For 565 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 The Kid with a Bike
Lowest review score: 0 The Da Vinci Code
Score distribution:
  1. Negative: 46 out of 565
565 movie reviews
    • 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]
    • The New Yorker
    • 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]
    • The New Yorker
    • 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.
    • 57 Metascore
    • 50 Anthony Lane
    The year's most divided movie to date; everything that happens in the higher realms, vaguely derived from Nordic legend, is posturing nonsense, whereas the scenes down here are managed, for the most part, with dexterity and wit. [16 May 2011, p. 133]
    • The New Yorker
    • 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.
    • 65 Metascore
    • 50 Anthony Lane
    As with Spielberg's "Munich," there is an awkward, irresoluble tension between the movie's urge to thrill and the weighty pull of the historical obligations that it seeks to assume. How much, to be blunt, should we be enjoying ourselves? What do we owe to The Debt? Whatever the sum, it is more than the film itself, gloomy with unease, seems able to repay.
    • 78 Metascore
    • 50 Anthony Lane
    Having delighted in the doominess of Drive, as its journey began, I ended much less joyful than repelled.
    • 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.
    • 72 Metascore
    • 50 Anthony Lane
    Fassbender, who was, frankly, much sexier and more devilish in "X-Men: First Class," is required to spend much of his time staring with blank intensity into the middle distance.
    • 61 Metascore
    • 50 Anthony Lane
    The performances are lusty and concerted, but they remain just that - performances, of the sort that may make you feel you should stagger to your feet at the end and applaud. If so, resist.
    • 85 Metascore
    • 50 Anthony Lane
    The new film will recruit new friends to the cause; but if we seek George Smiley and his people, with their full complement of terrors, illusions, and shames, we should follow the example of the ever-retiring Smiley, and go back to our books. That's the truth.
    • 76 Metascore
    • 50 Anthony Lane
    The whole film, in fact, which Pitts wrote and directed, lurks on the borders of the unspecified. That is the source of its cool, but also of its sullen capacity to annoy.
    • 55 Metascore
    • 50 Anthony Lane
    Some sign of mental reach would have been welcome, even if it extended only as far as their children. Indeed, given the title, it's remarkable how little space is granted to the offspring, who are introduced as excretory machines, sex-blocking irritants, and occasional simpering angels, but never as beings unto themselves. Any parents who see this movie should be warned about the final score: Friends 6, Kids 0.
    • 64 Metascore
    • 50 Anthony Lane
    Spurlock's documentary will tell you how, and whether, you should join the pilgrimage. Because I have never watched "Battlestar Galactica," and because of my absurd reluctance to dress up as Wonder Woman, I wouldn't last five minutes. [23 April 2012, p. 82]
    • The New Yorker
    • 47 Metascore
    • 50 Anthony Lane
    Why, as a patron of Rock of Ages, do I wish I had taken the precaution of entering the theater drunk? [25 June 2012, p.84]
    • The New Yorker
    • 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.
    • 62 Metascore
    • 50 Anthony Lane
    Even if you like your movies sick and black, as many people do, it's hard to miss the irony: in the very act of trying to intensify his Southern tale, Friedkin dilutes the impact.
    • 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

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