For 585 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 2 points higher than other critics. (0-100 point scale)

Anthony Lane's Scores

  • Movies
  • TV
Average review score: 61
Highest review score: 100 The Kid with a Bike
Lowest review score: 0 The Da Vinci Code
Score distribution:
  1. Negative: 46 out of 585
585 movie reviews
    • 94 Metascore
    • 100 Anthony Lane
    Spielberg wrote a poem. And all the best movies are poems. [25 Mar 2002, p. 86]
    • The New Yorker
    • 89 Metascore
    • 100 Anthony Lane
    If there is any justice, this year's Academy Award for best foreign-language film will go to The Lives of Others, a movie about a world in which there is no justice.
    • 89 Metascore
    • 100 Anthony Lane
    The story worms further into the guts of Victorian experience than most historical dramas, because it aims at the most neglected aspect of that age, and the most alarmingly modern: its surrealism. [29 Nov 1993, p.148]
    • The New Yorker
    • 85 Metascore
    • 100 Anthony Lane
    I have seen The Host twice and have every intention of watching it again.
    • 72 Metascore
    • 100 Anthony Lane
    Look closely at Johansson...an immaculate period performance. [15 December 2003, p. 119]
    • The New Yorker
    • 87 Metascore
    • 100 Anthony Lane
    What Park has done is resurrect not just the spirit but, as it were, the bodily science of early comedy. Like Chuck Jones, and, further back, like Buster Keaton and Harold Lloyd, Park is unafraid of the formulaic--—of bops on the head, of the unattainable beloved, of gadgetry gone awry--because he sees what beauty there can be in minor, elaborate variations on a basic theme.
    • 78 Metascore
    • 100 Anthony Lane
    The result is clean, delirious, and, yes, speedy—the best big-vehicle-in-peril movie since Clouzot's "The Wages of Fear."
    • 99 Metascore
    • 100 Anthony Lane
    For the first, and maybe the only, time this year, you are in the hands of a master.
    • 87 Metascore
    • 100 Anthony Lane
    The real reason to see The Kid with a Bike is that it offers something changelessly rare and difficult: a credible portrait of goodness. [19 March 2012, p.90]
    • The New Yorker
    • 82 Metascore
    • 90 Anthony Lane
    The most fruitful twist in Late Marriage is that at its core lies not a snippy domestic farce but a prolonged, dirty, and wholly credible sex scene, which starts and stops and starts again, and in which argument and arousal are entwined like limbs. [27 May 2002, p.124]
    • The New Yorker
    • 82 Metascore
    • 90 Anthony Lane
    As with "Together," Moodysson has pulled off a staggering dramatic coup, and again we are forced to ask: How does he do it? [21 & 28 April 2003, p.194]
    • The New Yorker
    • 81 Metascore
    • 90 Anthony Lane
    What Rourke offers us, in short, is not just a comeback performance but something much rarer: a rounded, raddled portrait of a good man. Suddenly, there it is again--the charm, the anxious modesty, the never-distant hint of wrath, the teen-age smiles, and all the other virtues of a winner.
    • 89 Metascore
    • 90 Anthony Lane
    The film may have dated as a cautionary left-wing tale, yet it has stayed fresh as a study in the minutiae of power. [1 Oct. 2012, p.85]
    • The New Yorker
    • 86 Metascore
    • 90 Anthony Lane
    Henry James, who loved the place, accused himself of "making a mere Rome of words, talking of a Rome of my own which was no Rome of reality." Sorrentino has made a Rome of images, and taken the same risk. But it was worth it. [25 Nov. 2013, p.134]
    • The New Yorker
    • 84 Metascore
    • 90 Anthony Lane
    For all its mayhem, runs like a mad and slightly sad machine, whirring with hints of folly and regret, and the ending, remarkably, makes elegant sense to a degree that eludes most science fictions. How to describe it, without giving anything away? Scrambled, but rare. [1 Oct. 2012, p.84]
    • The New Yorker
    • 78 Metascore
    • 90 Anthony Lane
    Glazer is nothing if not ambitious; the rough edge of naturalism, on the streets, slices into the more controlled and stylized look of science fiction, and the result seems both to drift and to gather to a point of almost painful intensity.
    • 82 Metascore
    • 90 Anthony Lane
    The most stirring release of the year thus far is a documentary.
    • 85 Metascore
    • 90 Anthony Lane
    Turtles Can Fly has little space for mawkishness, and the kids are far too cussed to be cute. It is, in every sense, the more immediate achievement: it hits and hurts the eyes (the rainy days are lousy enough, but the skies of royal blue, above such grief, feel especially insulting), and it also seems to bleed straight out of the headlines.
    • 79 Metascore
    • 90 Anthony Lane
    The movie that we do have is cogent, lavish, and formidable enough, with a Recchi-like power to frighten and seduce.
    • 84 Metascore
    • 90 Anthony Lane
    I cannot remember a major movie, not even "The Godfather," that forced me to peer so intently into the gloom. [2 December 2002, p. 87]
    • The New Yorker
    • 100 Metascore
    • 90 Anthony Lane
    The profuse pleasures of Boyhood spring not from amazement but from recognition — from saying, Yes, that’s true, and that feels right, or that’s how it was for me, too.
    • 84 Metascore
    • 90 Anthony Lane
    This is a leap into grandeur.
    • 85 Metascore
    • 90 Anthony Lane
    Tucked away inside the grandeur, though, and enlivened by jump cuts, is a sharp, not unharrowing story of a father and son, and, amid one's exasperation, there is no mistaking Malick's unfailing ability to grab at glories on the fly.
    • 83 Metascore
    • 90 Anthony Lane
    Werner Herzog may lack heroes, nowadays, who seem adequate to his fierce capacity for wonder. When occasion demands, however, he can still turn the world upside down.
    • 80 Metascore
    • 90 Anthony Lane
    The casting of Minority Report may be the smartest in the history of Spielberg. [1 July 2002, p. 96]
    • The New Yorker
    • 91 Metascore
    • 90 Anthony Lane
    Seldom has our modern taste for the confessional mode been so smartly explored. [20 May 2013, p. 123]
    • The New Yorker
    • 65 Metascore
    • 90 Anthony Lane
    There is something horribly apt in the way Fincher closes the drama in joyless exhaustion, leaving you certain that there will be a sequel to these events, not onscreen but in someone's home, tonight. [8 April 2002, p. 95]
    • The New Yorker
    • 80 Metascore
    • 90 Anthony Lane
    Too long, but it feels sturdy and stirring – there's an old fashioned decency in the way that it exerts, and increases, its claim upon our feelings. [26 Sept 1994, p.108]
    • The New Yorker
    • 86 Metascore
    • 90 Anthony Lane
    The eye must travel not merely through the earth's crust but backward in time, as well. Indeed, you could argue that Herzog has succeeded in making the world's first movie in 4-D. [2 May 2011, p. 88]
    • The New Yorker
    • 88 Metascore
    • 90 Anthony Lane
    The most consuming and most exhausting of its kind since “The Dreamlife of Angels,” fifteen years ago. From the moment when Adèle first catches sight of Emma, on a busy crosswalk, the movie restores your faith in the power of the coup de foudre and yet redoubles your fear of its effect; love, like lightning, can both illuminate and scorch. The problems of two little people, it turns out, do indeed amount to a hill of beans. Some hill. Some beans.

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