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 Host
Lowest review score: 0 The Da Vinci Code
Score distribution:
  1. Negative: 46 out of 583
583 movie reviews
    • 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.
    • 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.
    • 46 Metascore
    • 50 Anthony Lane
    All movie adaptations of Nabokov fall short, by definition, but this one is the most graceful failure so far.
    • 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?
    • 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.
    • 62 Metascore
    • 50 Anthony Lane
    Skip Godzilla the movie. Watch the trailer.
    • 76 Metascore
    • 50 Anthony Lane
    Seems a touch too long, too airless, and too content with its own contrivances to stir the heart.
    • 50 Metascore
    • 50 Anthony Lane
    That is what kids will come away with, together with a dose of wishful thinking: the vague belief that, with good will and a foe from far away, all those feuding parties of the Wild West - the cowboys, the Indians, and the no-good rogues - could have settled their differences and got along just fine. Go tell it to Gary Cooper.
    • 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
    • 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.
    • 46 Metascore
    • 50 Anthony Lane
    The Last of Robin Hood, written and directed by Richard Glatzer and Wash Westmoreland, is often pallid and thin.
    • 67 Metascore
    • 50 Anthony Lane
    Clooney and company could have used Sturges - or, even better, Clifford Odets - when it came to rewrites. With all the betrayals and gassy ambitions swirling around here, we badly need dialogue to ignite the film, instead of which even the most aggressive spirits keep firing the dampest of lines.
    • 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.
    • 76 Metascore
    • 50 Anthony Lane
    Just creepy and unsavory at moments, but pleased to be so.
    • 82 Metascore
    • 50 Anthony Lane
    A minor work, but so menaced by distress that the characters take every opportunity to dance the dark away.
    • 54 Metascore
    • 50 Anthony Lane
    A slight and rueful affair, intermittently funny.
    • 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.
    • 61 Metascore
    • 50 Anthony Lane
    The ideas behind Enduring Love may be fascinating, but they don’t play; they sulk.
    • 62 Metascore
    • 50 Anthony Lane
    If I were a Turkish official, I would not be too worried by this picture. Nothing so slippery can stir up indignation. [18 November 2002, p. 104]
    • The New Yorker
    • 61 Metascore
    • 50 Anthony Lane
    Compare this film with "Mud," and you realize how desperately you cared about the fate of the boys in "Mud," whereas those in Vogt-Roberts's movie are often too listless and too plaintive to earn, let alone heighten, our anxiety. [3 June 2013, p.74]
    • The New Yorker
    • 44 Metascore
    • 50 Anthony Lane
    Shyamalan remains as coolly unstirred by sex as he was in his previous movies--an astounding indifference, given the historical entwining of eros and fright. Even more bizarre is the gradual draining of humor from his work; the anatomy of horror demands a tongue in the cheek to go with the baring of teeth, but much of The Village is a proud and sullen affair.
    • 51 Metascore
    • 50 Anthony Lane
    Anyone who soldiered through "The Expendables," two years ago, will be touched, and a little surprised, to learn that there is more to expend. [3 Sept. 2012, p.79]
    • The New Yorker
    • 54 Metascore
    • 50 Anthony Lane
    The result may be the oddest film of the season. It boasts an array of sublime backdrops and a yearning score, but the climate of feeling is anxious and inward, encapsulated in Stiller’s darting gaze, and the movie itself keeps glancing backward, at the lost and the obsolete.
    • 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.
    • 64 Metascore
    • 50 Anthony Lane
    It is possible to applaud Pacific Rim for the efficacy of its business model while deploring the tale that has been engendered — long, loud, dark, and very wet. You might as well watch the birth of an elephant.
    • 49 Metascore
    • 50 Anthony Lane
    One is forced to ask: who wants to make, or watch, a major Hollywood musical about mental block?
    • 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.
    • 61 Metascore
    • 50 Anthony Lane
    Boyle is genial, eager, and prolific, and his effusion has ignited films like "Trainspotting" and "Slumdog Millionaire," yet for every blaze that excites us there has been another that burns itself out without leaving a mark, let alone a scar, on our emotions. So it is with Trance. [8 April 2013, p.88]
    • 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
    • 49 Metascore
    • 50 Anthony Lane
    And that's it, really: two hours of loneliness, interleaved with havoc. The dialogue has been distilled to expletives and grunts. [16 Sept. 2013, p.74]
    • The New Yorker

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