For 580 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 2 points higher than other critics. (0-100 point scale)

Anthony Lane's Scores

  • Movies
  • TV
Average review score: 61
Highest review score: 100 Army of Shadows
Lowest review score: 0 The Da Vinci Code
Score distribution:
  1. Negative: 46 out of 580
580 movie reviews
    • 74 Metascore
    • 70 Anthony Lane
    You could argue that the film is too wrenching a departure for an actress as earthy as Farmiga, but that, I suspect, is why she took the risk - daring herself, in the person of Corinne, to slip the surly bonds of beauty and desire.
    • 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.
    • 74 Metascore
    • 70 Anthony Lane
    Affleck the movie director makes you truly, badly want his bunch of ne'er-do-wells to pull off their heists without a scratch, and you can't ask for much more than that. [20 Sept. 2010, p. 120]
    • The New Yorker
    • 74 Metascore
    • 60 Anthony Lane
    You can't help feeling that what this enterprise required was Louis B. Mayer, or, though one has no wish to be cruel, Harry Cohn. [3 February 2003, p.98]
    • The New Yorker
    • 74 Metascore
    • 70 Anthony Lane
    The result, like many of Winterbottom's films, lies an inch short of disarray; we CAN keep pace with the investigation, but only just, and that sense of splintering honors the unpredictability of the setting.
    • 74 Metascore
    • 80 Anthony Lane
    However moody, though, Two Lovers didn't strike me as a downer, for the simple reason that it wells with sights and sounds that are guaranteed to lift, not sink, the spirits.
    • 74 Metascore
    • 50 Anthony Lane
    What binds and clads the new movie most thoroughly, however, is not storytelling but the high pressure of atmosphere.
    • 74 Metascore
    • 80 Anthony Lane
    Joe
    Yet Joe, directed by David Gordon Green, succeeds. Although Green's resume has been as up and down as that of his leading man, his eye for decay has rarely blurred; and now, you sense, he has come to the right place. [14 April 2014, p.87]
    • The New Yorker
    • 73 Metascore
    • 50 Anthony Lane
    There are two drawbacks here. One is a shortage of superior zombies, although where one goes to rent extra zombies I have no idea...Second, we have a serious shortage of fright. [30 June 2003, p. 102]
    • The New Yorker
    • 73 Metascore
    • 90 Anthony Lane
    Rust and Bone might as well be called "Water and Light"; it glitters and flares with the urge to renew those things - limbs, knuckles, lovemaking, and parental bonds - which are easily fractured and lost.
    • 73 Metascore
    • 80 Anthony Lane
    There are passages of gravity and grace here that few other directors could unfurl. [27 Jan. 2014, p. 78]
    • The New Yorker
    • 73 Metascore
    • 40 Anthony Lane
    It makes “Yellow Submarine” look like a miracle of sober narrative.
    • 73 Metascore
    • 70 Anthony Lane
    It is one of those movies--Antonioni's "Red Desert" being the most flagrant example--that spend so much time brimming with moral and political suggestion that they almost forget to tell us what's actually going on.
    • 73 Metascore
    • 70 Anthony Lane
    No one could claim that the film is a distinguished contribution to cinema, but it would be churlish to resist its geniality and speed.
    • 73 Metascore
    • 70 Anthony Lane
    Turing will survive this film with his enigma intact, but the movie itself is the opposite of enigmatic, and Cumberbatch merits more.
    • 73 Metascore
    • 80 Anthony Lane
    What we glean from Belvaux’s trilogy is the reassurance (rare on film, with its terror of inattention) that people are both important and unimportant, and that heroes and leading ladies, in life as in art, can fade into extras before our eyes. [Note: From a review of the entire trilogy.] [2 February 2004, p. 94]
    • The New Yorker
    • 73 Metascore
    • 80 Anthony Lane
    The monologue that Goldblum delivers there, grand with illusion and larded with mouthfuls of canapes, is entirely delicious -- roguish and absurd, but lending the film a zest that it was in danger of losing. [17 March 2014, p.79]
    • The New Yorker
    • 73 Metascore
    • 70 Anthony Lane
    If Cars is something of a letdown, that is not because of the moral messages that it delivers but because of the heavy hand with which it cranks them out.
    • 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
    • 73 Metascore
    • 60 Anthony Lane
    I can't help wishing that Chabrol would, just once, cast off his own good narrative manners--do away with the irritations of a film like A Girl Cut in Two, which is never more than semi-plausible, and arrange his passions, as the elderly Buñuel did in "That Obscure Object of Desire," into shameless, surreal anagrams of wit and lust.
    • 73 Metascore
    • 50 Anthony Lane
    The movie, with spiderlike timidity, scuttles into a corner and freezes. [13 May 2002, p. 96]
    • The New Yorker
    • 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]
    • The New Yorker
    • 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]
    • The New Yorker
    • 72 Metascore
    • 70 Anthony Lane
    The latest showpiece for computer animation, with all the contoured, suspiciously gleaming perfection that this entails.
    • 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]
    • The New Yorker

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