Anthony Lane

Anthony Lane

Agrees with the Tomatometer 70% of the time.

Publications:
New Yorker
Total Reviews:
518

Listing Of All Reviews & Articles

Showing 1 - 50 of 518
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Rating T-Meter Title | Year Add Date
91% Venus in Fur (2014) " Ever the alchemist, Roman Polanski continues his quest for the process whereby theatre is transmuted and reforged into film." — New Yorker
Posted Jun 30, 2014
54% Jersey Boys (2014) " Christopher Walken plays a gangster who can fix anything; maybe he should have taken charge of the film." — New Yorker
Posted Jun 30, 2014
33% A Million Ways to Die in the West (2014) " The one person who gets the balance right, weighing parody and homage, is the composer, Joel McNeely, whose opening theme stirs hopes and memories that the movie cannot match." — New Yorker
Posted Jun 16, 2014
49% Maleficent (2014) " As for the screenplay, by Linda Woolverton, it treads carefully, and all too kindly, in the footsteps of "Wicked" ..." — New Yorker
Posted Jun 16, 2014
71% Léon: The Professional (1994) " The most objectionable thing is Gary Oldman's performance, baroque in its awfulness. Almost as bad is the director's attempt to construct a visual style -- and, for that matter, characters -- by piling one mannerism on top of another." — New Yorker
Posted Jun 4, 2014
97% We Are the Best! (2014) " There just aren't enough films about teen-age girl punk bands made by left-wing feminist Swedish Christian males." — New Yorker
Posted Jun 2, 2014
25% Pearl Harbor (2001) " The effect of watching a Michael Bay film is indistinguishable from having a large, pointy lump of rock drop on your head. His new picture, Pearl Harbor, maintains the mood." — New Yorker
Posted May 28, 2014
74% Godzilla (2014) " The beasts just want to have fun, but the gravest letdown in Edwards's film is that, most of the time, he fends off the chance to have fun himself." — New Yorker
Posted May 16, 2014
88% Chef (2014) " Worst of all are the tweets that pop up onscreen and then fly away, chirruping... This digital worship, unlike the food, is flavorless and dehumanizing, and in a few years' time it will look archaic. For now, it spoils the appetite." — New Yorker
Posted May 6, 2014
94% Ida (2014) " This is solemn filmmaking, devoutly restrained and unshakably purposeful. We expect its austerity to fend us off, but no; it gathers us in and forbids us to look away." — New Yorker
Posted May 6, 2014
89% Locke (2014) " The movie's greatest asset by far is Hardy, whose rich, unflappable tones, even in times of high emotional pressure, bear a distinct echo of Richard Burton ..." — New Yorker
Posted May 5, 2014
74% Young & Beautiful (Jeune Et Jolie) (2014) " The result is both bracing and exasperating ..." — New Yorker
Posted May 5, 2014
73% Neighbors (2014) " It's a promising setup, but it gets frittered away-partly by narrative laziness (the involvement of other neighbors is dismissed out of hand) but mainly by a flaccid belief in the power of the gross-out." — New Yorker
Posted May 5, 2014
53% The Amazing Spider-Man 2 (2014) " Despite the efforts of Electro, the franchise is running shockingly low on juice." — New Yorker
Posted May 5, 2014
86% Heat (1995) " The taciturn De Niro and the braying Pacino share a flawless scene over a cup of coffee, but the real honors go to Val Kilmer and Ashley Judd as a warring, loving couple." — New Yorker
Posted Apr 29, 2014
93% The Great Escape (1963) " This is a Boys' Own Tale, and, as boys, we wanted it, cleansed of horrors, for ourselves." — New Yorker
Posted Apr 23, 2014
94% Fargo (1996) " A few scenes go around in circles, as if snow-blind, and the humor may be too inward and contorted for some tastes. But McDormand brings order to the weirdness and warms it up." — New Yorker
Posted Apr 21, 2014
92% The Tragedy of Othello: The Moor of Venice (Othello) (1952) " There is no excuse not to see it." — New Yorker
Posted Apr 21, 2014
85% Only Lovers Left Alive (2014) " Has undoubted panache, and wit to spare, especially when Swinton is in the frame." — New Yorker
Posted Apr 14, 2014
88% Amélie (2001) " How far should we trust a plea for benevolence when it feels like a box of tricks?" — New Yorker
Posted Apr 9, 2014
87% Far From Heaven (2003) " With tact and care, the movie digs into all the subjects that lay concealed below the surface when Max Ophuls and Douglas Sirk were filming their own melodramas in the nineteen-fifties." — New Yorker
Posted Apr 1, 2014
95% Finding Vivian Maier (2014) " An unlikely tale, well told." — New Yorker
Posted Mar 31, 2014
63% The French Minister (2014) " The films of Bertrand Tavernier have often been fringed with humor, of a rueful kind; now, in his seventies, and in a rousing rebuke to tranquillity, he has turned to farce." — New Yorker
Posted Mar 31, 2014
86% Under the Skin (2014) " Glazer is nothing if not ambitious; the rough edge of naturalism, on the streets, slices into the more controlled and stylized look of science fiction, and the result seems both to drift and to gather to a point of almost painful intensity." — New Yorker
Posted Mar 31, 2014
92% Memento (2000) " The young British writer and director Christopher Nolan, who has every intention of putting us through the mill, doubles his fun by running the whole story backward." — New Yorker
Posted Mar 26, 2014
