For 637 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
  • TV
Average review score: 62
Highest review score: 100 E.T.: The Extra-Terrestrial (re-release)
Lowest review score: 0 The Da Vinci Code
Score distribution:
  1. Negative: 47 out of 637
637 movie reviews
    • 80 Metascore
    • 50 Anthony Lane
    I know that we are meant to be drawn into the undergrowth of these ordinary lives, and the long tale is neatly split into four symbolic seasons;...But do they and their fellow-Brits honestly swell the heart, or do they grate, exasperate, and finally grind us down?
    • 80 Metascore
    • 70 Anthony Lane
    In short, The Last of the Unjust is every bit as quarrelsome as it should be. Murmelstein, recounting the circumstances in which he took mortally serious decisions, dares to ask us if we could have done any better.
    • 80 Metascore
    • 90 Anthony Lane
    The casting of Minority Report may be the smartest in the history of Spielberg. [1 July 2002, p. 96]
    • The New Yorker
    • 79 Metascore
    • 80 Anthony Lane
    Strangest of all, we go along with it in a sort of dream, scarcely pausing to complain, so expert is Mungiu at drawing us into the fold of these passionate souls. [8 March 2013, p.80]
    • The New Yorker
    • 79 Metascore
    • 60 Anthony Lane
    Meirelles's picture is so keen to brandish its social wrath, and its spirits are so rampagingly high, that the bruises it inflicts barely last a night. [20 January 2003, p. 94]
    • The New Yorker
    • 79 Metascore
    • 70 Anthony Lane
    The director is Debra Granik, who made “Winter’s Bone” (2010), in which Ron had a minor role; the melodramatic strain in that film was less convincing than its observational acuities, which return to the fore here. With no narrator, it is up to the camera to shepherd us through Ron’s days.
    • 79 Metascore
    • 40 Anthony Lane
    What we have here is a fouled-up fairy tale of oppression and empowerment, and it’s hard not to be ensnared by its mixture of rank maleficence and easy reverie. The gap between being genuinely stirred and having your arm twisted, however, is narrower than we care to admit.
    • 79 Metascore
    • 70 Anthony Lane
    With no narrator to shepherd us along, the movie feels noisy and restless. The period is revived by a wealth of songs on the soundtrack, and by the sleek and succulent Panther look.
    • 79 Metascore
    • 70 Anthony Lane
    It is the most oppressive of the great tragedies, and "Macbeth" aside, the leanest, and the task that Fiennes has set himself is to liberate it from the theatrical while preserving the dramatic bite. In that, he succeeds with brio. [23 Jan. 2012, p.86]
    • The New Yorker
    • 79 Metascore
    • 50 Anthony Lane
    The glum fact is that Gone Girl lacks clout where it needs it most, at its core.
    • 79 Metascore
    • 60 Anthony Lane
    The Fighter, for all the dedication of its players, takes a heavy swing at us, and misses.
    • 79 Metascore
    • 70 Anthony Lane
    There is no narrator; rather, we are invited to eavesdrop on--or to get an earful from--such figures as Hassan Ibrahim, a jovial reporter with Al Jazeera, and Samir Khader, one of the network’s senior producers. [24 May 2004, p. 97]
    • The New Yorker
    • 79 Metascore
    • 80 Anthony Lane
    Here is the territory that "Twilight" never dared to enter. It was so busy with crushes, covens, werewolves, and all the other moth-eaten trappings of the genre that it forgot to ask, Why do vampires not die of boredom? Is time not the sharpest stake in the heart? [14 April 2014, p.86]
    • The New Yorker
    • 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.
    • 79 Metascore
    • 70 Anthony Lane
    The fact that Mother keeps its balance is a tribute to the leading actress.
    • 79 Metascore
    • 90 Anthony Lane
    The movie that we do have is cogent, lavish, and formidable enough, with a Recchi-like power to frighten and seduce.
    • 79 Metascore
    • 80 Anthony Lane
    There is no whodunit here — the horror is plain in the opening shots — and the how is presented with great restraint, but the why remains veiled and mysterious long after the film has ended.
    • 78 Metascore
    • 70 Anthony Lane
    The sense of period, of ungainly English pride, is funny and acute, but the movie mislays its sense of wit as the girls grow up.
    • 78 Metascore
    • 50 Anthony Lane
    Having delighted in the doominess of Drive, as its journey began, I ended much less joyful than repelled.
    • 78 Metascore
    • 80 Anthony Lane
    In one respect, though not a major one, it is a masterpiece: seldom will you find a better class of fadeout.
    • 78 Metascore
    • 80 Anthony Lane
    Those who worship Joy Division may bridle at Corbijn’s film for its reluctance to mythologize their hero. Speaking as someone so irretrievably square that I not only never listened to the band but didn’t even know anyone who liked it, I can’t imagine a tribute more fitting than this.
    • 78 Metascore
    • 80 Anthony Lane
    This is not just pliable filmmaking; it is an exercise in worldliness, in a feel for the cracks and warps of circumstance, which is all the more startling when you learn that the director is thirty-one.
    • 78 Metascore
    • 40 Anthony Lane
    For some viewers, the acidity level of Perry’s movie will be too high to stomach. For others — anyone who thinks that there are too many warm hugs in Strindberg, for example — Queen of Earth awaits.
    • 78 Metascore
    • 100 Anthony Lane
    The result is clean, delirious, and, yes, speedy—the best big-vehicle-in-peril movie since Clouzot's "The Wages of Fear."
    • 78 Metascore
    • 90 Anthony Lane
    Glazer is nothing if not ambitious; the rough edge of naturalism, on the streets, slices into the more controlled and stylized look of science fiction, and the result seems both to drift and to gather to a point of almost painful intensity.
    • 78 Metascore
    • 70 Anthony Lane
    Christopher Nolan, for all his visionary flair, wants to suck the comic out of comic books; Anne Hathaway wants to put it back in. Take your pick.
    • 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.
    • 78 Metascore
    • 80 Anthony Lane
    What fleshes out the movie, and lends it such an extraordinary pulse of life, is the want of words.
    • 78 Metascore
    • 60 Anthony Lane
    We get one lovely, cheering sequence of a trashed room putting itself in order, like the untidy nursery in "Mary Poppins," but the rest of the magic here feels randomly grabbed at.
    • 78 Metascore
    • 70 Anthony Lane
    Still, there is a time to stop quibbling, and to laud the fact that this movie was made at all. [24 June 2013, p.85]
    • The New Yorker

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