For 559 reviews, this critic has graded:
  • 31% higher than the average critic
  • 1% same as the average critic
  • 68% lower than the average critic
On average, this critic grades 1.8 points higher than other critics. (0-100 point scale)

Anthony Lane's Scores

  • Movies
  • TV
Average review score: 61
Highest review score: 100 The Lives of Others
Lowest review score: 0 The Da Vinci Code
Score distribution:
  1. Negative: 46 out of 559
559 movie reviews
    • 75 Metascore
    • 70 Anthony Lane
    British director Michael Winterbottom has made his best and most driven picture to date. [22 September 2003, p. 202]
    • The New Yorker
    • 81 Metascore
    • 70 Anthony Lane
    The brilliance of Fin is that he reins in a lifetime of rage, and there is a determination in his eye, and in the line of his chin, that practiced moviegoers will, possibly to their surprise, identify as halfway to sexy--the world-weary smolder of the leading man. [6 October 2003, p. 138]
    • The New Yorker
    • 83 Metascore
    • 70 Anthony Lane
    Nobody does shrewishness better than McEwan. [8 August 2003, p. 84]
    • The New Yorker
    • 68 Metascore
    • 70 Anthony Lane
    The Good Thief is too spindly and unconfident for an actor of this bulk, yet without him it would curl up and die. [7 April 2003, p.96]
    • The New Yorker
    • 65 Metascore
    • 70 Anthony Lane
    What will divide viewers is the plot; either the ending makes no sense or it forces you to rethink everything that went before.
    • 53 Metascore
    • 70 Anthony Lane
    Smart, saucy, and ingenious in the extreme. The trouble is that when a subtext is dragged to the fore, however splendidly, the poor old text gets lost.
    • 85 Metascore
    • 70 Anthony Lane
    The pathos of About Schmidt -- of the careful, Chekhovian work that it could have been --gradually slides away. [16 December 2002, p. 106]
    • The New Yorker
    • 85 Metascore
    • 70 Anthony Lane
    The movie has a hard forties snap to it -- lust is a weapon and love is a letdown.
    • 72 Metascore
    • 70 Anthony Lane
    The latest showpiece for computer animation, with all the contoured, suspiciously gleaming perfection that this entails.
    • 81 Metascore
    • 70 Anthony Lane
    What the novels leave us with, and what emerges more fitfully from this film, as if in shafts of sunlight, is the growing realization that, although our existence is indisputably safer, softer, cleaner, and more dependable than the lives led by Captain Aubrey and his men, theirs were in some immeasurable way better. [17 November 2003, p. 172]
    • The New Yorker
    • 91 Metascore
    • 70 Anthony Lane
    Such is the hazard of the cartoon: as a form, it thrives on elongation and excess, yet, within its vortices and crannies, who knows what moldy prejudice can breed? [1 December 2003, p. 118]
    • The New Yorker
    • 71 Metascore
    • 70 Anthony Lane
    More than forty years have passed since A Woman Is a Woman won the Jury Prize at the Berlin Film Festival for "originality, youth, audacity, impertinence." (When did you last see a movie that might warrant such an award?) [26 May 2003, p. 102]
    • The New Yorker
    • 62 Metascore
    • 70 Anthony Lane
    To my eyes, the whole thing past in a blur of fabulous collage. [2 September 2002, p. 152]
    • The New Yorker
    • 87 Metascore
    • 70 Anthony Lane
    The movie is a daunting blend of head trip, cinéma vérité, music video, and auto-therapy.
    • 78 Metascore
    • 70 Anthony Lane
    I am casting no aspersions on the director when I say that The Saddest Music in the World is a work of manic depression. The mania is there in the frenzied editing, the inability to concentrate on a detail for more than a few seconds; and the depression is there in the forcible lowering of spirits. [10 May 2004, p. 107]
    • The New Yorker
    • 77 Metascore
    • 70 Anthony Lane
    Its kitschy grabs at the surreal--the scene in a lunatic asylum, where German troops are billeted, manages to be at once implausible and offensive--that blocks any close engagement with the drama. That said, you must see this film for one unstoppable reason, and that is Lee Marvin.
