Joseph Jon Lanthier
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For 61 reviews, this critic has graded:
  • 45% higher than the average critic
  • 6% same as the average critic
  • 49% lower than the average critic
On average, this critic grades 3.8 points higher than other critics. (0-100 point scale)

Joseph Jon Lanthier's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 Celine and Julie Go Boating (1974)
Lowest review score: 25 How to Start a Revolution
Score distribution:
  1. Positive: 39 out of 61
  2. Negative: 7 out of 61
61 movie reviews
    • 53 Metascore
    • 100 Joseph Jon Lanthier
    Much like the work of generational cohort Michael Robinson, Alex Ross Perry's films are steeped in a viscous cultural past.
    • 32 Metascore
    • 88 Joseph Jon Lanthier
    It lulls us into its reckless passivity to the point that even the comedic duds possess a languid hint of funny.
    • 68 Metascore
    • 88 Joseph Jon Lanthier
    Few recent studies of commercialized sex have been character profiles, so Rob Schröder and Gabrielle Provaas's documentary is an unusual and welcome polemic.
    • 79 Metascore
    • 88 Joseph Jon Lanthier
    Ross McElwee is less anxious of death itself than of finally comprehending the vast faultiness of the life he's lived.
    • 61 Metascore
    • 88 Joseph Jon Lanthier
    The film believes in maturity, but only as a freely continual process of acceptance.
    • 46 Metascore
    • 88 Joseph Jon Lanthier
    Tim Heidecker's Swanson does not amuse us in spite of the pity he inspires but because of it.
    • 91 Metascore
    • 88 Joseph Jon Lanthier
    The film's beguiling visual poetry and smatterings of sociological subtext function less than coherently as transitional markers between cinematic epochs, or even as the nascent burblings of any imminent DIY revolution; instead, they're redolent of a modernist apotheosis.
    • 87 Metascore
    • 88 Joseph Jon Lanthier
    The film is a conversation between two disadvantaged artists with indelible personalities, both of whom are unabashedly manipulating their way into at least the esoteric side of the everlasting.
    • 71 Metascore
    • 75 Joseph Jon Lanthier
    A uniquely passive reminder of the dangers of showering exotic creatures with anthropomorphic affection.
    • 68 Metascore
    • 75 Joseph Jon Lanthier
    Andrew Rossi's documentary allows The New York Times a kind of nail-biting self-portraiture as it peers off the precipice of (hopefully) a 2.0 rebirth.
    • 67 Metascore
    • 75 Joseph Jon Lanthier
    Throughout this American Graffiti-like Circadian shuffle, we can sense these characters coming to grips with human realities that they dare not vocalize.
    • 73 Metascore
    • 75 Joseph Jon Lanthier
    The faces of the culture - a group of nomadic Tibetans who raise yak and harvest caterpillar dung from ramshackle tents in the Chinese mountains - resist all but the most vague of ecological or political calls-to-action.
    • 67 Metascore
    • 75 Joseph Jon Lanthier
    Stefan Knüpfer's subtle charisma feels more suited to a beefily human New Yorker article than a documentary film.
    • 63 Metascore
    • 75 Joseph Jon Lanthier
    Volker Sattel takes us on a blank-eyed tour of the country's biggest plants (plus a few from Austria), exposing both the tenuous balance of precision and innovation that has provided 20th-century Western society with its most controversial power source.
    • 70 Metascore
    • 75 Joseph Jon Lanthier
    The film ends on a note of courage, and a call-to-action that we "remember," naturally, but we can't completely buy it: What Freidrichs has accomplished is a portrait of unknowability.
    • 53 Metascore
    • 75 Joseph Jon Lanthier
    The movie's final act tries, somewhat admirably, to consolidate the plot's myriad interpersonal conflicts.
    • 63 Metascore
    • 75 Joseph Jon Lanthier
    What keeps the documentary from lapsing entirely into a generic human-interest story superficially peppered with local color is, oddly enough, the slowness with which Parker's goals are achieved.
