For 569 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 Host
Lowest review score: 0 The Da Vinci Code
Score distribution:
  1. Negative: 46 out of 569
569 movie reviews
    • 67 Metascore
    • 50 Anthony Lane
    How can one defend this prolonged mumble of a motion picture? Well, some of the motion has a hypnotizing grace.
    • 51 Metascore
    • 50 Anthony Lane
    Much of the dialogue is scissor-sharp--you would expect no less of Marber, who wrote "Closer"--but he is up against blunt and obvious material.
    • 64 Metascore
    • 50 Anthony Lane
    What ensues is a devout communal effort, tricked out with various hops through time and space, to make us forget that it was a piece of theatre in the first place. Needless to say, the attempt is in vain.
    • 39 Metascore
    • 50 Anthony Lane
    The movie takes time to warm up, it weakens into soppiness at the end, and the game itself, if you think it through, makes very little sense.
    • 44 Metascore
    • 50 Anthony Lane
    Deep and Morton are really flying here (the scene in which the hero instructs the heroine in the passionate possibilities of her art), and they leave the rest of the film looking heavy on its feet. The second half, especially, grows dour and maundering, and by the end the movie seems to flail in desperation, more like a work in progress than like a finished piece.
    • 75 Metascore
    • 50 Anthony Lane
    The problem with any allegorical plan, Christian or otherwise, is not its ideological content but the blockish threat that it poses to the flow of a story.
    • 60 Metascore
    • 50 Anthony Lane
    For all its technical sophistication, this movie is as blaring and unambiguous as a picture book for the very young.
    • 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.
    • 87 Metascore
    • 50 Anthony Lane
    There is something willed and implausible at the heart of L’Enfant, beginning with the child himself--the first non-crying, non-hungry infant in human history, let alone in cinema.
    • 53 Metascore
    • 50 Anthony Lane
    Lucky Number Slevin is a bag of nerves. Everything here is too much. The older the actors, the saltier the ham of their performances.
    • 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?
    • 61 Metascore
    • 50 Anthony Lane
    This, to put it mildly, is new terrain for Macy, and his journey--from Arthur Miller, as it were, to Céline and Dostoyevsky--does not always convince.
    • 62 Metascore
    • 50 Anthony Lane
    In the end, the problem with Conversations with Other Women is not that it pulls an ordinary romance into unfamiliar shapes but that it doesn't pull far enough. It may be dotted with fine observations, yet somehow the charm of its novelty grows stale, and the airless feeling of a closed set begins to fester.
    • 70 Metascore
    • 50 Anthony Lane
    A frantic and funny diversion, but it pales and tires before its time is up. It doesn't know the meaning of enough.
    • 51 Metascore
    • 50 Anthony Lane
    The movie may have significant truths to impart, although I have my doubts, but it feels too inexperienced, too unworldly, to have earned the right to them.
    • 49 Metascore
    • 50 Anthony Lane
    How, then, does The Good German--adapted by Paul Attanasio from Joseph Kanon's novel--wind up so insubstantial, its impact lasting no longer than a cigarette?
    • 54 Metascore
    • 50 Anthony Lane
    A slight and rueful affair, intermittently funny.
    • 64 Metascore
    • 50 Anthony Lane
    The film is nonsense, and what counts is whether viewers will feel able to lay aside their logical complaints and bask in what remains: a trip in search of a tan.
    • 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.
    • 59 Metascore
    • 50 Anthony Lane
    Gray would have been happiest, I guess, to make movies in the nineteen-seventies, and this one feels much closer to 1975 than to 1988; he could certainly use a seventies audience to watch his movies now--one that could be trusted not to grumble about his slow, unexcitable fades.
    • 57 Metascore
    • 50 Anthony Lane
    As daft, outlandish, and speedy as it needs to be, and, for all its newfangled effects, touchingly old-fashioned in its reverence for the Jules Verne novel that inspired it.
    • 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.
    • 64 Metascore
    • 50 Anthony Lane
    In Holdridge's movie there is as much to repel as there is to allure, and I cannot imagine leaving a screening of it in anything less than two minds.
    • 47 Metascore
    • 50 Anthony Lane
    It's a shame, then, that the later stages of Lakeview Terrace should overheat and spill into silliness. The plot is compromised, not resolved, by the pulling of a gun.
    • 53 Metascore
    • 50 Anthony Lane
    This film's got EVERYTHING, although purists might quibble that it lacks any sliver of plausibility or dramatic interest.
    • 82 Metascore
    • 50 Anthony Lane
    A minor work, but so menaced by distress that the characters take every opportunity to dance the dark away.
    • 67 Metascore
    • 50 Anthony Lane
    There has long been a strain of sorry lassitude in Kaufman's work, and here it sickens into the morbid.
    • 64 Metascore
    • 50 Anthony Lane
    Che
    It would be comforting, and tidy, to suggest that the director had waited all his life for the chance to make this film, as if it meant everything to him; yet I still have no idea what truly quickens his heart, and at some level, for all the movie’s narrative momentum, Che retains the air of a study exercise--of an interest brilliantly explored. How else to explain one's total flatness of feeling at the climax of each movie?
    • 56 Metascore
    • 50 Anthony Lane
    What makes Valkyrie more depressing than exciting is that it forces you to ask, against your judgment, what, exactly, he achieved.
    • 63 Metascore
    • 50 Anthony Lane
    The only person who wakes the movie from its slumbers is Emily Blunt. She gets a nothing role as a publicist, and makes something both sultry and casual out of it.

Top Trailers