For 560 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 Speed
Lowest review score: 0 The Da Vinci Code
Score distribution:
  1. Negative: 46 out of 560
560 movie reviews
    • 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.
    • 65 Metascore
    • 60 Anthony Lane
    Jeffrey Caine and Bruce Feirstein's script promises more fun than it delivers, slowly frittering away its store of jokes and thrills.
    • 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.
    • 63 Metascore
    • 60 Anthony Lane
    The writer and director, Jeremy Leven -- himself a former shrink -- has taken a heavy conceit and lightened it into comedy, which is what it deserves.
    • 68 Metascore
    • 60 Anthony Lane
    For Your Consideration feels weirdly meek and mild, an unmighty wind that quickly blows itself out.
    • 66 Metascore
    • 60 Anthony Lane
    The movie is as smooth and deadening as a quart of old whiskey, and every bit as depressing as it was meant to be. But why do it at all? [23 Nov. 1994]
    • The New Yorker
    • 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.
    • 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.
    • 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.
    • 64 Metascore
    • 60 Anthony Lane
    As nonsense goes, this has a certain gusto and glee, and what dismayed me was that Bekmambetov felt the need to spice it with the addition of coarsely chopped violence.
    • 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.
    • 73 Metascore
    • 60 Anthony Lane
    I can't help wishing that Chabrol would, just once, cast off his own good narrative manners--do away with the irritations of a film like A Girl Cut in Two, which is never more than semi-plausible, and arrange his passions, as the elderly Buñuel did in "That Obscure Object of Desire," into shameless, surreal anagrams of wit and lust.
    • 62 Metascore
    • 60 Anthony Lane
    Mister Foe flirts too often with the unlikely and the foolish, yet there is something to admire in the nerve of its reckless characters, so uneasy in their skins.
    • 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.
    • 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.
    • 75 Metascore
    • 60 Anthony Lane
    The movie's problem begins as you lift up your eyes to the hills. In Chekhov these are craggy and hostile, a fitting backdrop to the dried-out souls who dwell below, but Dover Koshashvili's film lingers on green slopes. They suggest fruition and escape, whereas for Laevsky, the eternally stifled dreamer, there should be no way out.
    • 64 Metascore
    • 60 Anthony Lane
    If you fancy a modern "Marty," with the old warmth muffled by unfriendly snow, go right ahead. [20 Sept. 2010, p.121]
    • The New Yorker
    • 65 Metascore
    • 60 Anthony Lane
    At best, I Love You Phillip Morris may be hailed as a necessary step in Hollywood's fearful crawl toward sexual evenhandedness; the film upholds the constitutional right of every gay man to be as much of a liar, a crook, and a creep as the rest of us. Makes you proud.
    • 79 Metascore
    • 60 Anthony Lane
    The Fighter, for all the dedication of its players, takes a heavy swing at us, and misses.
    • 55 Metascore
    • 60 Anthony Lane
    Much of Sutcliff's most charged material - the chariot scene, a wolf cub that Marcus rears - is omitted from the movie, and once he and Esca embark on their quest the sense of action grows listless, and our heroes start to seem anxious, wet, and bored. [14 & 21 Feb. 2011, p. 138]
    • The New Yorker
    • 68 Metascore
    • 60 Anthony Lane
    Most important, given that Onkalo will hide and bury just some of Finland's waste, what about everyone else's? [14 & 21 Feb. 2011, p. 139]
    • The New Yorker
    • 66 Metascore
    • 60 Anthony Lane
    Marling is the star, and the core of the film's concern. She also co-wrote it with the director, Mike Cahill, yet the result comes across not as a vanity project but as a sobering study of the thoroughly dazed and confused, with a mind-ripping final shot.
    • 66 Metascore
    • 60 Anthony Lane
    There are joyous moments when we share Peter's point of aerial view.
    • 62 Metascore
    • 60 Anthony Lane
    Even when the male of the species tries to do better, he does his worst; and the most merciless verdict in Klown is delivered not by the law, or by fate, but by the eyes of women.
    • 55 Metascore
    • 60 Anthony Lane
    One has to ask: does it allow for immersion? Even as we applaud the dramatic machinery, are we being kept emotionally at bay? [29 Oct. & 5 Nov. 2012, p.128]
    • The New Yorker
    • 64 Metascore
    • 60 Anthony Lane
    What is most disconcerting about Dominik's film is his choice of rhythm. We pass from reams of conversation, or cantankerous monologue, to throes of extreme violence, then back to the flood of words - most of them to do with buying, selling, slaying, whoring, or doing time.
    • 58 Metascore
    • 60 Anthony Lane
    "All good stories deserve embellishment," Gandalf says to Bilbo before they set off, and one has to ask whether the weight of embellishment, on this occasion, makes the journey drag, and why it leaves us more astounded than moved. And yet, on balance, honor has been done to Tolkien, not least in the famous riddle game between Bilbo and Gollum.
