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 1.7 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 221
221 movie reviews
    • 71 Metascore
    • 90 Michelle Orange
    An awkward, frequently transcendent document whose sense of rhythm, purpose, and narrative is as unlikely as it is ultimately persuasive, and whose fascination with moments of haunted impermanence signals, perhaps more than anything else, the mark of its maker.
    • 66 Metascore
    • 60 Michelle Orange
    Insofar as Ushpiz succeeds in putting the most provocative, salient, and damning aspects of Arendt's work into a lucid context, she exposes the limits of her own approach.
    • 78 Metascore
    • 60 Michelle Orange
    Heavy with pop allusions and references to other crime underworld movies, including The Godfather and Chinatown, Zootopia is impressive in its visual conception and scope: At once straightforward and densely layered with wit and incident, it manages a lively clip and the odd fresh joke.
    • 89 Metascore
    • 90 Michelle Orange
    What anchors Two Days, One Night, and eases its gaps, is Cotillard's extraordinary performance.
    • 53 Metascore
    • 40 Michelle Orange
    Directors Jason Sussberg and David Alvarado present a study of two eccentrics without pushing too hard against their premise.
    • 51 Metascore
    • 50 Michelle Orange
    The assessments offered in 21 Years manage to feel like too little arriving a little late.
    • 75 Metascore
    • 90 Michelle Orange
    To muddle through confusion, boredom, vaguely formed interest, brief elation, and confusion again is to experience the work as its creator intended.
    • 60 Metascore
    • 90 Michelle Orange
    Nymphomaniac is a jigsaw opus, an extended and generally exquisitely crafted riff. Story, theme, and character (despite Gainsbourg's captivations) bow to von Trier's gamesmanship, which makes his own promiscuities the film's true subject.
    • 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.
    • 80 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.
    • 60 Metascore
    • 50 Michelle Orange
    "Mandela" is not without the capacity to move.
    • 56 Metascore
    • 70 Michelle Orange
    No longer silent but still the lesser talker between them, Ilya is marvelously fluent in spatial forms.
    • 84 Metascore
    • 80 Michelle Orange
    [A] powerful, exacting depiction of Egypt's struggle for meaningful change.
    • 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.
    • 62 Metascore
    • 40 Michelle Orange
    With some focus and critical perspective, The Source Family might have documented more than a spectacle of its time.
    • 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.
    • 21 Metascore
    • 20 Michelle Orange
    The charms of what might charitably be called Silver Circle's homemade look and feel are limited.
    • 66 Metascore
    • 80 Michelle Orange
    Change may be elusive, Optimists confirms, but the will to make it blazes.
    • 65 Metascore
    • 70 Michelle Orange
    At its finest and most affecting, The We and the I is a window onto youth’s forever moments
    • 76 Metascore
    • 80 Michelle Orange
    Proof that Ruiz was still teeming with ideas himself, Night is a characteristic work of surreal wit and circuitousness—and the filmmaker's winking but mournful goodbye.
    • 41 Metascore
    • 30 Michelle Orange
    Oblique and thickly layered with rhetoric, this account does little to illuminate Mumia the man, but it sets Mumia the statue aglow.
    • 91 Metascore
    • 90 Michelle Orange
    The existence of The Gatekeepers is its own chief statement. You don't get the sense that it's any easier for these men to question Israel's leadership from the safety of retirement.
    • 29 Metascore
    • 30 Michelle Orange
    Greenfield works against her own interests with absurdly selective arguments and sloppy filmmaking.
    • 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.
    • 66 Metascore
    • 70 Michelle Orange
    Former "Frontline" producer Brian Knappenberger's fascinating, incisive social history of the online network known as Anonymous.
    • 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.
    • 62 Metascore
    • 65 Michelle Orange
    In its own way and to its own detriment, William Friedkin's splattery, southern gothic return to the screen seeks to amuse as well as shake and stir.
    • 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.
    • 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.
    • 69 Metascore
    • 80 Michelle Orange
    The climax errs on the side of the overwrought and overdetermined, like an earnest adolescent's first attempt at a short story. And yet Papoulia's extraordinary performance lingers, as does the film's provocative existential fog.

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