For 540 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
Average review score: 61
Highest review score: 100 Girl with a Pearl Earring
Lowest review score: 0 The Da Vinci Code
Score distribution:
  1. Negative: 46 out of 540
540 movie reviews
    • 47 Metascore
    • 40 Anthony Lane
    Even by the standards of disaster movies, The Day After Tomorrow is irretrievably poor: a shambles of dud writing and dramatic inconsequence which left me determined to double my consumption of fossil fuels. [7 June 2004, p. 102]
    • 47 Metascore
    • 50 Anthony Lane
    Why, as a patron of Rock of Ages, do I wish I had taken the precaution of entering the theater drunk? [25 June 2012, p.84]
    • 47 Metascore
    • 50 Anthony Lane
    It's a shame, then, that the later stages of Lakeview Terrace should overheat and spill into silliness. The plot is compromised, not resolved, by the pulling of a gun.
    • 46 Metascore
    • 50 Anthony Lane
    All movie adaptations of Nabokov fall short, by definition, but this one is the most graceful failure so far.
    • 46 Metascore
    • 40 Anthony Lane
    In truth, von Trier is not so much a filmmaker as a misanthropic mesmerist, who uses movies to bend the viewer to his humorless will.
    • 46 Metascore
    • 30 Anthony Lane
    Bad movie!
    • 46 Metascore
    • 0 Anthony Lane
    The Catholic Church has nothing to fear from this film. It is not just tripe. It is self-evident, spirit-lowering tripe that could not conceivably cause a single member of the flock to turn aside from the faith.
    • 45 Metascore
    • 60 Anthony Lane
    There was always a dreaminess in his vision of the city, but now it feels as distant as the polished floors and the Deco furnishings of the Fred Astaire movies that Boris finds--of course--whenever he turns on the TV.
    • 45 Metascore
    • 30 Anthony Lane
    This picture ain't funny. I winced three times, and gave a couple of short laughs, but that was it.
    • 45 Metascore
    • 40 Anthony Lane
    The trouble with Blindness is that it’s so preoccupied with shouldering this symbolic weight that it gradually forgets to tell a story--to keep faith with the directives of common sense.
    • 45 Metascore
    • 60 Anthony Lane
    Makes a suitable staging post in Witherspoon's headlong career. She may want to forget it by Christmas, yet its cushioned slackness allows her to sharpen her grasp of a steely American type: the girl next door who will kill to get out of town. [30 Sept 2002, p. 145]
    • 45 Metascore
    • 40 Anthony Lane
    This awkward and half-digested movie gives off a melancholy reek.
    • 45 Metascore
    • 40 Anthony Lane
    There are moments when music and lyrics bear only the faintest relation to each other, a tricky state of affairs in a work that is almost bereft of spoken dialogue.
    • 45 Metascore
    • 10 Anthony Lane
    The Expendables is savage yet inert, and breathtakingly sleazy in its lack of imagination.
    • 44 Metascore
    • 30 Anthony Lane
    The new movie wears an air of old hat. I would absolutely defend Haneke’s right to relaunch his broadside on our voyeuristic vices, but he’s not keeping up with the times; he’s behind them.
    • 44 Metascore
    • 40 Anthony Lane
    A perplexing compound of the silly and the glum.
    • 44 Metascore
    • 50 Anthony Lane
    Shyamalan remains as coolly unstirred by sex as he was in his previous movies--an astounding indifference, given the historical entwining of eros and fright. Even more bizarre is the gradual draining of humor from his work; the anatomy of horror demands a tongue in the cheek to go with the baring of teeth, but much of The Village is a proud and sullen affair.
    • 44 Metascore
    • 50 Anthony Lane
    Deep and Morton are really flying here (the scene in which the hero instructs the heroine in the passionate possibilities of her art), and they leave the rest of the film looking heavy on its feet. The second half, especially, grows dour and maundering, and by the end the movie seems to flail in desperation, more like a work in progress than like a finished piece.
    • 44 Metascore
    • 30 Anthony Lane
    Some people make films in homage to Ingmar Bergman, others nod to the French New Wave, but only the Wilsons would think to follow in the footsteps of Burt Reynolds.
    • 43 Metascore
    • 30 Anthony Lane
    There is a fine film to be made about the retreat from worldly obligation into erotic rite, and Brando and Bertolucci made it in 1972. But what “Last Tango in Paris” proved was that our skin-grazing view of a body makes us more, not less, enthusiastic to grasp the shape of the soul that it enshrines.
    • 43 Metascore
    • 40 Anthony Lane
    We are led through a murky and, it must be said, wholly uninvolving saga of substance abuse and related multiple murders. [6 October 2003, p. 138]
    • 43 Metascore
    • 50 Anthony Lane
    There are many unanswered questions here (why, for instance, does Pitt's Grim Reaper seem semi-retarded?), not to mention unintended spasms of comedy; in the end, however, they all get swallowed up in the mush.
    • 42 Metascore
    • 10 Anthony Lane
    So lazy is the characterization, so hamstrung the plot, and so chronically broad the overacting that the main interest lies in deciding which to block first, your eyes or your ears. [2 Sept. 2013, p.81]
    • 42 Metascore
    • 30 Anthony Lane
    The first ten or fifteen minutes of Michael Bay's movie tremble, unaccountably, on the verge of being fun. [11 & 18 July 2011, p.101]
    • 41 Metascore
    • 50 Anthony Lane
    The hero's restlessness infects the rest of the movie; the story feels febrile and unhappy, and Allen seems to take his dissatisfaction out on his helpless characters--especially the women.
    • 41 Metascore
    • 40 Anthony Lane
    Larry Crowne is worryingly light on laughs, yet it never dares to worry too much about the plight of its central figure. [11 & 18 July 2011, p.100]
    • 41 Metascore
    • 50 Anthony Lane
    As it is, the movie's lethal climax, with its vague protest against corporate control--and hence in favor of art, music, drugs, or whatever--feels like a poor theft from a more conventional film.
    • 40 Metascore
    • 30 Anthony Lane
    The over-all result is a misstep for Fleischer. [21 Jan. 2013, p. 78]
    • 40 Metascore
    • 30 Anthony Lane
    We should not be surprised, then, if this bellowing beast of a movie looks and sounds like the extended special-edition remix of a Duran Duran video.
    • 40 Metascore
    • 40 Anthony Lane
    You have to applaud for sheer folly. This doesn't just reprise another film. It reprises a French film.