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

Joseph Jon Lanthier's Scores

  • Movies
Average review score: 63
Highest review score: 100 The Color Wheel
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.