    • 63 Metascore
    • 60 Anthony Lane
    Who will stay with this film, and glorify it? Two sorts, I reckon: real revellers, randy for sensation, out of their heads; and, a block away, coffee-drinking Ph.D.s, musing on the cinema of alienation, too lost inside their heads to break for spring. [25 March 2013, p.108]
    • The New Yorker
    • 76 Metascore
    • 60 Anthony Lane
    In short, there are moments, in this very uneven film with its lamination of the ancient and the monstrously new, when the spirit of Fellini hovers overhead like a naughty angel. [25 March 2013, p.109]
    • The New Yorker
    • 61 Metascore
    • 60 Anthony Lane
    Diesel, of course, slots into the Fast and Furious films as neatly as a dip-stick. Not only does his name remind you of the stuff you pump into a car; when he opens his mouth, he actually sounds like a car. [3 June 2013, p.74]
    • The New Yorker
    • 67 Metascore
    • 60 Anthony Lane
    Is the movie fun? Yes, for half the time. An hour would have sufficed. [24 June 2013, p.84]
    • The New Yorker
    • 83 Metascore
    • 60 Anthony Lane
    Why, then, do we not feel bullied by the result? Partly because the camera, as I say, tells a subtler tale than the dialogue does, and lures us into a grudging respect for the bravado of Muse and his men; but mainly because of Tom Hanks. This most likable of actors deliberately presents us with a character who makes no effort to be liked.
    • 52 Metascore
    • 60 Anthony Lane
    You can love the look of the movie and still not believe a single word of it. To be fair, the climax is surprisingly touching; somehow, the residents of this cooked-up tale manage to earn our pity and support.
    • 82 Metascore
    • 60 Anthony Lane
    As a rule, movies about toys need to be approached with extreme caution; some of them have been bad enough to count as health hazards. This one is the exception.
    • 46 Metascore
    • 60 Anthony Lane
    The saddest thing about If I Stay is that it affords Moretz so little opportunity to be non-sad.
    • 50 Metascore
    • 60 Anthony Lane
    All this leaves The Zero Theorem looking both disorderly and stuck. And yet, to my surprise, on returning for a second viewing I found myself moved by the film — by the very doggedness with which it both hunts for and despairs of meaning.
    • 78 Metascore
    • 50 Anthony Lane
    Never quite shrugs off its literary manners. [18 & 25 Feb 2002, p. 200]
    • The New Yorker
    • 56 Metascore
    • 50 Anthony Lane
    I suspect that Buffalo Soldiers is not about the Army at all. Without much ado, it could have been turned into “Buffalo Management Consultants” or “Buffalo Movie Executives.” Any clenched community would suffice. [8 August 2003, p. 84]
    • The New Yorker
    • 32 Metascore
    • 50 Anthony Lane
    The movie is of minimum interest; the story of the movie, however -- or, rather, of the way in which it has been engulfed by its own publicity -- is bound to fascinate connoisseurs of cultural meltdown.
    • 58 Metascore
    • 50 Anthony Lane
    Now the mush has taken over, and Columbus has slowed his pace in nervous deference to the solemnity of his plot (not to mention the opulence of his characters' lives).
    • 61 Metascore
    • 50 Anthony Lane
    Adapted from the million-selling novel by Janet Fitch. Not adapted enough, I would say. [14 & 21 October 2002, p. 226]
    • The New Yorker
    • 57 Metascore
    • 50 Anthony Lane
    In short, Dark Blue suffers from a problem that, however niggling, is likely to hobble any thriller: no thrills. [17 & 24 February 2003, p.204]
    • The New Yorker
    • 62 Metascore
    • 50 Anthony Lane
    If I were a Turkish official, I would not be too worried by this picture. Nothing so slippery can stir up indignation. [18 November 2002, p. 104]
    • The New Yorker
    • 77 Metascore
    • 50 Anthony Lane
    A scruffy, thick-grained piece of work, shot in thirty days and scrawled not with luscious coloring but with the tense and inky markings of a society that is fighting to keep its reputation for togetherness, and wondering what that reputation is still worth. [18 & 25 Feb 2002. p. 199]
    • The New Yorker
    • 73 Metascore
    • 50 Anthony Lane
    The movie, with spiderlike timidity, scuttles into a corner and freezes. [13 May 2002, p. 96]
    • The New Yorker
    • 73 Metascore
    • 50 Anthony Lane
    There are two drawbacks here. One is a shortage of superior zombies, although where one goes to rent extra zombies I have no idea...Second, we have a serious shortage of fright. [30 June 2003, p. 102]
    • The New Yorker
    • 51 Metascore
    • 50 Anthony Lane
    Even if you closed your eyes -- a tempting option -- you would still know that you were in the hollering presence of pain. The story is undiluted dread. [10 March 2003, p. 94]
    • The New Yorker
    • 61 Metascore
    • 50 Anthony Lane
    The good news is that Matchstick Men is saved. Not by the plot, which entails a con so long that you can spot it coming a mile off, but by the presence of Alison Lohman. [22 September 2003, p. 202]
    • The New Yorker
    • 55 Metascore
    • 50 Anthony Lane
    What fun there is derives from the smart editing (Rodriguez did his own cutting, and he's quicker on the draw than most of the pistol-packers) and from Antonio Banderas, who, stepping neatly into the Mariachi's boots, lends irony and calm, and even a trace of sweetness, to a nothing role.
