For 550 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 1.6 points higher than other critics. (0-100 point scale)

Anthony Lane's Scores

  • Movies
  • TV
Average review score: 61
Highest review score: 100 The Piano
Lowest review score: 0 The Da Vinci Code
Score distribution:
  1. Negative: 46 out of 550
550 movie reviews
    • 49 Metascore
    • 50 Anthony Lane
    How, then, does The Good German--adapted by Paul Attanasio from Joseph Kanon's novel--wind up so insubstantial, its impact lasting no longer than a cigarette?
    • 49 Metascore
    • 30 Anthony Lane
    Emmerich’s main achievement is to take a bunch of excellent actors, including Danny Glover, Thandie Newton, Chiwetel Ejiofor, and Woody Harrelson, and to prevent all of them--with the exception of Oliver Platt and a pair of giraffes--from giving a decent performance.
    • 49 Metascore
    • 50 Anthony Lane
    It would be a shock if Antichrist had turned out to be anything but shocking.
    • 49 Metascore
    • 50 Anthony Lane
    And that's it, really: two hours of loneliness, interleaved with havoc. The dialogue has been distilled to expletives and grunts. [16 Sept. 2013, p.74]
    • The New Yorker
    • 49 Metascore
    • 10 Anthony Lane
    But by the end, the charm and delicacy of the 1961 cartoon have long been replaced by laborious gross-outs. Is this now official Disney policy?
    • 49 Metascore
    • 50 Anthony Lane
    One is forced to ask: who wants to make, or watch, a major Hollywood musical about mental block?
    • 48 Metascore
    • 30 Anthony Lane
    The movie--directed by Atom Egoyan, who should know better--is closely adapted from “Nathalie,” a French film of 2004, with Gérard Depardieu and Emmanuelle Béart, but what seemed like standard practice for Parisians comes across here as unsmiling porno-farce.
    • 48 Metascore
    • 40 Anthony Lane
    In short, this popular love story isn't much of a story, and falls badly short on love.
    • 47 Metascore
    • 40 Anthony Lane
    It may have the melody, visage and basics of a Bollywood biggie, but truth be told, The Guru, despite it’s zest and lure, gives the far-off genus a bad wrap. [3 February 2003, p.98]
    • The New Yorker
    • 47 Metascore
    • 40 Anthony Lane
    It winces with liberal self-chastisement: Redford is surely smart enough to realize, as the professor turns his ire on those who merely chatter while Rome burns, that his movie is itself no better, or more morally effective, than high-concept Hollywood fiddling.
    • 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]
    • The New Yorker
    • 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]
    • The New Yorker
    • 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]
    • The New Yorker
    • 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.