Joseph Jon Lanthier

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For 81 reviews, this critic has graded:
  • 49% higher than the average critic
  • 4% same as the average critic
  • 47% lower than the average critic
On average, this critic grades 2.7 points higher than other critics. (0-100 point scale)

Joseph Jon Lanthier's Scores

  • Movies
  • TV
Average review score: 67
Highest review score: 100 The Color Wheel
Lowest review score: 25 How to Start a Revolution
Score distribution:
  1. Positive: 57 out of 81
  2. Negative: 7 out of 81
81 movie reviews
    • 75 Metascore
    • 88 Joseph Jon Lanthier
    By examining the relationship between Samson and Delilah through the wrong end of the telescope, Thorton soaks in the arid, unaccommodating surroundings with occasionally oxymoronic lucidity.
    • 90 Metascore
    • 75 Joseph Jon Lanthier
    Despite all this macabre torment, It's Such a Beautiful Day involves a lot of sweet, plucky humor that represents a discreet softening of the angry sarcasm for which Hertzfeldt has become known.
    • 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.
    • 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.
    • 57 Metascore
    • 63 Joseph Jon Lanthier
    The plot willfully denies our satisfaction, often at the risk of compromising its own structural integrity.
    • 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.
    • 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.
    • 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.
    • 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
    • 63 Joseph Jon Lanthier
    Even when Wagner & Me seems uneven as an art historical study, it's fairly successful as a travelogue.
    • 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.
    • 79 Metascore
    • 63 Joseph Jon Lanthier
    Though relentlessly and admirably logical, the movie constantly glosses over the buried human element.
    • 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.
    • 61 Metascore
    • 88 Joseph Jon Lanthier
    The film believes in maturity, but only as a freely continual process of acceptance.
    • 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.
    • 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.
    • 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.
    • 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.
    • 66 Metascore
    • 75 Joseph Jon Lanthier
    Michel Ocelot's recent cartoons cleverly advance Lotte Reiniger's prototypical stop-motion technique into the digital age.
    • 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.
    • 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
    • 50 Joseph Jon Lanthier
    Can a film be faulted for being too sympathetic toward its characters, for limning a milieu with extraneous humanism?
    • 82 Metascore
    • 63 Joseph Jon Lanthier
    Shirley Clarke's portraiture eschews cohesive biography and often spirals off into lyrical dissonance.
    • 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.
    • 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.
    • 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.
    • 67 Metascore
    • 63 Joseph Jon Lanthier
    The documentary discipline can't escape its own inherent intermediateness, or its own penchant for deception.
    • tbd Metascore
    • 63 Joseph Jon Lanthier
    After 30 minutes or so, Gonçalo Tocha's anthropological proposition slides into dubiousness.
    • 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.

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