For 637 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 1.9 points higher than other critics. (0-100 point scale)

Anthony Lane's Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 100 Mad Max: Fury Road
Lowest review score: 0 The Da Vinci Code
Score distribution:
  1. Negative: 47 out of 637
637 movie reviews
    • 44 Metascore
    • 30 Anthony Lane
    The new movie wears an air of old hat. I would absolutely defend Haneke’s right to relaunch his broadside on our voyeuristic vices, but he’s not keeping up with the times; he’s behind them.
    • 55 Metascore
    • 30 Anthony Lane
    What Rachel McAdams is doing in this nonsense is anyone's guess, but she must realize that the long journey from "Mean Girls" to Mary, with her mousy bangs and her timid pleas counts as a serious descent. [11 Nov. 2013, p.90]
    • The New Yorker
    • 33 Metascore
    • 30 Anthony Lane
    The whole thing appears to have been designed by some crazed Oedipal wing of the N.R.A. And what are the aliens known as? The Others. I rest my case.
    • 28 Metascore
    • 20 Anthony Lane
    The mélange of plots, subplots, reveries, gags, cartoons, dirty bits, and hissy fits points to a work that is structurally modelled less on the classic narratives of cinema than on, say, a portion of Russian salad.
    • 38 Metascore
    • 20 Anthony Lane
    The cast looks sound enough—John Goodman as Fred Flintstone, Elizabeth Perkins as Wilma, Rick Moranis and Rosie O'Donnell as the Rubbles—but the script, cobbled together by a crowd of writers, gives them nothing but a handful of limp gags.
    • 27 Metascore
    • 20 Anthony Lane
    The whole enterprise heaves and strains with a sadistic overkill that even Dario might find too rich.
    • 37 Metascore
    • 20 Anthony Lane
    Though the film is not as criminally poor as "V for Vendetta," which the Wachowskis wrote in 2005, it struck me as more insidious.
    • 34 Metascore
    • 20 Anthony Lane
    To be honest, I would be perfectly happy to walk with a zombie after ninety minutes of this; it would feel like light relief.
    • 56 Metascore
    • 20 Anthony Lane
    The problem is that Snyder, following Moore, is so insanely aroused by the look of vengeance, and by the stylized application of physical power, that the film ends up twice as fascistic as the forces it wishes to lampoon.
    • 32 Metascore
    • 10 Anthony Lane
    The director is Bob Spiers, though it's hard to judge whether he actually turned up on the set.
    • 68 Metascore
    • 10 Anthony Lane
    The general opinion of Revenge of the Sith seems to be that it marks a distinct improvement on the last two episodes, "The Phantom Menace" and "Attack of the Clones." True, but only in the same way that dying from natural causes is preferable to crucifixion.
    • 49 Metascore
    • 10 Anthony Lane
    But by the end, the charm and delicacy of the 1961 cartoon have long been replaced by laborious gross-outs. Is this now official Disney policy?
    • 27 Metascore
    • 10 Anthony Lane
    The funniest thing about The Women is that Mick Jagger is one of the producers.
    • 26 Metascore
    • 10 Anthony Lane
    Madonna's mess of a movie grabs at the rub and rancor of multiculturalism, which it proceeds to squash into a litter of clichés, or, more simply, insults.
    • 45 Metascore
    • 10 Anthony Lane
    The Expendables is savage yet inert, and breathtakingly sleazy in its lack of imagination.
    • 42 Metascore
    • 10 Anthony Lane
    So lazy is the characterization, so hamstrung the plot, and so chronically broad the overacting that the main interest lies in deciding which to block first, your eyes or your ears. [2 Sept. 2013, p.81]
    • The New Yorker
    • 46 Metascore
    • 0 Anthony Lane
    The Catholic Church has nothing to fear from this film. It is not just tripe. It is self-evident, spirit-lowering tripe that could not conceivably cause a single member of the flock to turn aside from the faith.

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