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 1.8 points higher than other critics. (0-100 point scale)

Anthony Lane's Scores

  • Movies
Average review score: 61
Highest review score: 100 E.T.: The Extra-Terrestrial (re-release)
Lowest review score: 0 The Da Vinci Code
Score distribution:
  1. Negative: 46 out of 547
547 movie reviews
    • 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.
    • 56 Metascore
    • 50 Anthony Lane
    As I took off my gray-lensed 3-D spectacles at the end of Monsters vs. Aliens, I felt not so much immersed as fuzzy with exhaustion. What I had seen struck me less as a herald of shining possibility than as a thrill ride back to the future--back, that is, to an idea of the future, and a stale one at that.
    • 41 Metascore
    • 50 Anthony Lane
    As it is, the movie's lethal climax, with its vague protest against corporate control--and hence in favor of art, music, drugs, or whatever--feels like a poor theft from a more conventional film.
    • 55 Metascore
    • 50 Anthony Lane
    You can’t deny the smiling mood that wafts through the film like incense, and to that extent it honors the original three days; but not once does a character’s show of feeling stir you, send you, or stop you in your tracks, and the loss is unsustainable.
    • 83 Metascore
    • 50 Anthony Lane
    By the end of the film, you just want to get away from these people.
    • 65 Metascore
    • 50 Anthony Lane
    Too much of the film feels like one of Balsan’s house parties: undriven, indulgent, quite at ease.
    • 49 Metascore
    • 50 Anthony Lane
    It would be a shock if Antichrist had turned out to be anything but shocking.
    • 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.
    • 76 Metascore
    • 50 Anthony Lane
    Seems a touch too long, too airless, and too content with its own contrivances to stir the heart.
    • 49 Metascore
    • 50 Anthony Lane
    One is forced to ask: who wants to make, or watch, a major Hollywood musical about mental block?
    • 64 Metascore
    • 50 Anthony Lane
    From the start, it feels handsome, steady, and stuck; the ties that bind the historical bio-pic are no looser than those which constrain a royal personage, and the frustration to which Victoria would later admit is legible in the face of Emily Blunt, who takes the title role.
    • 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]
    • 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.
    • 66 Metascore
    • 50 Anthony Lane
    The standard defense of such material is that we are watching “cartoon violence,” but, when filmmakers nudge a child into viewing savagery as slapstick, are we not allowing them to do what we condemn in the pornographer--that is, to coarsen and inflame?
    • 85 Metascore
    • 50 Anthony Lane
    As a study in prankhood, this Banksy film can’t touch “F for Fake,” Orson Welles’s 1974 movie about an art forger. Welles both conspired with his untrustworthy subject and held him at arm’s length, like a conjurer with his rabbit, and you came out dazzled by the sleight, whereas Exit Through the Gift Shop feels dangerously close to the promotion of a cult--almost, dare one say it, of a brand.
    • 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.
    • 80 Metascore
    • 50 Anthony Lane
    I know that we are meant to be drawn into the undergrowth of these ordinary lives, and the long tale is neatly split into four symbolic seasons;...But do they and their fellow-Brits honestly swell the heart, or do they grate, exasperate, and finally grind us down?
    • 37 Metascore
    • 50 Anthony Lane
    A lot more fun than bludgeoning, soul-draining follies like "Terminator Salvation" or the "Transformers" films, and, with a decisive trim, it could truly have fulfilled its brief as a bright, semi-abstract pop fantasy, at once excitable and disposable. Oddly, it did once exist in that form: in the first trailer.
    • 50 Metascore
    • 50 Anthony Lane
    The trouble with Super, as with "Kick-Ass," is that the director wants to have his cake, put a pump-action shotgun up against the frosting, blast vanilla sponge over a wide area, and THEN eat it. [4 April, 2011, p. 83]
    • 55 Metascore
    • 50 Anthony Lane
    In The Conspirator, one wishes that the director had found the grace to touch upon, rather than belabor, the parallels between the conspirators of 1865 and the present-day inmates of Guantánamo.