    • 79 Metascore
    • 70 Anthony Lane
    There is no narrator; rather, we are invited to eavesdrop on--or to get an earful from--such figures as Hassan Ibrahim, a jovial reporter with Al Jazeera, and Samir Khader, one of the network’s senior producers. [24 May 2004, p. 97]
    • The New Yorker
    • 59 Metascore
    • 70 Anthony Lane
    Shyamalan often tries too hard, but nobody else can conjure such a sudden flood of worry, or summon so unmistakable a stink of evil, and you come out of Signs, as you did from "The Sixth Sense," in severe need of loud music, bad jokes, and drinks with cherries and umbrellas in them -- anything to waft away the fug of unease. [12 August 2002, p. 82]
    • The New Yorker
    • 90 Metascore
    • 70 Anthony Lane
    Finding Nemo is, as it happens, the most dangerously sugared of the Pixar productions to date--how could any father-finding-son saga be otherwise?--but the threat is now one of oversophistication. [9 June 2003, p. 108]
    • The New Yorker
    • 76 Metascore
    • 70 Anthony Lane
    Pegg co-wrote the screenplay with the director, Edgar Wright, and together they have fashioned a smart, cultish, semi-disgusting homage to the fine British art of not bothering.
    • 61 Metascore
    • 70 Anthony Lane
    The deep drawback of Taking Sides is that it forgets to be interested in music. [8 September 2003, p. 100]
    • The New Yorker
    • 82 Metascore
    • 70 Anthony Lane
    The only player to conquer Chicago is Catherine Zeta-Jones, who is no Charisse in her motions but who gets by on a full tank of unleaded oomph. [6 January 2003, p. 90]
    • The New Yorker
    • 62 Metascore
    • 70 Anthony Lane
    Nobody could leave The Life Aquatic without the impression of having nearly drowned in some secret and melancholy game.
    • 60 Metascore
    • 70 Anthony Lane
    The strength of the movie resides mainly in the work of its cameraman, Chris Menges, who delivers a barrage of images as rousing and changeable as the fortunes of Collins himself.
    • 66 Metascore
    • 70 Anthony Lane
    Screenwriter Richard LaGravenese and director Clint Eastwood have turned out something sombre and restrained -- almost, in fact, good (though it's too long).
    • 72 Metascore
    • 70 Anthony Lane
    The movie is over before you know it, and is not one to linger in the mind, or indeed pass through the mind at all; but it's a good-humored ride for the senses, never too sickly, and who can say no to that?
    • 66 Metascore
    • 70 Anthony Lane
    The result is an unorthodox blend of courtroom drama and old-style weepie, and somehow it comes off. [23 Dec 1993]
    • The New Yorker
    • 72 Metascore
    • 70 Anthony Lane
    Sometimes too ominous for its own good.
    • 70 Metascore
    • 70 Anthony Lane
    The result is that Shall We Kiss? puts its viewers in a bind worthy of the lovers themselves: should we organize a Socratic symposium on the issues raised by the film, or hurl our popcorn violently at the screen?
    • 71 Metascore
    • 70 Anthony Lane
    Mesrine was no more a movie star than John Dillinger was, but both men could dream, and Cassel catches the folly of such dreaming, with its blasts of thuggery and its rare flashes of style, as neatly as anyone since Warren Oates took the title role of "Dillinger," in 1973.
    • 72 Metascore
    • 70 Anthony Lane
    Performs the unlikely trick of being both taut and plotless.
    • 71 Metascore
    • 70 Anthony Lane
    If there's one movie this spring that you shouldn't see with a date, it's Everyone Else, unless you are looking for a quick, low-budget way to break up. Not that Maren Ade's film is especially gloomy or cynical; merely that it functions as a fearsome seismograph, charting not just the major quakes in a relationship but also the barest tremors.
    • 57 Metascore
    • 70 Anthony Lane
    To find a comic-book hero who doesn’t agonize over his supergifts, and would defend his constitutional right to get a kick out of them, is frankly a relief.
