For 571 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: 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 571
571 movie reviews
    • 66 Metascore
    • 60 Anthony Lane
    It's all very well to satirize perfect white females, but if you're sick of their attitudes why single them out as protagonists in the first place? What happened to the Asian Nerds? Or the Unfriendly Black Hotties? Or the tired teachers? Why can't we see a movie about them? [10 May 2004, p. 108]
    • The New Yorker
    • 65 Metascore
    • 60 Anthony Lane
    The Nichols of 1971 was bold and speedy, keeping pace with Jack Nicholson's contempt, whereas the more civilized Nichols of 2004 seems a beat behind the lines, waiting for peace or charity to break out. They never do.
    • 65 Metascore
    • 60 Anthony Lane
    Jeffrey Caine and Bruce Feirstein's script promises more fun than it delivers, slowly frittering away its store of jokes and thrills.
    • 63 Metascore
    • 60 Anthony Lane
    The writer and director, Jeremy Leven -- himself a former shrink -- has taken a heavy conceit and lightened it into comedy, which is what it deserves.
    • 66 Metascore
    • 60 Anthony Lane
    The movie is as smooth and deadening as a quart of old whiskey, and every bit as depressing as it was meant to be. But why do it at all? [23 Nov. 1994]
    • The New Yorker
    • 65 Metascore
    • 60 Anthony Lane
    At best, I Love You Phillip Morris may be hailed as a necessary step in Hollywood's fearful crawl toward sexual evenhandedness; the film upholds the constitutional right of every gay man to be as much of a liar, a crook, and a creep as the rest of us. Makes you proud.
    • 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.
    • 75 Metascore
    • 60 Anthony Lane
    The movie's problem begins as you lift up your eyes to the hills. In Chekhov these are craggy and hostile, a fitting backdrop to the dried-out souls who dwell below, but Dover Koshashvili's film lingers on green slopes. They suggest fruition and escape, whereas for Laevsky, the eternally stifled dreamer, there should be no way out.
    • 64 Metascore
    • 60 Anthony Lane
    If you fancy a modern "Marty," with the old warmth muffled by unfriendly snow, go right ahead. [20 Sept. 2010, p.121]
    • The New Yorker
    • 79 Metascore
    • 60 Anthony Lane
    The Fighter, for all the dedication of its players, takes a heavy swing at us, and misses.
    • 55 Metascore
    • 60 Anthony Lane
    Much of Sutcliff's most charged material - the chariot scene, a wolf cub that Marcus rears - is omitted from the movie, and once he and Esca embark on their quest the sense of action grows listless, and our heroes start to seem anxious, wet, and bored. [14 & 21 Feb. 2011, p. 138]
    • The New Yorker
    • 66 Metascore
    • 60 Anthony Lane
    There are joyous moments when we share Peter's point of aerial view.
    • 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
    • 66 Metascore
    • 60 Anthony Lane
    Marling is the star, and the core of the film's concern. She also co-wrote it with the director, Mike Cahill, yet the result comes across not as a vanity project but as a sobering study of the thoroughly dazed and confused, with a mind-ripping final shot.
    • 58 Metascore
    • 60 Anthony Lane
    "All good stories deserve embellishment," Gandalf says to Bilbo before they set off, and one has to ask whether the weight of embellishment, on this occasion, makes the journey drag, and why it leaves us more astounded than moved. And yet, on balance, honor has been done to Tolkien, not least in the famous riddle game between Bilbo and Gollum.
    • 61 Metascore
    • 60 Anthony Lane
    Diesel, of course, slots into the Fast and Furious films as neatly as a dip-stick. Not only does his name remind you of the stuff you pump into a car; when he opens his mouth, he actually sounds like a car. [3 June 2013, p.74]
    • The New Yorker
    • 83 Metascore
    • 60 Anthony Lane
    Why, then, do we not feel bullied by the result? Partly because the camera, as I say, tells a subtler tale than the dialogue does, and lures us into a grudging respect for the bravado of Muse and his men; but mainly because of Tom Hanks. This most likable of actors deliberately presents us with a character who makes no effort to be liked.
    • 64 Metascore
    • 60 Anthony Lane
    What is most disconcerting about Dominik's film is his choice of rhythm. We pass from reams of conversation, or cantankerous monologue, to throes of extreme violence, then back to the flood of words - most of them to do with buying, selling, slaying, whoring, or doing time.
    • 83 Metascore
    • 60 Anthony Lane
    As a rule, movies about toys need to be approached with extreme caution; some of them have been bad enough to count as health hazards. This one is the exception.
    • 67 Metascore
    • 60 Anthony Lane
    Is the movie fun? Yes, for half the time. An hour would have sufficed. [24 June 2013, p.84]
    • The New Yorker
    • 55 Metascore
    • 60 Anthony Lane
    One has to ask: does it allow for immersion? Even as we applaud the dramatic machinery, are we being kept emotionally at bay? [29 Oct. & 5 Nov. 2012, p.128]
    • The New Yorker
    • 62 Metascore
    • 60 Anthony Lane
    Even when the male of the species tries to do better, he does his worst; and the most merciless verdict in Klown is delivered not by the law, or by fate, but by the eyes of women.
    • 63 Metascore
    • 60 Anthony Lane
    Who will stay with this film, and glorify it? Two sorts, I reckon: real revellers, randy for sensation, out of their heads; and, a block away, coffee-drinking Ph.D.s, musing on the cinema of alienation, too lost inside their heads to break for spring. [25 March 2013, p.108]
    • The New Yorker
    • 76 Metascore
    • 60 Anthony Lane
    In short, there are moments, in this very uneven film with its lamination of the ancient and the monstrously new, when the spirit of Fellini hovers overhead like a naughty angel. [25 March 2013, p.109]
    • The New Yorker
    • 52 Metascore
    • 60 Anthony Lane
    You can love the look of the movie and still not believe a single word of it. To be fair, the climax is surprisingly touching; somehow, the residents of this cooked-up tale manage to earn our pity and support.
    • 50 Metascore
    • 60 Anthony Lane
    All this leaves The Zero Theorem looking both disorderly and stuck. And yet, to my surprise, on returning for a second viewing I found myself moved by the film — by the very doggedness with which it both hunts for and despairs of meaning.
    • 46 Metascore
    • 60 Anthony Lane
    The saddest thing about If I Stay is that it affords Moretz so little opportunity to be non-sad.
    • 72 Metascore
    • 60 Anthony Lane
    Time and again, as it comes to the next stage of deterioration or distress, it flinches. Try laying it beside Michael Haneke’s “Amour,” which shows the effect of a stroke on an elderly woman, no less refined than Alice, and on her loved ones. Haneke knows the worst, and considers it his duty to show it; Glatzer and Westmoreland want us to know just enough, and no more.
    • 65 Metascore
    • 50 Anthony Lane
    He can follow any train of thought, so he does, and it’s no surprise when the trains run out of steam.
    • 63 Metascore
    • 50 Anthony Lane
    Cera can be winning enough, with his flat-toned goofiness, in films like "Superbad," but there's only just enough of the guy to fill out one dramatis persona; two at once prove to be beyond him. [11 Jan. 2010, p.83]
    • The New Yorker

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