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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  • 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...

  • 11 days 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 safe word can protect you from the sequel’s depleting incoherence, its punish...

  • In Staying Vertical, as in nearly all of French filmmaker Alain Guiraudie's tonically unorthodox work, the emphasis is on the abundant possibility of pairings and practices when people get horizontal. As the film opens, Léo (Damien...

  • 1 month ago | Film and TV

    In Staying Vertical, as in nearly all of French filmmaker Alain Guiraudie’s tonically unorthodox work, the emphasis is on the abundant possibility of pairings and practices when people get horizontal. Filled with quite literal chubby-chasing, Guir...

  • One of the quasi-bohemians in Mike Mills' gauzy 20th Century Women loves to document ephemera, taking photos of everything she owns. A similar instinct -- archiving as art -- guides Mills' movie itself, a trip back in time in which...

  • 2 months ago | Film and TV

    One of the quasi-bohemians in Mike Mills’ gauzy 20th Century Women loves to document ephemera, taking photos of everything she owns. A similar instinct — archiving as art — guides Mills’s movie itself, a trip back in time in which era-specific tal...

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