    • 76 Metascore
    • 70 Anthony Lane
    It takes a female director, I think, to catch children, young and old, at these fragile hours, and also to trace a residue of something childlike in their elders.
    • 62 Metascore
    • 70 Anthony Lane
    The film has a resigned bitterness, hard to shake off, that feels right for the experience of tough guys, from whatever period of history, who find themselves at the tattered edge of what they take to be civilization.
    • 60 Metascore
    • 70 Anthony Lane
    RED
    The good news is that, while "The Expendables" was the kind of product that should be shown to health inspectors rather than critics, much of Red is jovial and juvenating. [1 Nov. 2010, p.121]
    • The New Yorker
    • 74 Metascore
    • 70 Anthony Lane
    Affleck the movie director makes you truly, badly want his bunch of ne'er-do-wells to pull off their heists without a scratch, and you can't ask for much more than that. [20 Sept. 2010, p. 120]
    • The New Yorker
    • 76 Metascore
    • 70 Anthony Lane
    Against all expectations, you approach Rabbit Hole with a heavy heart and leave with a lighter one.
    • 68 Metascore
    • 70 Anthony Lane
    The invective energy of Four Lions and its Swiftian vision of a confederacy of dunces are never in doubt. The problem is one of form. [15 Nov. 2010, p.99]
    • The New Yorker
    • 65 Metascore
    • 70 Anthony Lane
    Above all, what makes the movie work -- what renders it not merely exhausting but fulfilling -- are the boys. Bier summons fine performances all around, but Nielsen, in particular, turns the role of christian into a drama all its own. [4 April, 2011, p. 82]
    • The New Yorker
    • 70 Metascore
    • 70 Anthony Lane
    Cedar Rapids is certainly a guys' movie, yet it leaves us with the unmistakable impression that men are simple engines. [28 Feb. 2011, p. 80]
    • The New Yorker
    • 67 Metascore
    • 70 Anthony Lane
    Given the earnest mayhem that prevails at your local multiplex, there is surely a place for a lightly mocking modernist with a growing distaste for the modern. [9 April 2012, p.84]
    • The New Yorker
    • 67 Metascore
    • 70 Anthony Lane
    The movie, which Miranda July wrote and directed, is pretty sharp, not to say acidic, on the silliness of good intentions, but she also takes care to slant the best lines toward the subject of time, and its terrible crawl.
    • 79 Metascore
    • 70 Anthony Lane
    It is the most oppressive of the great tragedies, and "Macbeth" aside, the leanest, and the task that Fiennes has set himself is to liberate it from the theatrical while preserving the dramatic bite. In that, he succeeds with brio. [23 Jan. 2012, p.86]
    • The New Yorker
    • 65 Metascore
    • 70 Anthony Lane
    The result is a sad suburban pastoral, a strain of film you don't see much of, or not enough; it may feel somewhat stretched, and Rush's additions to Carver barely push it past ninety minutes, but anything hectic or hasty would have spoiled the mood. [16 May 2011, p. 132]
    • The New Yorker
    • 73 Metascore
    • 70 Anthony Lane
    The father's resignation to that fate is, on balance, the most compelling aspect of the film, and I will not readily forget the sight of him staring out over the town and mourning the long history of his homeland. "We built an industrial colony on top of sheep pens," he says, "and thought we were making a revolution." Maybe Attenberg is topical, after all.
    • 78 Metascore
    • 70 Anthony Lane
    Christopher Nolan, for all his visionary flair, wants to suck the comic out of comic books; Anne Hathaway wants to put it back in. Take your pick.
    • 88 Metascore
    • 70 Anthony Lane
    Barnard's film, as if nervous of being felled by the straightforward, sinewy thump of Dunbar's writing, ducks and weaves in a series of sly approaches. [2 May 2011, p. 89]
    • The New Yorker
    • 74 Metascore
    • 70 Anthony Lane
    You could argue that the film is too wrenching a departure for an actress as earthy as Farmiga, but that, I suspect, is why she took the risk - daring herself, in the person of Corinne, to slip the surly bonds of beauty and desire.