89% Rushmore (1998) " Schwartzman is cautious but stubbornly optimistic, while Murray is possessed by the mania of near-despair... They make the best and most disconcerting odd couple that American movies have produced in a long while." — New Yorker
Posted Mar 17, 2014
89% Le Week-End (2014) " It's easy to tire (if not despair) of them, but both lead actors are in fine sparring form, and the story is rescued and revived, just in time, by a delectable cameo from Jeff Goldblum." — New Yorker
Posted Mar 17, 2014
74% Enemy (2014) " The movie sticks to you ... and the ending is strange and sudden enough to make you revise, or interrogate, all that has come before." — New Yorker
Posted Mar 17, 2014
81% The Royal Tenenbaums (2002) " Each character, as ever, is tucked into a shell of his or her obsessions, and yet the filming itself -- the grace of Anderson's draftsmanship, as it were -- binds the figures together into a team." — New Yorker
Posted Mar 4, 2014
96% The LEGO Movie (2014) " As a rule, movies about toys need to be approached with extreme caution; some of them have been bad enough to count as health hazards. This one is the exception." — New Yorker
Posted Mar 3, 2014
91% Omar (2014) " A fraught film ..." — New Yorker
Posted Mar 3, 2014
91% High Fidelity (2000) " When happiness does arrive in this movie, it has the air not of something that you reach, like your top speed, but of something that you give in to, like baldness or old age." — New Yorker
Posted Feb 10, 2014
97% The Last of the Unjust (2014) " A startling double portrait of the will to endure." — New Yorker
Posted Feb 10, 2014
93% Eat Drink Man Woman (Yin shi nan nu) (1994) " That guarantee of good taste is, finally, a bit of a downer; there are plenty of surprises, but no hint of risk." — New Yorker
Posted Feb 3, 2014
87% Like Father, Like Son (2014) " What stays with you ... is the unlikely shadow of loss, not least in the hearts of the boys' mothers: how can a loving child, even the "wrong" one, be let go?" — New Yorker
Posted Jan 27, 2014
97% The Selfish Giant (2013) " Much of the movie is hard to bear, yet it never drags, thanks to the momentum that Barnard finds in the fable, and, above all, to the energy that she unleashes in her young leads." — New Yorker
Posted Jan 13, 2014
33% Labor Day (2014) " It looks swell, and Winslet adds another portrait of pained watchfulness to her gallery of suffering heroines, but the result feels like a richly implausible dream disguised as a soulful drama." — New Yorker
Posted Jan 13, 2014
93% No (2013) " The best movie ever made about Chilean plebiscites, No thoroughly deserves its Oscar nomination for Best Foreign Film." — New Yorker
Posted Jan 1, 2014
89% The World's End (2013) " The gonzo side of the plot is not quite as engaging as the human drama, and the scenes in which the characters meet up and try to mesh again are some of the best in the film." — New Yorker
Posted Dec 30, 2013
50% The Secret Life Of Walter Mitty (2013) " The movie itself keeps glancing backward, at the lost and the obsolete." — New Yorker
Posted Dec 16, 2013
94% Her (2013) " What makes Her so potent is that it does to us what Samantha does to Theodore. We are informed, cosseted, and entertained, and yet we are never more than a breath away from being creeped out." — New Yorker
Posted Dec 16, 2013
79% Saving Mr. Banks (2013) " Just as Mary rescued the wilting Banks family, so Thompson saves the film. A spoonful of her medicine makes the sugar go down." — New Yorker
Posted Dec 16, 2013
94% The Past (2013) " [Farhadi's] gift for pulling us deep into the story, and for conveying the major burdens of these supposedly minor lives, is unimpaired." — New Yorker
Posted Dec 16, 2013
89% Frozen (2013) " Extravagant care is taken with minutiae, and the directors, Chris Buck and Jennifer Lee, whistle through the first twenty minutes of the plot with a controlled giddiness that would leave many live-action adventures staggering in their tracks." — New Yorker
Posted Dec 5, 2013
94% Inside Llewyn Davis (2013) " If you love the Coens, or follow folk music, or hold fast to this period of history and that patch of New York, then the film can hardly help striking a chord." — New Yorker
Posted Dec 5, 2013
80% While You Were Sleeping (1995) " [Bullock] knows one of the secrets of doing romantic comedy: treating the romance as a good joke." — New Yorker
Posted Dec 4, 2013
94% The Nightmare Before Christmas (1993) " This full-length animated movie was shot in stop motion, with all the febrile, twittery fascination that the medium exerts; it has a magic-toy shop feeling, with unexpected objects stuttering into life." — New Yorker
Posted Dec 3, 2013
80% Harry Potter and the Sorcerer's Stone (2001) " Harry Potter and the Sorcerer's Stone is, despite its trickery, that plainest and least surprising of artifacts: the work of art that is exactly the sum of its parts, neither more nor less." — New Yorker
Posted Nov 27, 2013
93% Enchanted (2007) " Happily, the leads carry the day: James Marsden as a prince of grinning vanity, Susan Sarandon as the wicked stepmother, and, above all, Amy Adams, who, in the role of a would-be princess, finds true momentum, not just sappiness, in the farce of innocence." — New Yorker
Posted Nov 26, 2013
88% Shrek (2001) " However cunning the rendering of surfaces, there's still something flat and charmless in the digital look, and most of the pleasure rises not from the main romance but from the quick, incidental gags." — New Yorker
Posted Nov 25, 2013
Showing 1 - 50 of 518
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