Michelle Orange

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Movieline, Village Voice
For 222 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 0.3 points lower 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 Silver Circle
Score distribution:
  1. Positive: 139 out of 222
  2. Mixed: 72 out of 222
  3. Negative: 11 out of 222
222 movie reviews
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    • 56 Metascore
    • 60 Michelle Orange
    Ramona and Beezus
    Straining for a timeless, family-friendly tone, Allen winds up with something closer to an unironically -- i.e. absurdly -- wholesome rehash of "Leave it to Beaver."
    • 41 Metascore
    • 60 Michelle Orange
    Wild Target
    It's hard to tell what Wild Target is offering, besides the pleasure of its company.
    • 57 Metascore
    • 60 Michelle Orange
    All Good Things
    The film presents the rare instance of a true story that has been fictionalized and yet seems bent on cleaving to its least useful facts.
    • 70 Metascore
    • 60 Michelle Orange
    Blank City
    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.
    • 66 Metascore
    • 60 Michelle Orange
    Vita Activa: The Spirit of Hannah Arendt
    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.
    • 59 Metascore
    • 60 Michelle Orange
    Sarah's Key
    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.
    • 40 Metascore
    • 60 Michelle Orange
    The Good Heart
    Kári relies too heavily on the fleeting rewards of situation for the film to come together as an involving story.
    • 65 Metascore
    • 60 Michelle Orange
    Life, Above All
    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
    Road to Nowhere
    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.
    • 59 Metascore
    • 60 Michelle Orange
    Disco and Atomic War
    It's difficult to get a firm grip on most of what Disco and Atomic War, constructed in a mish-mash collage style, has to offer.
    • 45 Metascore
    • 60 Michelle Orange
    Girl in Progress
    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.
    • 50 Metascore
    • 60 Michelle Orange
    Cowboys & Aliens
    Like the Inuit and their many words for "snow," Jake has a thousand squinty faces and they all mean "Bugger off."
    • 69 Metascore
    • 60 Michelle Orange
    Peepli Live
    Peepli Live opens out slowly to encompass several factions of Indian society, including the press, local, state, and federal politicians, and the shady elements binding them all together. It's a meticulously engineered design that a show like The Wire took several years to execute; here the strain shows within the first half hour.
    • 45 Metascore
    • 60 Michelle Orange
    Intruders
    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.
    • 55 Metascore
    • 60 Michelle Orange
    Mao's Last Dancer
    The degree to which they are willing to share their bodies with the world, seeming to reach out for it with each impossible extension, drawing it in with every reeling arabesque, suggests a desire for engagement that is visceral, human, and true in all the ways this film is not.
    • 22 Metascore
    • 60 Michelle Orange
    Big Mommas: Like Father, Like Son
    It goes down like a canned but genial '80s comedy: Without fanfare or much nutrition; part of your balanced breakfast.
    • 43 Metascore
    • 60 Michelle Orange
    Survival of the Dead
    While Survival of the Dead does its best to work up a decent allegorical bent -- this time involving territorial pissing matches within a country under siege -- its power is diffused (and frankly, confused) by its execution.
    • 39 Metascore
    • 60 Michelle Orange
    Life as We Know It
    Despite these two actors' decent - and occasionally very charming - performances the film stacks the odds of the audience caring about Heigl and Duhamel against a narrative vacuum that favors eye candy and cheap effect over emotional logic.
    • 48 Metascore
    • 60 Michelle Orange
    The Sicilian Girl
    Based on a true story which director Marco Amenta explored 12 years ago in documentary form, The Sicilian Girl feels powered by unfocused preoccupation, rather than by a more compelling creative ambition.
    • 37 Metascore
    • 60 Michelle Orange
    Love Ranch
    Mirren tricked out in mid-70's pimp wear -- ahead of her time, she even brandishes a cane -- has a certain charm, but novelty alone can't keep Love Ranch's tiresome tropes and plodding storyline from dragging the film down through the Nevada dust.
    • 52 Metascore
    • 60 Michelle Orange
    Insidious
    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.
    • 41 Metascore
    • 60 Michelle Orange
    Princess Kaiulani
    Designed to be both essential history lesson and costume weeper, Princess Kaiulani comes up short on both fronts: Deadly earnest intentions and lack of dramatic gumption ensure that the story of Hawaii’s favored daughter remains under-told.
    • 78 Metascore
    • 60 Michelle Orange
    Zootopia
    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.
    • 56 Metascore
    • 60 Michelle Orange
    Jumping the Broom
    Despite heavy-handed characterizations, Devine and Bassett make their stake in the union felt, and it's anything but superficial.
    • 48 Metascore
    • 60 Michelle Orange
    Every Day
    Disappointingly ordinary film.
    • 29 Metascore
    • 60 Michelle Orange
    Don't Go in the Woods
    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.
    • 53 Metascore
    • 60 Michelle Orange
    Gangster's Paradise: Jerusalema
    The film is so busy rifling through genres that it fails to develop a coherent flavor of its own.
    • 31 Metascore
    • 60 Michelle Orange
    Jolene
    Chastain, an incandescent redhead with a heart-shaped face and round, shining eyes, does more justice to the part than it deserves.
    • 61 Metascore
    • 60 Michelle Orange
    Conviction
    The story is so bounteous that Goldwyn can't quite get a grip on it.
    • 45 Metascore
    • 60 Michelle Orange
    Hesher
    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.
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