Anthony Lane

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The New Yorker
For 1,119 reviews, this critic has graded:
  • 30% higher than the average critic
  • 2% same as the average critic
  • 68% lower than the average critic
On average, this critic grades 1.4 points lower than other critics. (0-100 point scale)

Anthony Lane's Scores

  • Movies
  • TV
Average review score: 64
Highest review score: 100 Amour
Lowest review score: 0 The Da Vinci Code
Score distribution:
  1. Positive: 614 out of 1119
  2. Mixed: 443 out of 1119
  3. Negative: 62 out of 1119
1119 movie reviews
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    • 66 Metascore
    • 70 Anthony Lane
    Mary Poppins Returns
    In short, those of us who pursue Mariolatry — the worship of all things Poppins — are free to delight in this film. Indeed, it shifts a little nearer than its predecessor did to the spiky, peppery briskness of Travers’s tales, and the whole enterprise exhales, as it should, an air of the politely mad.
    • 96 Metascore
    • 100 Anthony Lane
    Roma
    Roma is persuasive in its beauty. It wins you over. The face of Aparicio, in the leading role, is not placidly resigned but serene in its stoicism, and if she is less a participant than a bystander during the major convulsions of the era, well, few of us can claim to be much more.
    • 87 Metascore
    • 70 Anthony Lane
    If Beale Street Could Talk
    This interfamily clash, fizzing with one-upmanship, is the highlight of the film, and that’s the problem. The planets of the plot, as it were, are more exciting than the sun around which they revolve.
    • 67 Metascore
    • 60 Anthony Lane
    Vox Lux
    Personally, I reckon that Portman tips Vox Lux off balance. The simple act of drinking through a straw is turned into an embarrassing megaslurp.
    • 93 Metascore
    • 80 Anthony Lane
    Shoplifters
    The secrets unveiled in the movie’s second half are mostly wretched, and Kore-eda, in his steady and unhectoring way, is levelling grave accusations at Japanese social norms, yet what stays with you, unforgettably, is that bundle of mixed souls at the start.
    • 91 Metascore
    • 90 Anthony Lane
    The Favourite
    The good news about the new film from Yorgos Lanthimos, The Favourite, is that you are likely to emerge from it in good humor — bemused, or amused, or a mixture of the two.
    • 79 Metascore
    • 80 Anthony Lane
    The Ballad of Buster Scruggs
    It’s a mixed bunch, often flimsy, with deliberate lurches of tone, and the Coens, as ever, are unable (or unwilling) to decide whether barbarous bloodshed is something to be flinched from or cackled at. Yet I came away haunted by a scattering of sights and sounds.
    • 84 Metascore
    • 80 Anthony Lane
    Widows
    Widows, in other words, is a merger — of silliness and perspicacity, of conspiratorial gloom and surprising violence. (Even those who wield it can be taken aback.) So strong is the cast that it carries us over the gaps in the movie’s logic.
    • 59 Metascore
    • 70 Anthony Lane
    Outlaw King
    Among the Scots, look out for James Douglas (Aaron Taylor-Johnson), the bellow of whose triumphal rage is at once thrilling and scarcely human. For a few seconds, we forget that we are watching a well-mounted period drama about a minor regional conflict; a blood-thirst as basic as this feels horribly timeless.
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