    • 58 Metascore
    • 70 Anthony Lane
    The result is a lively bout between bio-pic and fairy tale.
    • 55 Metascore
    • 70 Anthony Lane
    Along with Guillermo del Toro and Peter Jackson, Burton is one of the few magi who know what can be dredged up, even now, from the cauldron of special effects. [21 May 2012, p.80]
    • The New Yorker
    • 57 Metascore
    • 70 Anthony Lane
    To be at once earthy and ethereal is an uncommon gift. I noticed it, in Browning, when she starred in "Lemony Snicket's A Series of Unfortunate Events," as the calmly eccentric Violet Baudelaire. Already, as a teen-ager, she seemed older and wiser than the events unfolding around her, and, likewise, in Sleeping Beauty, she impugns the drooling antics of the elderly.
    • 86 Metascore
    • 70 Anthony Lane
    Finally, a voice-over from Jimmy Carter, lauding the efforts of those involved. All this is, frankly, uncool - a pity, because the rest of Argo feels clever, taut, and restrained.
    • 58 Metascore
    • 70 Anthony Lane
    One problem with Lawless, though, is that it feels chock-full of entrances that never quite lead anywhere. [3 Sept. 2012, p.78]
    • The New Yorker
    • 64 Metascore
    • 70 Anthony Lane
    What really grips the new movie, for all its amused glances at Swiss Guards and ceremonial pomp, is the prospect of a single soul in crisis. [9 April 2012, p.85]
    • The New Yorker
    • 72 Metascore
    • 70 Anthony Lane
    Only at the end do we sense Shelton forcing her hand, and arranging, rather too neatly, for the rebalancing and desaddening of all concerned. [25 June 2012, p.85]
    • The New Yorker
    • 50 Metascore
    • 70 Anthony Lane
    A trim thriller with an enviable lack of grandeur. [21 Jan. 2013, p.79]
    • The New Yorker
    • 74 Metascore
    • 70 Anthony Lane
    Extravagant care is taken with minutiae, and the directors, Chris Buck and Jennifer Lee, whistle through the first twenty minutes of the plot with a controlled giddiness that would leave many live-action adventures staggering in their tracks. Yet what a curious plot it is.
    • 79 Metascore
    • 70 Anthony Lane
    What is missing from the film is wit—the deep wit that comes from playing off species and environments against each other.
    • 81 Metascore
    • 70 Anthony Lane
    Nothing here is so well defined, and the tone of the film begins to suffer. I cannot imagine returning to it as one does to "Shaun of the Dead" and "Hot Fuzz," hungry for fresh minutiae. [2 Sept. 2013, p.80]
    • The New Yorker
    • 86 Metascore
    • 70 Anthony Lane
    Lincoln, written by Tony Kushner, directed by Steven Spielberg, and derived in part from Doris Kearns Goodwin's "Team of Rivals," is a curious beast. The title suggests a monolith, as if going to this movie were tantamount to visiting Mt. Rushmore, and the running time, of two and a half hours, prepares you for an epic. Yet the film is a cramped and ornery affair, with Spielberg going into lockdown mode even more thoroughly than he did in "The Terminal."
    • 61 Metascore
    • 70 Anthony Lane
    This Must Be the Place is dazzling to behold, not least when our hero leaves Ireland. [29 Oct. & 5 Nov. 2012, p.128]
    • The New Yorker
    • 65 Metascore
    • 70 Anthony Lane
    The director is John Lee Hancock, who does what he did with “The Blind Side,” where he commandeered a true and jagged tale, tidied up the trauma, and made sure that everyone lived sappily ever after. Sandra Bullock carried the day then, and now Emma Thompson repeats the process.
    • 78 Metascore
    • 70 Anthony Lane
    Still, there is a time to stop quibbling, and to laud the fact that this movie was made at all. [24 June 2013, p.85]
    • The New Yorker
    • 72 Metascore
    • 70 Anthony Lane
    It seems not just against the odds but against the laws of nature that a film as bookish, as suburban, and as self-consciously clever as In the House should also be such fun.
