-timers, Manamela and Makanyane are possessed of extraordinary faces and plain attitudes.
    • 59 Metascore
    • 60 Michelle Orange
    Though the picture is lovingly and often quite strikingly shot and styled, there are too many dangling and swiftly clipped threads for the film to amount to more than another tasteful Sunday matinee set against one of the worst atrocities of the 20th century.
    • 50 Metascore
    • 60 Michelle Orange
    Like the Inuit and their many words for "snow," Jake has a thousand squinty faces and they all mean "Bugger off."
    • 29 Metascore
    • 60 Michelle Orange
    Unfortunately, outside of the proxy satisfaction it will give those who are dying to see the grim reaper let loose on the set of a very special episode of "Glee," the pleasures of Don't Go in the Woods can't quite compensate for its straggly bits.
    • 45 Metascore
    • 60 Michelle Orange
    A movie about childhood nightmares that plays too much like an actual, incoherent nightmare to make a good movie, Intruders is a psychodrama divided against itself.
    • 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.

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