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 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
    • 82 Metascore
    • 63 Joseph Jon Lanthier
    Shirley Clarke's portraiture eschews cohesive biography and often spirals off into lyrical dissonance.
    • 79 Metascore
    • 63 Joseph Jon Lanthier
    Though relentlessly and admirably logical, the movie constantly glosses over the buried human element.
    • 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.
    • 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
    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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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?
    • 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.
    • 46 Metascore
    • 38 Joseph Jon Lanthier
    Broadness this indolent hardly even stirs one to antipathy.
    • 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.
    • 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.