For 583 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 The Kid with a Bike
Lowest review score: 0 The Da Vinci Code
Score distribution:
  1. Negative: 46 out of 583
583 movie reviews
    • 70 Metascore
    • 60 Anthony Lane
    This is the fifth movie to be written and directed by David Mamet, and it's his most bizarre one yet; people speak in that dreamy, lockjawed manner we first heard in "House of Games," and their entire lives appear to be lived under the spell of some nameless paranoia.
    • 70 Metascore
    • 50 Anthony Lane
    LaBute's attempt to follow in the footsteps of Restoration comedy is undercut by the fact that his dialogue is only fitfully funny, and you can't help but feel soured by the flat, ritualistic look of the action. The one enlivening performance comes, surprisingly, from Jason Patric.
    • 70 Metascore
    • 70 Anthony Lane
    Cedar Rapids is certainly a guys' movie, yet it leaves us with the unmistakable impression that men are simple engines. [28 Feb. 2011, p. 80]
    • The New Yorker
    • 69 Metascore
    • 80 Anthony Lane
    It runs roughly two and a half hours, and the intensity spikes with every fight; without Russell Crowe and Paul Giamatti, however, it would be flat on the canvas. They make it seem a better and more bristling film than it actually is.
    • 69 Metascore
    • 80 Anthony Lane
    Cold Souls has its flaws, and it threatens to sag into a Paul-like morbidity, but Giamatti’s anxious mien and unspectacular shamblings have never been better deployed.
    • 69 Metascore
    • 80 Anthony Lane
    Solondz will never be meek and mild, and there are spasms of shame and awkwardness here that will make even devoted viewers wince as sharply as ever. But the movie, his best to date, and a sequel of sorts to "Happiness," feels drenched in an unfamiliar sadness.
    • 69 Metascore
    • 80 Anthony Lane
    This mania is what Marvel followers have hungered for, and it would be fruitless to deny their delight. As Loki says to a crowd of earthlings, "It is the unspoken truth of humanity that you crave subjugation." We do, Master, we do.
    • 69 Metascore
    • 80 Anthony Lane
    Miraculously, he (Polanski) brightens the faded material, and conjures his most graceful work in years.
    • 69 Metascore
    • 80 Anthony Lane
    Whole passages of non-event stream by, and you half want to scream, and yet--damn it all--by the end of The New World the spell of the images, plus the enigma of Kilcher's expression (she is as sculpted as an idol, and every bit as amenable to worship), somehow breaks you down.
    • 69 Metascore
    • 70 Anthony Lane
    It packs political machination, helicopter gunships, single-malt whiskey, Las Vegas, Islamabad, naked butts, and eight years of war. The film, adapted from George Crile’s book, doesn’t always work, but it sure offers value for money.
    • 69 Metascore
    • 50 Anthony Lane
    The makers of “Wonder Boys,” Douglas’s finest hour, did more to maintain their distance, and their patience, and Solitary Man feels a touch small and sour by comparison. That said, its litany of character studies is more engaging than most of what you will see this summer.
    • 69 Metascore
    • 30 Anthony Lane
    The film is alive with bad rock bands and dizzying bit parts, the standout being Kieran Culkin, in the role of Scott's gay roommate, but we feel them gyrating around a hollow core.
    • 68 Metascore
    • 90 Anthony Lane
    Jones gets everything--the gestures, the generosity, the mean streak, the bending of the ear to recitals of woe, whether across a lunch table or a prison cell. He even nails the voice, like that of a chorister caught running a racket with the incense.
    • 68 Metascore
    • 70 Anthony Lane
    You cannot help being stirred by the reach and depth, the constant rebuffs to sloppiness, of a strong ensemble.
    • 68 Metascore
    • 80 Anthony Lane
    Jacky is not merely beefed up. He is a Minotaur in the making, and that, surely, is why his story becomes such a labyrinth. [27 Feb. 2012, p.87]
    • The New Yorker
    • 68 Metascore
    • 60 Anthony Lane
    The movie may be a grim warning against the perils of technology and its ability to spew alternative realities, but Cronenberg himself can hardly claim to have his feet firmly planted on the ground.
    • 68 Metascore
    • 30 Anthony Lane
    Streep can do anything. She is, of course, wasted on this elephantine fable; if only Doubt had been made in 1964, shot by Roger Corman over a long weekend, and retitled "Spawn of the Devil Witch" or "Blood Wimple," all would have been forgiven
    • 68 Metascore
    • 80 Anthony Lane
    That is the thing about Gibson, fool that he is in other ways: he has learned how to tell a tale, and to raise a pulse in the telling. You have to admire that basic gift, uncommon as it is in Hollywood these days.
    • 68 Metascore
    • 80 Anthony Lane
    What matters most about The Homesman, which Jones co-wrote and directed, is how willingly, and movingly, he cedes the stage to Hilary Swank, as Clint Eastwood did in “Million Dollar Baby.”
    • 68 Metascore
    • 70 Anthony Lane
    There is certainly a trill of suspense to be had from these ideological heists, but Weingartner’s movie is never quite as keen-edged as it hopes or needs to be.
    • 68 Metascore
    • 50 Anthony Lane
    Hearts and Minds, which gives no clue that atrocities were committed by the other side, and which allows Davis to cut from a rampaging football game, back home, to the Tet offensive, will be a lesson to anybody who thinks that Michael Moore invented the notion of documentary as blunderbuss.
    • 68 Metascore
    • 60 Anthony Lane
    For Your Consideration feels weirdly meek and mild, an unmighty wind that quickly blows itself out.
    • 68 Metascore
    • 50 Anthony Lane
    So rich is that visual yield, however, that it needs no verbal boost. Yet, from the moment that Margot says to Daniel, while sitting next to him on a plane, "I'm afraid of connections," the dialogue strains and grunts so hard for effect that it threatens to pull a muscle.
    • 68 Metascore
    • 60 Anthony Lane
    There are simply too many characters to get a handle on, and the sheer proliferation of special effects offers Singer a license so unfettered that most of the mutants act not according to their natures but purely on the ground of what, at that juncture, looks most groovy. [12 May 2003, p. 82]
    • The New Yorker
    • 68 Metascore
    • 10 Anthony Lane
    The general opinion of Revenge of the Sith seems to be that it marks a distinct improvement on the last two episodes, "The Phantom Menace" and "Attack of the Clones." True, but only in the same way that dying from natural causes is preferable to crucifixion.
    • 68 Metascore
    • 50 Anthony Lane
    It is no mean feat to make a boring film about Jesse James, but Andrew Dominik has pulled it off in style.
    • 68 Metascore
    • 70 Anthony Lane
    The Valet does not show Veber at his best. His palate for misunderstandings of every vintage is as refined as ever; what he has lost is his taste for human failing.
    • 68 Metascore
    • 50 Anthony Lane
    The narrative lacks a magnetic north; it encompasses so much, and the needle swings from Jeanne’s predicament to her mother’s dismay and to the support that comes from a celebrated Jewish lawyer, played by the ever-compelling Michel Blanc.
    • 68 Metascore
    • 70 Anthony Lane
    The invective energy of Four Lions and its Swiftian vision of a confederacy of dunces are never in doubt. The problem is one of form. [15 Nov. 2010, p.99]
    • The New Yorker
    • 68 Metascore
    • 60 Anthony Lane
    Most important, given that Onkalo will hide and bury just some of Finland's waste, what about everyone else's? [14 & 21 Feb. 2011, p. 139]
    • The New Yorker

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