Melissa Anderson

 

Melissa Anderson is the senior film critic at the Village Voice, for which she first began writing in 2000. Her work also appears in the publications of the Voice’s film partner, Voice Media Group: LA Weekly, Denver Westword, Phoenix New Times, Miami New Times, Broward-Palm Beach New Times, Houston Press and Dallas Observer.

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  • Boundaries are violated repeatedly in Fifty Shades Darker, a film that demands even more submission of its audience than its predecessor, 2015's Fifty Shades of Grey. No safeword can protect you from the sequel's depleting...

  • 18 days ago | Film Reviews

    Boundaries are violated repeatedly in Fifty Shades Darker, a film that demands even more submission of its audience than its predecessor, 2015’s Fifty Shades of Grey. No safeword can protect you from the sequel’s depleting incoherence, its punishi...

  • 26 days ago | Film Reviews

    Delving into microeconomics and macroaggressions, Toni Erdmann, the dynamite, superbly acted third feature by writer/director Maren Ade, is social studies at its finest. This quicksilver, emotionally astute comedy operates on many different regist...

  • Delving into microeconomics and macroaggressions, Toni Erdmann, the dynamite, superbly acted third feature by writer/director Maren Ade, is social studies at its finest. This quicksilver, emotionally astute comedy operates on many...

  • 1 month ago | Film Reviews

    “Art is a lie that tells a truth,” Pablo Picasso once said. The aphorism animates Pablo Larraín’s canny and vigorous Neruda, a sidelong biopic of the preeminent Chilean poet and politician, featuring a brilliant Luis Gnecco in the title role, that...

  • Told in real time, Paris 05:59 Théo & Hugo devotes the first 18 of its 93 minutes (not including credits) to the frenzied fun happening during the wee hours in the red-light-bathed basement of a gay sex club in Les Halles. It is...

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