    • 57 Metascore
    • 50 Anthony Lane
    All we are left with, in essence, is an unlikely love affair, performed by two actors so remorselessly skilled that, by the end, you can't see the love for the skill. [3 November 2003, p. 104]
    • The New Yorker
    • 73 Metascore
    • 50 Anthony Lane
    As a whole, Shattered Glass is carefully constructed, intently played, and shot with creepy calm. It is also, by a considerable margin, the most ridiculous movie I have seen this year. [3 November 2003, p. 104]
    • The New Yorker
    • 76 Metascore
    • 50 Anthony Lane
    In short, the Sheridan of In America wants us to pity his characters for the rough ride that they endure, yet at the same time he traps them inside a bubble of the picturesque and the outlandish. Even if you like this movie, you have to ask: What has it done to deserve its title? [1 December 2003, p. 118]
    • The New Yorker
    • 41 Metascore
    • 50 Anthony Lane
    The hero's restlessness infects the rest of the movie; the story feels febrile and unhappy, and Allen seems to take his dissatisfaction out on his helpless characters--especially the women.
    • 43 Metascore
    • 50 Anthony Lane
    There are many unanswered questions here (why, for instance, does Pitt's Grim Reaper seem semi-retarded?), not to mention unintended spasms of comedy; in the end, however, they all get swallowed up in the mush.
    • 70 Metascore
    • 50 Anthony Lane
    LaBute's attempt to follow in the footsteps of Restoration comedy is undercut by the fact that his dialogue is only fitfully funny, and you can't help but feel soured by the flat, ritualistic look of the action. The one enlivening performance comes, surprisingly, from Jason Patric.
    • 56 Metascore
    • 50 Anthony Lane
    Everybody in and around this movie is trying too hard...After half an hour, we realized that, instead of enjoying a funny film, we were being lightly bullied into finding fun where precious little exists. [5 April 2004, p. 89]
    • The New Yorker
    • 64 Metascore
    • 50 Anthony Lane
    The few good jokes (most of them courtesy of the Pharaoh's high priests, voiced by Martin Short and Steve Martin) are swallowed up in this humorless epic.
    • 44 Metascore
    • 50 Anthony Lane
    Shyamalan remains as coolly unstirred by sex as he was in his previous movies--an astounding indifference, given the historical entwining of eros and fright. Even more bizarre is the gradual draining of humor from his work; the anatomy of horror demands a tongue in the cheek to go with the baring of teeth, but much of The Village is a proud and sullen affair.
    • 75 Metascore
    • 50 Anthony Lane
    Much of the film glides past with a slightly purposeless elegance. Astounding landscapes rise and fall away; enticing women glance and dance and disappear.
    • 61 Metascore
    • 50 Anthony Lane
    The ideas behind Enduring Love may be fascinating, but they don’t play; they sulk.
    • 68 Metascore
    • 50 Anthony Lane
    Hearts and Minds, which gives no clue that atrocities were committed by the other side, and which allows Davis to cut from a rampaging football game, back home, to the Tet offensive, will be a lesson to anybody who thinks that Michael Moore invented the notion of documentary as blunderbuss.
    • 63 Metascore
    • 50 Anthony Lane
    There are too many rancors--hatred of life, hatred of others, hatred of their means to happiness--to contend with here, and the loveliness of the verse beats fruitlessly against them, as if against a wharf.
    • 39 Metascore
    • 50 Anthony Lane
    The Crudup of "Almost Famous" was both hairier and more appealing than the tortured womanizer of World Traveler. Couldn't Cal have just stayed home, grown a mustache, and called his dad on the phone? [22 & 29 April 2002, p. 209]
    • The New Yorker
    • 72 Metascore
    • 50 Anthony Lane
    The line between the dispassionate and the dull can be ominously faint, and when Rohmer kicks off his film with ten or fifteen minutes of solid anecdotal chat, you fear for the stamina of the audience. [13 May 2002, p. 96]
    • The New Yorker
    • 64 Metascore
    • 50 Anthony Lane
    "Deep Throat" bore an X certificate. Inside Deep Throat is an NC-17. Neither is suitable for grownups.
