For 720 reviews, this critic has graded:
  • 30% higher than the average critic
  • 2% same as the average critic
  • 68% lower than the average critic
On average, this critic grades 0.9 points higher than other critics. (0-100 point scale)

Anthony Lane's Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 100 The Double Life of Veronique
Lowest review score: 0 The Da Vinci Code
Score distribution:
  1. Negative: 50 out of 720
720 movie reviews
    • 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
    • 95 Metascore
    • 90 Anthony Lane
    The film is a casting coup, with Blanchett’s inherent languor —plus that low drawl of hers, a breath away from boredom — played off against the perter intelligence of Mara, whose manner, as always, is caught between the alien and the avian.
    • 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.
    • 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.
    • 81 Metascore
    • 90 Anthony Lane
    No
    The best movie ever made about Chilean plebiscites, NO thoroughly deserves its Oscar nomination for Best Foreign Film.
    • 94 Metascore
    • 90 Anthony Lane
    On the scale of inventiveness, Inside Out will be hard to top this year. As so often with Pixar, you feel that you are visiting a laboratory crossed with a rainbow.
    • 78 Metascore
    • 80 Anthony Lane
    This is not just pliable filmmaking; it is an exercise in worldliness, in a feel for the cracks and warps of circumstance, which is all the more startling when you learn that the director is thirty-one.
    • 78 Metascore
    • 80 Anthony Lane
    What could have been a narrow, cultish little picture, a mere retro-trip, fans out into a broader study of longing and belonging. [4 Oct 1993, p.214]
    • The New Yorker
    • 69 Metascore
    • 80 Anthony Lane
    Cold Souls has its flaws, and it threatens to sag into a Paul-like morbidity, but Giamatti’s anxious mien and unspectacular shamblings have never been better deployed.
    • 85 Metascore
    • 80 Anthony Lane
    What follows, in the final half hour of the movie, is an astounding chamber piece, worthy of Strindberg, with the husband, the wife, and her aggressor stuck in a dance of doubt and death. With every shot, our sympathies flicker and tilt.
    • 69 Metascore
    • 80 Anthony Lane
    This mania is what Marvel followers have hungered for, and it would be fruitless to deny their delight. As Loki says to a crowd of earthlings, "It is the unspoken truth of humanity that you crave subjugation." We do, Master, we do.
    • 75 Metascore
    • 80 Anthony Lane
    Still, it is a writer's privilege to trim and tailor at will, and everybody loves a duel. It would take the dullest of curmudgeons not to enjoy the surge of this saga, accurate or not, and the excesses of what already feels like a distant age. [30 Sept. 2013, p.84]
    • The New Yorker
    • 77 Metascore
    • 80 Anthony Lane
    Get Low is deftly played, and it rarely mislays its ambling charm, but what a forbidding fable it could have been if the truth about Felix Bush, rather than emerging into sunlight, had slunk back into the woods.
    • 72 Metascore
    • 80 Anthony Lane
    Headhunters is admirably swift in style, and dangerously silly in what it begs us to swallow, but at its heart is a consummate depiction of a permanent type - the proud and prickly male, thrown back on his desperate wits. Small may not be beautiful, but it lives.
    • 69 Metascore
    • 80 Anthony Lane
    Solondz will never be meek and mild, and there are spasms of shame and awkwardness here that will make even devoted viewers wince as sharply as ever. But the movie, his best to date, and a sequel of sorts to "Happiness," feels drenched in an unfamiliar sadness.
    • 73 Metascore
    • 80 Anthony Lane
    There are passages of gravity and grace here that few other directors could unfurl. [27 Jan. 2014, p. 78]
    • The New Yorker
    • 68 Metascore
    • 80 Anthony Lane
    What matters most about The Homesman, which Jones co-wrote and directed, is how willingly, and movingly, he cedes the stage to Hilary Swank, as Clint Eastwood did in “Million Dollar Baby.”
    • 82 Metascore
    • 80 Anthony Lane
    Where “Paterson” is tranquil to the point of inertia, Neruda, with its jumpy shifts of scene, its doses of casual surrealism, and its mashing of high politics against low farce, struck me as more of a poem. It reminds us that movies, by their very nature, owe far more to poetry than they ever will to the novel. The story is only the start.
    • 57 Metascore
    • 80 Anthony Lane
    One of the year’s more luscious releases, offering not just the sleekest car chase but the most romantic of rainstorms.
    • 79 Metascore
    • 80 Anthony Lane
    Here is the territory that "Twilight" never dared to enter. It was so busy with crushes, covens, werewolves, and all the other moth-eaten trappings of the genre that it forgot to ask, Why do vampires not die of boredom? Is time not the sharpest stake in the heart? [14 April 2014, p.86]
    • The New Yorker
    • 74 Metascore
    • 80 Anthony Lane
    Joe
    Yet Joe, directed by David Gordon Green, succeeds. Although Green's resume has been as up and down as that of his leading man, his eye for decay has rarely blurred; and now, you sense, he has come to the right place. [14 April 2014, p.87]
    • The New Yorker
    • 75 Metascore
    • 80 Anthony Lane
    Best of all, we get to witness Fassbender at full tilt — to revel in that gaunt, El Greco mug of his, which, for all its handsomeness, betrays no sunny side, whether here or amid the shenanigans of “X-Men.”
    • 77 Metascore
    • 80 Anthony Lane
    What could be a plain tale -- and is in danger of becoming a sappy one -- grows surprisingly inward and dense. [25 Nov. 2013, p.135]
    • The New Yorker
    • 58 Metascore
    • 80 Anthony Lane
    With its somersaulting trucks, drafts of quaffable blood, and skies full of digitized ravens, Bekmambetov's movie has every intention of whacking "The Matrix" at its own game.
    • 82 Metascore
    • 80 Anthony Lane
    Love Is Strange, however, is not about gay marriage. It is about a marriage that happens to be gay. If the film grows slightly boring, even that can be construed as an advance.
    • 78 Metascore
    • 80 Anthony Lane
    Zootopia, like its heroine, is zesty, bright, and breakneck, with chase scenes and well-tuned gags where you half expect songs to be.
    • 64 Metascore
    • 80 Anthony Lane
    John Crowley’s film is high on its own briskness, and its glances at Irish backstreet life land it securely in the terrain that was mapped out by Stephen Frears’s “The Snapper” and “The Van.” [5 April 2004, p. 89]
    • The New Yorker
    • 77 Metascore
    • 80 Anthony Lane
    That is what I admire in While We’re Young; it shows a director not so much mooning over the past, with regret for faded powers, as probing his own obsessions and the limits of his style.
    • 82 Metascore
    • 80 Anthony Lane
    Inspiring though Marley is, however, it tends to deploy his music purely as an illustration of his life. Not once, as far as I could tell, do we watch a song being played straight through from beginning to end. [23 April 2012, p.82]
    • The New Yorker
    • 78 Metascore
    • 80 Anthony Lane
    What fleshes out the movie, and lends it such an extraordinary pulse of life, is the want of words.

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