For 608 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 Girl with a Pearl Earring
Lowest review score: 0 The Da Vinci Code
Score distribution:
  1. Negative: 46 out of 608
608 movie reviews
    • 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
    • 67 Metascore
    • 70 Anthony Lane
    In truth, Mr. Holmes is not Holmesian at all. It is Jamesian, as shown by a wonderful encounter between Kelmot and Holmes — an attraction of opposites, you might say — on a garden bench.
    • 91 Metascore
    • 70 Anthony Lane
    Timbuktu is hard to grasp, as befits the sand-blown setting and the mythical status of the name. The more you try to define the movie, the faster it sifts away.
    • 60 Metascore
    • 70 Anthony Lane
    RED
    The good news is that, while "The Expendables" was the kind of product that should be shown to health inspectors rather than critics, much of Red is jovial and juvenating. [1 Nov. 2010, p.121]
    • The New Yorker
    • 72 Metascore
    • 70 Anthony Lane
    Only at the end do we sense Shelton forcing her hand, and arranging, rather too neatly, for the rebalancing and desaddening of all concerned. [25 June 2012, p.85]
    • The New Yorker
    • 57 Metascore
    • 70 Anthony Lane
    To be at once earthy and ethereal is an uncommon gift. I noticed it, in Browning, when she starred in "Lemony Snicket's A Series of Unfortunate Events," as the calmly eccentric Violet Baudelaire. Already, as a teen-ager, she seemed older and wiser than the events unfolding around her, and, likewise, in Sleeping Beauty, she impugns the drooling antics of the elderly.
    • 90 Metascore
    • 70 Anthony Lane
    Finding Nemo is, as it happens, the most dangerously sugared of the Pixar productions to date--how could any father-finding-son saga be otherwise?--but the threat is now one of oversophistication. [9 June 2003, p. 108]
    • The New Yorker
    • 73 Metascore
    • 70 Anthony Lane
    You leave the film like one of Giovanni's patients rising from the couch -- far from healed, but amused and pacified by the sympathy that has washed over you. [4 Feb 2002, p. 82]
    • The New Yorker
    • 71 Metascore
    • 70 Anthony Lane
    If there's one movie this spring that you shouldn't see with a date, it's Everyone Else, unless you are looking for a quick, low-budget way to break up. Not that Maren Ade's film is especially gloomy or cynical; merely that it functions as a fearsome seismograph, charting not just the major quakes in a relationship but also the barest tremors.
    • 61 Metascore
    • 70 Anthony Lane
    In previous movies, Michael Bay dabbled wearily in Homo sapiens. At last he has summoned the courage to admit that he has an exclusive crush on machines, and I congratulate him on creating, in Transformers, his first truly honest work of art.
    • 86 Metascore
    • 70 Anthony Lane
    Finally, a voice-over from Jimmy Carter, lauding the efforts of those involved. All this is, frankly, uncool - a pity, because the rest of Argo feels clever, taut, and restrained.
    • 83 Metascore
    • 70 Anthony Lane
    Nobody does shrewishness better than McEwan. [8 August 2003, p. 84]
    • The New Yorker
    • 80 Metascore
    • 70 Anthony Lane
    For all its oddities, this movie does carry weight, and, with more than eight per cent of Americans out of work, the timing of its release here could not be more acute.
    • 65 Metascore
    • 70 Anthony Lane
    Above all, what makes the movie work -- what renders it not merely exhausting but fulfilling -- are the boys. Bier summons fine performances all around, but Nielsen, in particular, turns the role of christian into a drama all its own. [4 April, 2011, p. 82]
    • The New Yorker
    • 91 Metascore
    • 70 Anthony Lane
    Beyond question a return to the dark, simmering days of their best work, in “Blood Simple” and “Miller’s Crossing.”
    • 82 Metascore
    • 70 Anthony Lane
    The only player to conquer Chicago is Catherine Zeta-Jones, who is no Charisse in her motions but who gets by on a full tank of unleaded oomph. [6 January 2003, p. 90]
    • The New Yorker
    • 72 Metascore
    • 70 Anthony Lane
    Sometimes too ominous for its own good.
    • 85 Metascore
    • 70 Anthony Lane
    The pathos of About Schmidt -- of the careful, Chekhovian work that it could have been --gradually slides away. [16 December 2002, p. 106]
    • The New Yorker
    • 60 Metascore
    • 70 Anthony Lane
    9
    And here's the strangest thing of all: it works. [September 14, 2009, pg.ll4]
    • The New Yorker
    • 78 Metascore
    • 70 Anthony Lane
    In the end, Ex Machina lives and dies by Alicia Vikander. The film clicks on when she first appears, and it dims every time she goes away.
    • 67 Metascore
    • 70 Anthony Lane
    Given the earnest mayhem that prevails at your local multiplex, there is surely a place for a lightly mocking modernist with a growing distaste for the modern. [9 April 2012, p.84]
    • The New Yorker
    • 64 Metascore
    • 70 Anthony Lane
    What really grips the new movie, for all its amused glances at Swiss Guards and ceremonial pomp, is the prospect of a single soul in crisis. [9 April 2012, p.85]
    • The New Yorker
    • 55 Metascore
    • 70 Anthony Lane
    An efficient, politically inert fantasy.
    • 61 Metascore
    • 70 Anthony Lane
    The work of both Babluani brothers is weirdly stilled and mature, already devoid of the need to show off--serves only to thicken the horror.
    • 58 Metascore
    • 70 Anthony Lane
    The result is a lively bout between bio-pic and fairy tale.
    • 61 Metascore
    • 70 Anthony Lane
    In the end, Lower City is never quite as energetic as it wants to be, touched by the strange, milky lethargy that steeps every waterfront film.

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