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 3.7 points higher than other critics. (0-100 point scale)

Michelle Orange's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 90 A Film Unfinished
Lowest review score: 20 Battle: Los Angeles
Score distribution:
  1. Negative: 11 out of 221
221 movie reviews
    • 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.
    • 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.
    • 78 Metascore
    • 55 Michelle Orange
    Like the recent "Perrier's Bounty," The Guard feels like it might play better at home than overseas.
    • 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.
    • 33 Metascore
    • 55 Michelle Orange
    Because his character is never clear, Manolo's choices lack emotional interest and narrative urgency.
    • 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.
    • 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.
    • 51 Metascore
    • 50 Michelle Orange
    The assessments offered in 21 Years manage to feel like too little arriving a little late.
    • 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.
    • 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.
    • 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.
    • 57 Metascore
    • 50 Michelle Orange
    Generation War seeks the epic, creating multiple, lavishly realized worlds and moving with confidence between them. What it finds of both history and its individuals is less complete.
    • 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.
    • 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.
    • 60 Metascore
    • 50 Michelle Orange
    "Mandela" is not without the capacity to move.
    • 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.
    • 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.
    • 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.
    • 33 Metascore
    • 45 Michelle Orange
    Just Go With It attempts to merge farce and romantic comedy with the Sandler sensibility, and the result is a story that evades where it should engage and a whiplash tone that dispirits when it should delight.
    • 36 Metascore
    • 45 Michelle Orange
    It's tailored more to a gamer's eyes and expectations than a moviegoer's. On the whole the scenes play like levels, with one connecting in only the most basic way to the next.
    • 45 Metascore
    • 45 Michelle Orange
    As an insult comic, Madea has gone the way of her low-hanging bosom. There's little pleasure in watching her go off, and Perry's direction is reliably drab: Sitcom setups dominate, with strange blown-out lighting occasionally swapped in for the flat tones of a WB soundstage.
    • 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.
    • 36 Metascore
    • 45 Michelle Orange
    I found myself forgetting The Art of Getting By as it unfolded, as though the Looney Tunes art department were two steps behind the characters, rolling up the scenery like so much carpeting.
    • 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.
    • 39 Metascore
    • 40 Michelle Orange
    Tainted by a script (by Jon Lucas and Scott Moore) so risibly broad it makes "Wedding Crashers" look like Bergman in the Hamptons.
    • 24 Metascore
    • 40 Michelle Orange
    Number of chipmunks who speak fluent chola when necessary: three. Number of Spider-Man/Pepe Le Pew mash-ups I can't really get into: one.
    • 51 Metascore
    • 40 Michelle Orange
    The disconcerting thing is how easy it is to fool viewers into being satisfied with not being involved, or even entertained - as long as they can RELATE.
    • 62 Metascore
    • 40 Michelle Orange
    With some focus and critical perspective, The Source Family might have documented more than a spectacle of its time.
    • 53 Metascore
    • 40 Michelle Orange
    Directors Jason Sussberg and David Alvarado present a study of two eccentrics without pushing too hard against their premise.

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