For 547 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 547
547 movie reviews
    • 73 Metascore
    • 50 Anthony Lane
    The movie, with spiderlike timidity, scuttles into a corner and freezes. [13 May 2002, p. 96]
    • 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.
    • 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.
    • 73 Metascore
    • 50 Anthony Lane
    As a whole, Shattered Glass is carefully constructed, intently played, and shot with creepy calm. It is also, by a considerable margin, the most ridiculous movie I have seen this year. [3 November 2003, p. 104]
    • 72 Metascore
    • 70 Anthony Lane
    The latest showpiece for computer animation, with all the contoured, suspiciously gleaming perfection that this entails.
    • 72 Metascore
    • 50 Anthony Lane
    The line between the dispassionate and the dull can be ominously faint, and when Rohmer kicks off his film with ten or fifteen minutes of solid anecdotal chat, you fear for the stamina of the audience. [13 May 2002, p. 96]
    • 72 Metascore
    • 70 Anthony Lane
    Performs the unlikely trick of being both taut and plotless.
    • 72 Metascore
    • 60 Anthony Lane
    Dahl’s story was never intended to be anything other than a sticky-fingered feast, whereas the movie flits through pedophobic creepiness and ends up as a slightly costive parable of family values.
    • 72 Metascore
    • 80 Anthony Lane
    Headhunters is admirably swift in style, and dangerously silly in what it begs us to swallow, but at its heart is a consummate depiction of a permanent type - the proud and prickly male, thrown back on his desperate wits. Small may not be beautiful, but it lives.
    • 72 Metascore
    • 100 Anthony Lane
    Look closely at Johansson...an immaculate period performance. [15 December 2003, p. 119]
    • 72 Metascore
    • 70 Anthony Lane
    It seems not just against the odds but against the laws of nature that a film as bookish, as suburban, and as self-consciously clever as In the House should also be such fun.
    • 72 Metascore
    • 50 Anthony Lane
    Picture my disappointment as I realized that, for all the pizzazz of Superman Returns, its global weapon of choice would not be terrorism, or nuclear piracy, or dirty bombs. It would be real estate. What does Warner Bros. have in mind for the next installment? Superman overhauls corporate pension plans? Luthor screws Medicare?
    • 72 Metascore
    • 50 Anthony Lane
    The result is sweet and moody, and richly photographed by Sven Nykvist, but you can't help feeling shortchanged; Hanks and Ryan have quick wits, and funny faces to match—they should be striking sparks off each other, not mooching around waiting for something to happen.
    • 72 Metascore
    • 40 Anthony Lane
    You wind up feeling doubly bullied -- first by the brutal enormity of the set pieces, and then by the emotional arm-twisting of the downtimes. [20 May 2013, p.122]
    • 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.
    • 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]
    • 72 Metascore
    • 50 Anthony Lane
    Fassbender, who was, frankly, much sexier and more devilish in "X-Men: First Class," is required to spend much of his time staring with blank intensity into the middle distance.
    • 72 Metascore
    • 70 Anthony Lane
    The movie is over before you know it, and is not one to linger in the mind, or indeed pass through the mind at all; but it's a good-humored ride for the senses, never too sickly, and who can say no to that?
    • 72 Metascore
    • 70 Anthony Lane
    Sometimes too ominous for its own good.
    • 71 Metascore
    • 80 Anthony Lane
    This final film -- after so many dazzling studies of adultery, such as "La Femme Infidele (1969) -- is a touching and unfashionable hymn to married love. [1 Nov. 2010, p.121]
    • 71 Metascore
    • 40 Anthony Lane
    Sadly, the men here come across as whiny and infantile, and Green is dangerously keen to stress their retardation. [17 & 24 2003, p.204]
    • 71 Metascore
    • 70 Anthony Lane
    The great Bebe Neuwirth should apply for a patent on her slow and dirty smile. The scene in which she introduces her new conquest to her girlfriends over tea, and pretty well pimps him to any takers, is worth the price of a ticket. [29 July 2002, p. 92]
    • 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.
    • 71 Metascore
    • 70 Anthony Lane
    So compact and controlled is this fine film.
    • 71 Metascore
    • 80 Anthony Lane
    The beautiful joke of Factotum is that Dillon is nobility itself.
    • 71 Metascore
    • 50 Anthony Lane
    The over-all effect is bizarre, daring you to be amused by something both brilliant and bristling with offense; if you sidle out at the end, feeling half guilty at what you just conspired in, then Stiller has trapped you precisely where he wants you.
    • 71 Metascore
    • 70 Anthony Lane
    The air of mystery here is appealing, because the secrets behind it seem to matter both a great deal and not at all--rather like love, which has been Lelouch’s subject ever since he made "A Man and a Woman."
    • 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]
    • 71 Metascore
    • 80 Anthony Lane
    Though Lee still can't resist a fancy visual trick from time to time, Clockers is, at its best—in its compound of the jaunty and the depressing—his ripest work to date.
    • 71 Metascore
    • 30 Anthony Lane
    This is trash pretending to serve the cause of history: a "Dirty Dozen" knockoff with one eye on "Schindler’s List."