    • 66 Metascore
    • 75 Joseph Jon Lanthier
    Michel Ocelot's recent cartoons cleverly advance Lotte Reiniger's prototypical stop-motion technique into the digital age.
    • 70 Metascore
    • 75 Joseph Jon Lanthier
    In whittling down Emily Brontë's romance to its most earthly aspects, Andrea Arnold stylizes herself into an unavoidable corner.
    • 82 Metascore
    • 75 Joseph Jon Lanthier
    By favoring the repetition of gestures over plot or graphics, Don Hertzfeldt argues that animation is, at its essence, a kinetic rather than simply visual form of expression.
    • 76 Metascore
    • 75 Joseph Jon Lanthier
    Its meta-cinematic "think piece"-ness is redeemed by the slinky symmetries drawn between Massadian's own auteur-ship and the protagonist's narrative role.
    • 76 Metascore
    • 75 Joseph Jon Lanthier
    Writer-director Dan Sallitt's fourth feature moves with confident boldness from the incestuous gauntlet its prologue impishly hurls down.
    • 62 Metascore
    • 63 Joseph Jon Lanthier
    Farmageddon quite piquantly raises questions about the dim figures who determine what's suitable for national consumption, but it's more eloquently an ode to a group of dysfunctional, if essential, underground misfits.
    • 64 Metascore
    • 63 Joseph Jon Lanthier
    An affectionate, if uncomfortably stagnant, portrait of moribund rural culture.
    • 68 Metascore
    • 63 Joseph Jon Lanthier
    The most dramatic material, such as Victor DeNoble's much-applauded congressional testimony, more or less traffics common knowledge without bothering to provide fresh emotional context.
    • 65 Metascore
    • 63 Joseph Jon Lanthier
    Whatever the legitimate arguments Windfall makes against the industry it targets, Meredith's feuding becomes just as inaccessible as the windmills that incite it.
    • 63 Metascore
    • 63 Joseph Jon Lanthier
    An animated film with the cozy charm of an advertisement for Starbucks French Roast, A Cat in Paris is all design and no danger.
    • 67 Metascore
    • 63 Joseph Jon Lanthier
    The documentary discipline can't escape its own inherent intermediateness, or its own penchant for deception.
    • 43 Metascore
    • 63 Joseph Jon Lanthier
    The documentary veers between repetitive and didactic pronouncements of a call to inaction and more affectionately told stories about Koani's life as an "ambassador wolf" on the elementary school circuit.
    • 50 Metascore
    • 63 Joseph Jon Lanthier
    The specific narrative handicaps throughout are mostly too banal to warrant exegesis, though the choice of vintage pop tunes for dramatic underscoring is particularly grating.
    • 82 Metascore
    • 63 Joseph Jon Lanthier
    Shirley Clarke's portraiture eschews cohesive biography and often spirals off into lyrical dissonance.
    • 83 Metascore
    • 63 Joseph Jon Lanthier
    Accusation is the rhetoric of outrage, and Arnon Goldfinger can't bring himself to experience even conservative anger, regardless of its appropriateness.
    • 58 Metascore
    • 63 Joseph Jon Lanthier
    Its episodic nature poses a narrative challenge that director Josh Aronson's just barely feature-length documentary can't quite surmount.
    • 79 Metascore
    • 63 Joseph Jon Lanthier
    Though relentlessly and admirably logical, the movie constantly glosses over the buried human element.
    • 56 Metascore
    • 63 Joseph Jon Lanthier
    Even when Wagner & Me seems uneven as an art historical study, it's fairly successful as a travelogue.
    • 57 Metascore
    • 63 Joseph Jon Lanthier
    The plot willfully denies our satisfaction, often at the risk of compromising its own structural integrity.
    • 56 Metascore
    • 50 Joseph Jon Lanthier
    What's most disappointing about Romeo and Juliet in Yiddish is how it fails to deliver on the hybridizing NYC gimmickry of its title.
    • 49 Metascore
    • 50 Joseph Jon Lanthier
    Engendering an experience both visually slick and narratively sprawling, the apropos-of-nothing professionalism of Protektor often feels more like branding than filmmaking.