    • 46 Metascore
    • 50 Anthony Lane
    All movie adaptations of Nabokov fall short, by definition, but this one is the most graceful failure so far.
    • 74 Metascore
    • 50 Anthony Lane
    What binds and clads the new movie most thoroughly, however, is not storytelling but the high pressure of atmosphere.
    • 76 Metascore
    • 50 Anthony Lane
    Just creepy and unsavory at moments, but pleased to be so.
    • 34 Metascore
    • 50 Anthony Lane
    The result is clever, and the narrative twistings keep you on your toes, but there's just one hitch: it ain't funny.
    • 67 Metascore
    • 50 Anthony Lane
    How can one defend this prolonged mumble of a motion picture? Well, some of the motion has a hypnotizing grace.
    • 51 Metascore
    • 50 Anthony Lane
    Much of the dialogue is scissor-sharp--you would expect no less of Marber, who wrote "Closer"--but he is up against blunt and obvious material.
    • 64 Metascore
    • 50 Anthony Lane
    What ensues is a devout communal effort, tricked out with various hops through time and space, to make us forget that it was a piece of theatre in the first place. Needless to say, the attempt is in vain.
    • 39 Metascore
    • 50 Anthony Lane
    The movie takes time to warm up, it weakens into soppiness at the end, and the game itself, if you think it through, makes very little sense.
    • 44 Metascore
    • 50 Anthony Lane
    Deep and Morton are really flying here (the scene in which the hero instructs the heroine in the passionate possibilities of her art), and they leave the rest of the film looking heavy on its feet. The second half, especially, grows dour and maundering, and by the end the movie seems to flail in desperation, more like a work in progress than like a finished piece.
    • 75 Metascore
    • 50 Anthony Lane
    The problem with any allegorical plan, Christian or otherwise, is not its ideological content but the blockish threat that it poses to the flow of a story.
    • 60 Metascore
    • 50 Anthony Lane
    For all its technical sophistication, this movie is as blaring and unambiguous as a picture book for the very young.
    • 72 Metascore
    • 50 Anthony Lane
    The result is sweet and moody, and richly photographed by Sven Nykvist, but you can't help feeling shortchanged; Hanks and Ryan have quick wits, and funny faces to match—they should be striking sparks off each other, not mooching around waiting for something to happen.
    • 87 Metascore
    • 50 Anthony Lane
    There is something willed and implausible at the heart of L’Enfant, beginning with the child himself--the first non-crying, non-hungry infant in human history, let alone in cinema.
    • 53 Metascore
    • 50 Anthony Lane
    Lucky Number Slevin is a bag of nerves. Everything here is too much. The older the actors, the saltier the ham of their performances.
    • 72 Metascore
    • 50 Anthony Lane
    Picture my disappointment as I realized that, for all the pizzazz of Superman Returns, its global weapon of choice would not be terrorism, or nuclear piracy, or dirty bombs. It would be real estate. What does Warner Bros. have in mind for the next installment? Superman overhauls corporate pension plans? Luthor screws Medicare?
    • 61 Metascore
    • 50 Anthony Lane
    This, to put it mildly, is new terrain for Macy, and his journey--from Arthur Miller, as it were, to Céline and Dostoyevsky--does not always convince.
    • 62 Metascore
    • 50 Anthony Lane
    In the end, the problem with Conversations with Other Women is not that it pulls an ordinary romance into unfamiliar shapes but that it doesn't pull far enough. It may be dotted with fine observations, yet somehow the charm of its novelty grows stale, and the airless feeling of a closed set begins to fester.
    • 70 Metascore
    • 50 Anthony Lane
    A frantic and funny diversion, but it pales and tires before its time is up. It doesn't know the meaning of enough.
    • 51 Metascore
    • 50 Anthony Lane
    The movie may have significant truths to impart, although I have my doubts, but it feels too inexperienced, too unworldly, to have earned the right to them.
    • 49 Metascore
    • 50 Anthony Lane
    How, then, does The Good German--adapted by Paul Attanasio from Joseph Kanon's novel--wind up so insubstantial, its impact lasting no longer than a cigarette?
    • 54 Metascore
    • 50 Anthony Lane
    A slight and rueful affair, intermittently funny.
    • 64 Metascore
    • 50 Anthony Lane
    The film is nonsense, and what counts is whether viewers will feel able to lay aside their logical complaints and bask in what remains: a trip in search of a tan.
    • 68 Metascore
    • 50 Anthony Lane
    It is no mean feat to make a boring film about Jesse James, but Andrew Dominik has pulled it off in style.