For 585 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 585
585 movie reviews
    • 74 Metascore
    • 80 Anthony Lane
    You exit the cinema in a fever of melancholia, wondering how long it will take you to shed the sensation of alarm. The film is less of a shocker than an adventure in anxiety, testing and twisting some of the classic studies in infantile curiosity.
    • 97 Metascore
    • 80 Anthony Lane
    Mungiu’s pacing is so sure, however, in its switching from loose to taut, and the concentration of his leading lady so unwavering, that the movie, which won the Palme d’Or at last year’s Cannes Film Festival, feels more like a thriller than a moody wallow.
    • 85 Metascore
    • 80 Anthony Lane
    I prefer to think of Akin, however, not as a forger of patterns but as an ironist who understands that bad luck is a crucible, in the heat of which we are tested, burned away, or occasionally transformed. The Edge of Heaven is about something more exasperating than crossed paths; it is about paths that almost cross but don't, and the tragedy of the near-miss.
    • 91 Metascore
    • 80 Anthony Lane
    Ari Folman, the director of Waltz with Bashir, has made a movie so unusual that it overflows any box in which you try to contain it. Call it an adult psycho-documentary combat cartoon and you're halfway there.
    • 74 Metascore
    • 80 Anthony Lane
    However moody, though, Two Lovers didn't strike me as a downer, for the simple reason that it wells with sights and sounds that are guaranteed to lift, not sink, the spirits.
    • 81 Metascore
    • 80 Anthony Lane
    Consume with great caution, and with joy.
    • 69 Metascore
    • 80 Anthony Lane
    Cold Souls has its flaws, and it threatens to sag into a Paul-like morbidity, but Giamatti’s anxious mien and unspectacular shamblings have never been better deployed.
    • 76 Metascore
    • 80 Anthony Lane
    I have seen The Baader Meinhof Complex three or four times now, and, despite exasperation with its fissile form, I find it impossible not to be plunged afresh into this engulfing age of European anxiety.
    • 83 Metascore
    • 80 Anthony Lane
    The film is a hybrid. Its backdrop is despair, but the foreground action has the silvery zest of a comedy.
    • 77 Metascore
    • 80 Anthony Lane
    Get Low is deftly played, and it rarely mislays its ambling charm, but what a forbidding fable it could have been if the truth about Felix Bush, rather than emerging into sunlight, had slunk back into the woods.
    • 69 Metascore
    • 80 Anthony Lane
    Solondz will never be meek and mild, and there are spasms of shame and awkwardness here that will make even devoted viewers wince as sharply as ever. But the movie, his best to date, and a sequel of sorts to "Happiness," feels drenched in an unfamiliar sadness.
    • 76 Metascore
    • 80 Anthony Lane
    Not to warm to this movie would be churlish, and foodies will drool on demand.
    • 71 Metascore
    • 80 Anthony Lane
    This final film -- after so many dazzling studies of adultery, such as "La Femme Infidele (1969) -- is a touching and unfashionable hymn to married love. [1 Nov. 2010, p.121]
    • The New Yorker
    • 88 Metascore
    • 80 Anthony Lane
    The barbs of wit, delivered throughout, are like the retractable daggers used in stage productions of "Macbeth" or "Julius Caesar": they gleam enticingly, they plunge home to the hilt, but they leave no trace of a wound.
    • 81 Metascore
    • 80 Anthony Lane
    Nothing out of the ordinary happens in Blue Valentine, and that, together with the vital, untrammelled performances of the two leading actors, is the root of its power.
    • 74 Metascore
    • 80 Anthony Lane
    This is typical Suleiman, as anyone who saw his no less wondrous work "Divine Intervention" (2002), can testify.
    • 82 Metascore
    • 80 Anthony Lane
    Best of all -- and the only thing that has really made me laugh at the movies this year -- is a lengthy scene in which Coogan, inspired by the landscape, confesses his desire to star in a traditional costume drama. [13 & 20 June 2011, p. 128]
    • The New Yorker
    • 76 Metascore
    • 80 Anthony Lane
    What the writer and director, Sean Durkin, delivers here is not a cult film at all but something more troubled and insidious - a film about a cult.
    • 80 Metascore
    • 80 Anthony Lane
    Von Trier's latest fable is nothing without its blaze of majesty - or, as his detractors would say, its bombast.
    • 84 Metascore
    • 80 Anthony Lane
    In short, The Descendants is the latest exhibit in Payne's careful dissection of the beached male, which runs from Matthew Broderick's character in "Election" to Jack Nicholson's in "About Schmidt" and Paul Giamatti's in "Sideways."
    • 89 Metascore
    • 80 Anthony Lane
    The Artist is not just about black-and-white silent pictures. It is a black-and-white silent picture. And it's French.
    • 68 Metascore
    • 80 Anthony Lane
    Jacky is not merely beefed up. He is a Minotaur in the making, and that, surely, is why his story becomes such a labyrinth. [27 Feb. 2012, p.87]
    • The New Yorker
    • 52 Metascore
    • 80 Anthony Lane
    It is the greatest biblio-climax of any film since "Fahrenheit 451," although Truffaut's prayer was that reading might yet survive calamity and carry the torch of the civilized. Detachment snufffs out that faith; books it warns us, are the first thing to go. [19 March 2012, p.91]
    • The New Yorker
    • 82 Metascore
    • 80 Anthony Lane
    Inspiring though Marley is, however, it tends to deploy his music purely as an illustration of his life. Not once, as far as I could tell, do we watch a song being played straight through from beginning to end. [23 April 2012, p.82]
    • The New Yorker
    • 69 Metascore
    • 80 Anthony Lane
    This mania is what Marvel followers have hungered for, and it would be fruitless to deny their delight. As Loki says to a crowd of earthlings, "It is the unspoken truth of humanity that you crave subjugation." We do, Master, we do.
    • 72 Metascore
    • 80 Anthony Lane
    Headhunters is admirably swift in style, and dangerously silly in what it begs us to swallow, but at its heart is a consummate depiction of a permanent type - the proud and prickly male, thrown back on his desperate wits. Small may not be beautiful, but it lives.
    • 84 Metascore
    • 80 Anthony Lane
    Anderson's great gift is to catch the generations as they intersect. [4 & 11 June 2012, p 132]
    • The New Yorker
    • 77 Metascore
    • 80 Anthony Lane
    The result feels, like Shakespeare's play, at once ancient and dangerously new.
    • 79 Metascore
    • 80 Anthony Lane
    Strangest of all, we go along with it in a sort of dream, scarcely pausing to complain, so expert is Mungiu at drawing us into the fold of these passionate souls. [8 March 2013, p.80]
    • The New Yorker
    • 58 Metascore
    • 80 Anthony Lane
    Stroker slips down the gullet with less fuss, but there are enough blood sprays and snapped vertebrae to pacify the director's clamorous fan club -- and, for the rest of us, plenty of chances to reconsider his style. It is, unquestionably, something to behold. [8 March 2013, p.80]
    • The New Yorker

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