    • 89 Metascore
    • 70 Anthony Lane
    The project gave me pause. Although Oppenheimer has called it “a documentary of the imagination,” whatever that means, would a measure of investigation have spoiled it? We hear that Congo personally exterminated a thousand people. Does that figure stand up, and does it not matter more than his dawning remorse? There is no disputing that we are right at the heart of darkness, but around it is a larger body of evidence, which awaits another explorer.
    • 71 Metascore
    • 70 Anthony Lane
    Heldenbergh owns the role, holding the camera's gaze with ease. The look and the sound of him hark back to Kris Kristofferson, but there is a hint of Nick Nolte, too, around the eyes--unfazed by the world, yet easily bewildered by its wiles. [11 Nov. 2013, p.91]
    • The New Yorker
    • 82 Metascore
    • 70 Anthony Lane
    Stranger by the Lake, it must be said, flirts with monotony. There is something both fascinating and numbing in the rituals on display, and in the matching rhythm of the film's approach. [27 Jan.2014, p.79]
    • The New Yorker
    • 78 Metascore
    • 70 Anthony Lane
    In short, The Last of the Unjust is every bit as quarrelsome as it should be. Murmelstein, recounting the circumstances in which he took mortally serious decisions, dares to ask us if we could have done any better.
    • 77 Metascore
    • 70 Anthony Lane
    The tension of Calvary is fitful at best, and much of the movie trips into silliness, but in Brendan Gleeson -- in his proud bearing and his lamenting gaze -- we see the plight of the lonely believer in a world beyond belief. [4 Aug.2014, p.74]
    • The New Yorker
    • 75 Metascore
    • 70 Anthony Lane
    Even as this fine documentary unveils the "mystery woman," as she once described herself, it remains intent on the molding of her myth. [31 March 2014, p.80]
    • The New Yorker
    • 83 Metascore
    • 70 Anthony Lane
    No one who was not laughably self-involved would agree to a project like 20,000 Days on Earth, and yet Cave, to his credit, comes most alive in his hymns to other selves.
    • 65 Metascore
    • 70 Anthony Lane
    This is not life imitating art. This is art going to bed with life and staying there for the rest of the afternoon. [31 March 2014, p.81]
    • The New Yorker
    • 71 Metascore
    • 70 Anthony Lane
    The great virtue of the movie is its length: a fat-free seventy-six minutes.
    • 67 Metascore
    • 70 Anthony Lane
    A Master Builder is a bold endeavor, thriftily made, and there is muscle and volume in the performances; but had Demme hung back, and kept things cooler and quieter, the mastery of what Ibsen built, and the agon of his extraordinary hero, would have cast a more looming shadow. [4 Aug. 2014, p.75]
    • The New Yorker
    • 54 Metascore
    • 60 Anthony Lane
    Clooney gives it everything, but what does he get in return? A void where the story is meant to be.
    • 45 Metascore
    • 60 Anthony Lane
    There was always a dreaminess in his vision of the city, but now it feels as distant as the polished floors and the Deco furnishings of the Fred Astaire movies that Boris finds--of course--whenever he turns on the TV.
    • 74 Metascore
    • 60 Anthony Lane
    Oldboy has the fatal air of wanting so desperately to be a cult movie that it forgets to present itself as a coherent one.
    • 78 Metascore
    • 60 Anthony Lane
    We get one lovely, cheering sequence of a trashed room putting itself in order, like the untidy nursery in "Mary Poppins," but the rest of the magic here feels randomly grabbed at.
    • 85 Metascore
    • 60 Anthony Lane
    You have to admire it, when so much of the competition seems inane and slack, but you can’t help wondering, with some impatience, what happened to its heart.
    • 62 Metascore
    • 60 Anthony Lane
    The Interpreter is long and tangled, the score is yet another drownout from the thundering James Newton Howard, and the avowed thoughtfulness--about sub-Saharan politics, about the clashing commitments to peace and justice, about the kinship of damaged souls--is at once laudable and vaporous.
