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, Dallas Observer and OC Weekly.

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  • The beginning marks the beginning of the end: A middle-aged man rouses from sleep, about to face another day of accosting and insulting strangers. He hates people but needs them, too. His voice-over kicks in, a peroration that opens with a bid...

  • 4 days ago | Film and TV

    The beginning marks the beginning of the end: A middle-aged man rouses from sleep, about to face another day of accosting and insulting strangers. He hates people but needs them, too. His voice-over kicks in, a peroration that opens with a bid for...

  • 4 days ago | Film and TV

    In 1976’s The Devil Finds Work, James Baldwin makes a crucial verb distinction when discussing the screen legends, like Bette Davis, with whom he was transfixed (sometimes uneasily so) in his youth: “One does not go to see them act: one goes to wa...

  • 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...

  • 1 month ago | Film and TV

    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...

  • 2 months ago | Film and TV

    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...

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