For 597 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 1.8 points higher than other critics. (0-100 point scale)

Anthony Lane's Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 100 The Lives of Others
Lowest review score: 0 The Da Vinci Code
Score distribution:
  1. Negative: 46 out of 597
597 movie reviews
    • 75 Metascore
    • 70 Anthony Lane
    As the movie shows, the whole furtive business of ratings is indeed ridiculous and should be overhauled.
    • 80 Metascore
    • 70 Anthony Lane
    As the film concludes with his upraised hand, conductor’s fingers unfurling against a blue sky, you do feel that you have witnessed a small victory of wisdom over indifference and ennui. When in doubt, strike up the band.
    • 76 Metascore
    • 70 Anthony Lane
    It takes a female director, I think, to catch children, young and old, at these fragile hours, and also to trace a residue of something childlike in their elders.
    • 60 Metascore
    • 70 Anthony Lane
    The strength of the movie resides mainly in the work of its cameraman, Chris Menges, who delivers a barrage of images as rousing and changeable as the fortunes of Collins himself.
    • 73 Metascore
    • 70 Anthony Lane
    How can one not revere a movie director who causes the printers of travel brochures to cry out in distress? The Greece of sun, sand, and sea is not open for business here, Angelopoulos having decided that grandeur, grief, and grayness are more his line of work.
    • 76 Metascore
    • 70 Anthony Lane
    The more it sags as a thriller, the more it jabs and jangles as a study of racial abrasion.
    • 73 Metascore
    • 70 Anthony Lane
    It is one of those movies--Antonioni's "Red Desert" being the most flagrant example--that spend so much time brimming with moral and political suggestion that they almost forget to tell us what's actually going on.
    • 74 Metascore
    • 70 Anthony Lane
    The movie is, literally, a tough act to follow, thanks to the brusque, undemonstrative way in which Haneke chops from one subplot to the next. [3 Dec 2001, p.105]
    • The New Yorker
    • 84 Metascore
    • 70 Anthony Lane
    Watching A Christmas Tale, with its bursts of old movies, dregs of empty bottles, lines from books, and fragments of half-forgotten conversations, is like getting to know a family other than your own by leafing through its scrapbooks and laughing at its photograph albums, while it bickers in the next room over stuff you may never understand.
    • 61 Metascore
    • 70 Anthony Lane
    That is an unusually gloomy proposition not just for a studio movie but for a society that, despite the acts and sites of official commemoration, must find good cause to forge ahead from catastrophe. Reign Over Me closes with, at best, a cautious hope, leaving us more anxious than when we went in, and throughout the film there is a stunned and bewildered air hanging over the city, like a heavy smog.
    • 75 Metascore
    • 70 Anthony Lane
    It was with both joy and mystification, therefore, that I found myself cackling at What We Do in the Shadows like a witch with a helium balloon.
    • 70 Metascore
    • 70 Anthony Lane
    The result is that Shall We Kiss? puts its viewers in a bind worthy of the lovers themselves: should we organize a Socratic symposium on the issues raised by the film, or hurl our popcorn violently at the screen?
    • 68 Metascore
    • 70 Anthony Lane
    You cannot help being stirred by the reach and depth, the constant rebuffs to sloppiness, of a strong ensemble.
    • 77 Metascore
    • 70 Anthony Lane
    The tension of Calvary is fitful at best, and much of the movie trips into silliness, but in Brendan Gleeson -- in his proud bearing and his lamenting gaze -- we see the plight of the lonely believer in a world beyond belief. [4 Aug.2014, p.74]
    • The New Yorker
    • 67 Metascore
    • 70 Anthony Lane
    A Master Builder is a bold endeavor, thriftily made, and there is muscle and volume in the performances; but had Demme hung back, and kept things cooler and quieter, the mastery of what Ibsen built, and the agon of his extraordinary hero, would have cast a more looming shadow. [4 Aug. 2014, p.75]
    • The New Yorker
    • 77 Metascore
    • 70 Anthony Lane
    The film is slowed by its own beauty, but it is salvaged by two majestic scenes.
    • 75 Metascore
    • 70 Anthony Lane
    Leconte lacks the austerity to complete a film in which nothing much occurs. And so, with some reluctance, we are bustled toward a climax. [12 May 2003, p. 82]
    • The New Yorker
    • 71 Metascore
    • 70 Anthony Lane
    More than forty years have passed since A Woman Is a Woman won the Jury Prize at the Berlin Film Festival for "originality, youth, audacity, impertinence." (When did you last see a movie that might warrant such an award?) [26 May 2003, p. 102]
    • The New Yorker
    • 72 Metascore
    • 70 Anthony Lane
    The great virtue of the movie is its length: a fat-free seventy-six minutes.
    • 70 Metascore
    • 70 Anthony Lane
    Their kinship (Gere/Molina)--wholly unsexual yet lit, like that of Martin and Lewis, with an exasperated love--is the beacon of the movie, and it just about survives the lengthening shadows of the later scenes.
    • 84 Metascore
    • 70 Anthony Lane
    Yet the film, against my wishes, left me unmoved.
    • 69 Metascore
    • 70 Anthony Lane
    It packs political machination, helicopter gunships, single-malt whiskey, Las Vegas, Islamabad, naked butts, and eight years of war. The film, adapted from George Crile’s book, doesn’t always work, but it sure offers value for money.
    • 91 Metascore
    • 70 Anthony Lane
    Such is the hazard of the cartoon: as a form, it thrives on elongation and excess, yet, within its vortices and crannies, who knows what moldy prejudice can breed? [1 December 2003, p. 118]
    • The New Yorker
    • 73 Metascore
    • 70 Anthony Lane
    The father's resignation to that fate is, on balance, the most compelling aspect of the film, and I will not readily forget the sight of him staring out over the town and mourning the long history of his homeland. "We built an industrial colony on top of sheep pens," he says, "and thought we were making a revolution." Maybe Attenberg is topical, after all.
    • 76 Metascore
    • 70 Anthony Lane
    Nightcrawler has patches of clunkiness, to be sure, and Lou’s face-off at a police station, near the end, feels graceless and unnecessary. Yet the movie is quite something, and, despite its title, it doesn’t really crawl.
    • 79 Metascore
    • 70 Anthony Lane
    What is missing from the film is wit—the deep wit that comes from playing off species and environments against each other.
    • 52 Metascore
    • 70 Anthony Lane
    Most of the innumerable sequels were tripe, but this one has a freshness -- even a kind of wit -- mixed in with all the blood.
    • 72 Metascore
    • 70 Anthony Lane
    I wouldn't trust him (Downey) to look after my handkerchief, but I'll watch him in anything, and that is why Kiss Kiss, Bang Bang--smug as it is, and more like a day in the reptile house than a night at the movies--remains a slithery treat.
    • 74 Metascore
    • 70 Anthony Lane
    Extravagant care is taken with minutiae, and the directors, Chris Buck and Jennifer Lee, whistle through the first twenty minutes of the plot with a controlled giddiness that would leave many live-action adventures staggering in their tracks. Yet what a curious plot it is.
    • 66 Metascore
    • 70 Anthony Lane
    As Mostow proved in “Breakdown” and “U-571,” he can churn out excitement at a steady pace; whether he can handle dread--altogether a more unstable material--is another matter. [14 & 21 July 2003, p. 85]
    • The New Yorker

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