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 E.T. The Extra-Terrestrial
Lowest review score: 0 The Da Vinci Code
Score distribution:
  1. Negative: 50 out of 720
720 movie reviews
    • 67 Metascore
    • 80 Anthony Lane
    Looking back at the film, I don't buy all this, but no matter; Channing is so stormy, so keen to unleash her resentments, that for an hour or so you do believe in Julie. [17 Dec 2001, p.98]
    • The New Yorker
    • 89 Metascore
    • 80 Anthony Lane
    The Artist is not just about black-and-white silent pictures. It is a black-and-white silent picture. And it's French.
    • 84 Metascore
    • 80 Anthony Lane
    Bean, a lovely guy with a touch of Mickey Rooney, is one of the stars of Sington’s rousing show. There was something unearthly, in every sense, about the astronauts in their prime.
    • 97 Metascore
    • 80 Anthony Lane
    Mungiu’s pacing is so sure, however, in its switching from loose to taut, and the concentration of his leading lady so unwavering, that the movie, which won the Palme d’Or at last year’s Cannes Film Festival, feels more like a thriller than a moody wallow.
    • 68 Metascore
    • 80 Anthony Lane
    It’s not just a blast but, at moments, a thing of beauty, alive to the comic awesomeness of being lost in space.
    • 85 Metascore
    • 80 Anthony Lane
    I prefer to think of Akin, however, not as a forger of patterns but as an ironist who understands that bad luck is a crucible, in the heat of which we are tested, burned away, or occasionally transformed. The Edge of Heaven is about something more exasperating than crossed paths; it is about paths that almost cross but don't, and the tragedy of the near-miss.
    • 80 Metascore
    • 80 Anthony Lane
    Von Trier's latest fable is nothing without its blaze of majesty - or, as his detractors would say, its bombast.
    • 69 Metascore
    • 80 Anthony Lane
    It runs roughly two and a half hours, and the intensity spikes with every fight; without Russell Crowe and Paul Giamatti, however, it would be flat on the canvas. They make it seem a better and more bristling film than it actually is.
    • 68 Metascore
    • 70 Anthony Lane
    The invective energy of Four Lions and its Swiftian vision of a confederacy of dunces are never in doubt. The problem is one of form. [15 Nov. 2010, p.99]
    • The New Yorker
    • 82 Metascore
    • 70 Anthony Lane
    Anybody hoping that The End of the Tour would mirror the formal dazzle of Wallace’s fiction, doubling back on itself like the frantically probing encounters in his 1999 collection, “Brief Interviews with Hideous Men,” will be disappointed. Yet the film, despite its flatness, is worth exploring.
    • 74 Metascore
    • 70 Anthony Lane
    The result, like many of Winterbottom's films, lies an inch short of disarray; we CAN keep pace with the investigation, but only just, and that sense of splintering honors the unpredictability of the setting.
    • 64 Metascore
    • 70 Anthony Lane
    The first twenty minutes of Wedding Crashers are rabid with simple pleasure.
    • 82 Metascore
    • 70 Anthony Lane
    Stranger by the Lake, it must be said, flirts with monotony. There is something both fascinating and numbing in the rituals on display, and in the matching rhythm of the film's approach. [27 Jan.2014, p.79]
    • The New Yorker
    • 72 Metascore
    • 70 Anthony Lane
    Where the eyes of a Disney princess grow wide as her pumpkin becomes a coach, the folk in Tale of Tales accept that miracles happen, being not an irruption into life but part of its natural flow.
    • 76 Metascore
    • 70 Anthony Lane
    Lo and Behold is, by virtue of its scope, one of Herzog’s more scattershot endeavors.
    • 81 Metascore
    • 70 Anthony Lane
    So skilled are both Carell and Tatum that the movie itself falls prey to the characters’ repression. Though never less than careful and clever, it’s also a stunted and fiercely unhappy piece of work, straining hard to deliver home truths about a commonweal that has beaten itself out of shape.
    • 72 Metascore
    • 70 Anthony Lane
    Performs the unlikely trick of being both taut and plotless.
    • 90 Metascore
    • 70 Anthony Lane
    This movie has almost no bite but plenty of moseying charm, and what it does get right is the idea of poets as perpetual magpies.
    • 81 Metascore
    • 70 Anthony Lane
    You don't feel bamboozled, fooled, or patronized by District 9, as you did by most of the summer blockbusters. You feel winded, and shaken, and shamed. [September 14, 2009, pg.115]
    • The New Yorker
    • 80 Metascore
    • 70 Anthony Lane
    You feel both moved and exhausted by the distance that Wilson has to travel, musically and emotionally, before reaching the shore. That makes it, I guess, a happy ending. But then, as one of the Beach Boys remarks, on listening to “Pet Sounds,” even the happy songs are sad.
    • 81 Metascore
    • 70 Anthony Lane
    The movie is memorable and draining, but “Full Metal Jacket” it is not.
    • 73 Metascore
    • 70 Anthony Lane
    No one could claim that the film is a distinguished contribution to cinema, but it would be churlish to resist its geniality and speed.
    • 72 Metascore
    • 70 Anthony Lane
    It seems not just against the odds but against the laws of nature that a film as bookish, as suburban, and as self-consciously clever as In the House should also be such fun.
    • 73 Metascore
    • 70 Anthony Lane
    If Cars is something of a letdown, that is not because of the moral messages that it delivers but because of the heavy hand with which it cranks them out.
    • 67 Metascore
    • 70 Anthony Lane
    Indeed, there is barely a frame of Branagh’s film that would cause Uncle Walt to finger his mustache with disquiet.
    • 68 Metascore
    • 70 Anthony Lane
    There is certainly a trill of suspense to be had from these ideological heists, but Weingartner’s movie is never quite as keen-edged as it hopes or needs to be.
    • 83 Metascore
    • 70 Anthony Lane
    I happen to prefer the extreme unslackness of “Halloween,” and the resourceful pluck of Curtis, to the dreamier dread of Maika Monroe. Nonetheless, like her pursuers, It Follows won’t leave you alone.
    • 82 Metascore
    • 70 Anthony Lane
    Think about it a day later, though, and its hectic swoop from romance to thriller to campaign manifesto leaves oddly little afterglow. The gardener is the only constant here; so much else burns up and blows away.
    • 74 Metascore
    • 70 Anthony Lane
    A Bigger Splash is fiercely unrelaxing, and impossible to ignore. You emerge from it restive and itchy, as though a movie screen could give you sunburn, and the story defies resolution.
    • 86 Metascore
    • 70 Anthony Lane
    What IS surprising is the unembarrassed energy that Boyle devotes to his pursuit of the obvious; there’s nothing wrong with the formulaic, it would appear, so long as you bring the formula to the boil.

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