    • 63 Metascore
    • 60 Anthony Lane
    One imagined that a movie about the Crusades would be gallant and mad; one feared that it might stoke some antiquated prejudice. But who could have dreamed that it would produce this rambling, hollow show about a boy?
    • 72 Metascore
    • 60 Anthony Lane
    Dahl’s story was never intended to be anything other than a sticky-fingered feast, whereas the movie flits through pedophobic creepiness and ends up as a slightly costive parable of family values.
    • 78 Metascore
    • 60 Anthony Lane
    As for the title, well, it made me think of Thomas Carlyle's wife, who read Browning's long poem "Sordello," enjoyed it, but still couldn't work out whether Sordello was a man, a city, or a book. So it is with 2046. A place? A date? A hotel room? A bar tab? You tell me.
    • 60 Metascore
    • 60 Anthony Lane
    Not once does this ruffled sweetness seem like Hanson’s natural terrain. "Wonder Boys" took emotional risks, daring to suggest that with age comes not wisdom but confusion and crummy robes, whereas everything in the new film is designed to slot together with an optimistic click.
    • 77 Metascore
    • 60 Anthony Lane
    The film's plea for old-fashioned pride and racial tolerance is muffled by a plain, unanticipated fact: Pete Perkins is out of his mind.
    • 74 Metascore
    • 60 Anthony Lane
    If he had told the story straight, without such hedging, and at half the length, it would have borne far more conviction.
    • 63 Metascore
    • 60 Anthony Lane
    Woman Is the Future of Man is doomed to infuriate, and its scrutiny of disconnected beings, filmed in long, hold-your-breath takes, might feel like old hat to anyone reared on Antonioni, yet Hong has a grace and stealth of his own, and his scenes tend to tilt in directions that few of us would dare to predict.
    • 66 Metascore
    • 60 Anthony Lane
    M:i:III, like many blockbusters, would be nothing without its star.
    • 53 Metascore
    • 60 Anthony Lane
    Far too long, but thanks to Depp--and to Bill Nighy, properly mean beneath his suckers and blubber--it swerves away from the errors committed by the other big movies this summer.
    • 62 Metascore
    • 60 Anthony Lane
    Thanks to Lane, Hollywoodland, no great shakes as a thriller, becomes a quiet horror story about the monstrosity of time.
    • 65 Metascore
    • 60 Anthony Lane
    The one, transfixing virtue of Marie Antoinette is its unembarrassed devotion to the superficial. There is no morality at play here, no agony other than boredom, and, until the last half hour, not a shred of political sense. The fun dies out of the film--in fact, the film itself expires--when Coppola suddenly starts dragging in discussions of the American Revolution.
    • 68 Metascore
    • 60 Anthony Lane
    For Your Consideration feels weirdly meek and mild, an unmighty wind that quickly blows itself out.
    • 55 Metascore
    • 60 Anthony Lane
    Once you admit that the Jane Austen depicted onscreen bears scant relation to any person named Jane Austen, living or dead, the film fulfills its purpose.
    • 56 Metascore
    • 60 Anthony Lane
    A thumper of a movie, full of furious souls.
    • 61 Metascore
    • 60 Anthony Lane
    Running two hours and forty minutes, never finds the same balance: by the time he gets to the lust, it is too late to throw caution to the winds.
    • 58 Metascore
    • 60 Anthony Lane
    The Mist is itself a supermarket of B-movie essentials, handsomely stocked with bad science, stupid behavior, chewable lines of dialogue, religious fruitcakes, and a fine display of monsters.
    • 76 Metascore
    • 60 Anthony Lane
    At times, the cutting shifts from the hasty to the impatient to the borderline epileptic, and, while never doubting Scorsese’s ardor for the Stones, I got the distinct impression of a style in search of a subject.
    • 55 Metascore
    • 60 Anthony Lane
    There are gags and scraps of action that give the movie fits of buoyancy, and these tend to come not so much from the younger, eager performers as from the old hands.
    • 55 Metascore
    • 60 Anthony Lane
    Skip the coda to this movie, with its tiny upswing of hope, and remember the days at the tables, as dim and endless as nights, and the click of the dialogue.