    • 60 Metascore
    • 50 Joseph Jon Lanthier
    The testimony we hear from suspects' neighbors and similarly curious media underlings feels muted, like a halfhearted repetition.
    • 63 Metascore
    • 50 Joseph Jon Lanthier
    Director Nathan Christ dithers between fashioning the film as a glossing study of metropolitan personality and a virtual advertisement for the groups included.
    • 49 Metascore
    • 50 Joseph Jon Lanthier
    Despite the fact that Goodall narrates the bulk of the material, there are scant details about her concrete contributions to animal and life science save for her observing of chimp-made tools.
    • 60 Metascore
    • 50 Joseph Jon Lanthier
    The movie is a curious blend of teacher-appreciation mandate and recruitment video, though it's not always clear at whom the narration's gravely spoken factoids are directed.
    • 63 Metascore
    • 50 Joseph Jon Lanthier
    Structurally lopsided, the narrative jumps directly into the success of their first molded-plywood chair, and meanders from there into the numerous short films the Eames Studio made for government agencies and IT companies.
    • 48 Metascore
    • 50 Joseph Jon Lanthier
    Part of the issue here may be the nature of the talking heads themselves, most of whom are culled from Trungpa's inner circle and lack the objectivity needed to properly judge his philosophy or make it accessible.
    • 40 Metascore
    • 50 Joseph Jon Lanthier
    Following the faux-opiate flecked suit of docs like One Fast Move or I'm Gone, The Beat Hotel can't quite rise above its obvious desire to appeal to the former demographic in spite of their apparently limited patience for historical exegesis.
    • 57 Metascore
    • 50 Joseph Jon Lanthier
    The movie is unsurprisingly devoted to peddling up-and-comer Chris Thiele as something daring, something new.
    • 44 Metascore
    • 50 Joseph Jon Lanthier
    Director Brian Lilla alternates between talking heads and animated graphics to elucidate first how dams work and, obligatorily, to put a human face on those who would be affected.
    • 66 Metascore
    • 50 Joseph Jon Lanthier
    Can a film be faulted for being too sympathetic toward its characters, for limning a milieu with extraneous humanism?
    • 33 Metascore
    • 50 Joseph Jon Lanthier
    The lack of plausible conflict mars the movie's highly commendable depiction of San Francisco as a the new porn capital.
    • 56 Metascore
    • 50 Joseph Jon Lanthier
    The lack of a strong expository voice further simplifies the wealth of explicit sex Walter Salles dramatizes, much of it drawn from juicy swathes of Jack Kerouac's only recently published original scroll.
    • 74 Metascore
    • 50 Joseph Jon Lanthier
    Its looseness adequately portrays Plimpton as an inwardly conflicted figure, but it fails to make much of a case for his legacy outside of The Paris Review's still-noticeable brand.
    • 55 Metascore
    • 38 Joseph Jon Lanthier
    Under the modern mannerisms lies a rather clumsily Romantic -- one might say Wordsworthian -- rant that juxtaposes urbanity against a nebulous, fictitious past.
    • 72 Metascore
    • 38 Joseph Jon Lanthier
    A maddeningly blunt and syrupy rendering of a piquant socio-economic configuration, Park Bong-Nam's Iron Crows is ultimately third-world documentary filmmaking at its most exploitatively surface-groping.
    • 46 Metascore
    • 38 Joseph Jon Lanthier
    Broadness this indolent hardly even stirs one to antipathy.
    • 53 Metascore
    • 38 Joseph Jon Lanthier
    Oh, the things that money can buy.
    • 57 Metascore
    • 38 Joseph Jon Lanthier
    A cheeky dream-drama about the friendship between a rich, white quadriplegic and a penurious black job-seeker, the premise of The Intouchables alone nearly renders analysis redundant.
    • 51 Metascore
    • 38 Joseph Jon Lanthier
    An uncommon example of purely allegorical cinema, Paul Fraser's film foregoes plot almost entirely in favor of thematic resonance.