For 565 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: 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 565
565 movie reviews
    • 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
    • 94 Metascore
    • 100 Anthony Lane
    Spielberg wrote a poem. And all the best movies are poems. [25 Mar 2002, p. 86]
    • The New Yorker
    • 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.
    • 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.
    • 85 Metascore
    • 100 Anthony Lane
    I have seen The Host twice and have every intention of watching it again.
    • 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
    • 88 Metascore
    • 90 Anthony Lane
    It's a pleasure to find a thriller fulfilling its duties with such gusto: the emotions ring solid, the script finds time to relax into backchat, and for once the stunts look like acts of desperation rather than shows of prowess.
    • 90 Metascore
    • 90 Anthony Lane
    That is the quiet triumph of American Splendor: behind the playfulness, it cleaves to an oddly old-fashioned belief that a life, even a life as mangy as Mr. Pekar’s, gains in depth and darkness when it is crosshatched with the imaginary. The nerd needs no revenge. [18 & 25 August 2003, p. 150]
    • The New Yorker
    • 86 Metascore
    • 90 Anthony Lane
    By the time of the closing shot -- twists of fog rising like spectres from a leaden sea -- even the most stubborn viewer will be lying back in a state of happy hypnosis. [16 December 2002, p. 106]
    • The New Yorker
    • 88 Metascore
    • 90 Anthony Lane
    The virtues of Jackson's trilogy, thus far, have been pace and astonishment, which is almost the same thing. [6 January 2003, p. 90]
    • 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
    • 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
    • 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
    • 94 Metascore
    • 90 Anthony Lane
    The architecture of Pulp Fiction may look skewed and strained, but the decoration is a lot of fun. [10 Oct 1994, p.95]
    • 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
    • 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
    • 82 Metascore
    • 90 Anthony Lane
    Kevin Macdonald has a terrific tale on his hands, and his telling of it, very British in its matter-of-factness, can barely be faulted; yet the facts drop away, and it becomes impossible not to read the movie symbolically--as a journey to the center of the earth, or farther still.
    • The New Yorker
    • 82 Metascore
    • 90 Anthony Lane
    It is the first film to be directed by Andrey Zvyagintsev, and what it shares with other coruscating débuts, from “The Four Hundred Blows” to “Badlands,” is a sense that it HAD to be made. There is a controlled wildness at the heart of such movies, whose narratives ask to be handled as delicately as explosives. [15 March 2004, p. 154]
    • The New Yorker
    • 84 Metascore
    • 90 Anthony Lane
    This is a leap into grandeur.
    • 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.
    • 89 Metascore
    • 90 Anthony Lane
    The Best of Youth takes its chance--almost unheard of, these days--to bloom and unfurl like a novel.
    • 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.
    • 87 Metascore
    • 90 Anthony Lane
    This slow and stoic movie, hailed as a gay Western, feels neither gay nor especially Western: it is a study of love under siege.
    • 68 Metascore
    • 90 Anthony Lane
    Jones gets everything--the gestures, the generosity, the mean streak, the bending of the ear to recitals of woe, whether across a lunch table or a prison cell. He even nails the voice, like that of a chorister caught running a racket with the incense.
    • 98 Metascore
    • 90 Anthony Lane
    So smartly has del Toro thought his fable through, and so graceful is his grasp of visual rhyme, that to pick holes in it seems mean; yet Pan's Labyrinth is perhaps more dazzling than involving--I was too busy reading its runes and clues, as it were, to be swept away. It is, I suspect, a film to return to, like a country waiting to be explored: a maze of dead ends and new life.
    • 88 Metascore
    • 90 Anthony Lane
    Filmed in a hot and bleached black-and-white, it manages to swerve from culture-clashing farce to alarming suspense without losing control.

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