Anthony Lane

Anthony Lane

Agrees with the Tomatometer 70% of the time.

Publications:
New Yorker
Total Reviews:
518

Listing Of All Reviews & Articles

Showing 51 - 100 of 518
Rating T-Meter Title | Year Add Date
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
91% The Great Beauty (2013) " If the antics of the beau monde disgust or exhaust you, stay away from Sorrentino's film; look no further, on the other hand, if you wish to know whether, where, and in what guise the spirit of Fellini remains at work-and, better still, at play." — New Yorker
Posted Nov 25, 2013
96% The Lord of the Rings: The Two Towers (2002) " When Gandalf arrives with reinforcements, descending a near-vertical slope using horses where you or I would use snowboards, the spirit of triumphant rampage is something rarely glimpsed since the days of Olivier and Henry V." — New Yorker
Posted Nov 19, 2013
87% Howl's Moving Castle (2005) " A richly inventive and enchanting delight." — New Yorker
Posted Nov 18, 2013
93% James and the Giant Peach (1996) " As a tribute to the cranky genius of Dahl, it's both fond and, in the best sense, fruitful." — New Yorker
Posted Nov 18, 2013
81% The Broken Circle Breakdown (2013) " For any viewer who, for one reason or another, has been shamefully ignorant of Belgian bluegrass, here is your opportunity to make amends." — New Yorker
Posted Nov 11, 2013
69% About Time (2013) " Some people will revel in this warm front of innocence; others will reach for their Voltaire." — New Yorker
Posted Nov 11, 2013
60% Ender's Game (2013) " Hard to comprehend and even harder to endure." — New Yorker
Posted Nov 4, 2013
8% Diana (2013) " If you are going to make a film about the late Princess of Wales, you are obviously going to choose the guy who directed "Downfall," about the last days of Hitler, and the actress who played opposite King Kong." — New Yorker
Posted Nov 4, 2013
91% Blue Is The Warmest Color (2013) " From the moment when Adèle first catches sight of Emma, on a busy crosswalk, the movie restores your faith in the power of the coup de foudre and yet redoubles your fear of its effect; love, like lightning, can both illuminate and scorch." — New Yorker
Posted Oct 21, 2013
37% The Fifth Estate (2013) " As nervy and as excitable as the trade that it depicts." — New Yorker
Posted Oct 21, 2013
48% Parkland (2013) " Kennedy specialists will glean nothing new, and those hoping for sobriety will flinch at the camera's intrusions." — New Yorker
Posted Oct 8, 2013
93% Captain Phillips (2013) " In Big, Hanks gave us a boy who became a man overnight; now, in Captain Phillips, he gives us a man so shaken and sickened by adventure that for a while, despite himself, he turns back into a child." — New Yorker
Posted Oct 8, 2013
88% Let Me In (2010) " The result, though no less creepy than the Swedish film, mislays its lyricism and otherworldliness." — New Yorker
Posted Oct 7, 2013
87% 28 Days Later (2003) " The picture is twitchy and annoying, flecked with blood and half-digested ideas, and too much is left unexplained." — New Yorker
Posted Oct 6, 2013
49% Thanks For Sharing (2013) " Be warned: viewers may experience a violent urge to shake the characters, one by one, and tell them to get a life." — New Yorker
Posted Sep 30, 2013
89% Rush (2013) " If you don't already know the story of that season, lucky you; even now, it exerts a ridiculous thrill." — New Yorker
Posted Sep 30, 2013
100% Otona no miru ehon - Umarete wa mita keredo (I Was Born, But ) (Children of Tokyo) (1932) " [I Was Born, But . . .] is a master class -- one of the [Ozu's] earliest -- in the art of distilling emotional intensity from quiet lives." — New Yorker
Posted Sep 23, 2013
99% Wadjda (2013) " This is not just the first feature by Haifaa Al Mansour but the first feature to be directed by a woman from Saudi Arabia. That is quite a burden, and yet by some miracle the movie bears it with lightness and grace." — New Yorker
Posted Sep 16, 2013
59% Riddick (2013) " David Twohy's film is scarcely original, but the sheer survivalist grind of our hero, against comical odds, becomes appealingly mad ..." — New Yorker
Posted Sep 16, 2013
92% Philomena (2013) " We prepared ourselves for an emotional explosion-not for physical violence, but for that of a bursting heart-and yet, when the time came, that is not what happened. Frears put the pin back in the grenade, as it were." — New Yorker
Posted Sep 13, 2013
30% Austenland (2013) " Everything rings false, and the spectacle of bad actors pretending to be bad actors may trouble your sleep for some time." — New Yorker
Posted Sep 2, 2013
100% Vampyr - Der Traum des Allan Grey (1932) " [The film conjures] inexplicable dread, on a night that feels brighter than day." — New Yorker
Posted Aug 21, 2013
83% Prince Avalanche (2013) " Rudd, in particular, gives it everything he's got, but he is vanquished by a story that feels both inconsequential and contrived." — New Yorker
Posted Aug 9, 2013
69% The Wolverine (2013) " It's a relief to come across a blockbuster that finds a location and stays there, rather than hopping desperately from one place to the next ..." — New Yorker
Posted Aug 9, 2013
95% Hero (2004) " The result is not so much a historical epic as a kind of highly determined ballet: dreamy with bloodless violence, relying less on shades of character than on magnificence of gesture." — New Yorker
Posted Aug 5, 2013
90% Minority Report (2002) " The worst thing about the new Steven Spielberg picture is the title, Minority Report. The best thing about it is pretty much everything else." — New Yorker
Posted Aug 5, 2013
93% Our Children (2013) " There is no whodunit here -- the horror is plain in the opening shots -- and the how is presented with great restraint, but the why remains veiled and mysterious long after the film has ended." — New Yorker
Posted Aug 5, 2013
68% Elysium (2013) " It hits you as fact; the director's fiercest gift is not to invent the future, as a plausible dream, but to report on it as if it already existed" — New Yorker
Posted Aug 5, 2013
92% Insomnia (2002) " A dark and fidgety picture from Christopher Nolan, who made such a splash with Memento." — New Yorker
Posted Aug 5, 2013
99% Finding Nemo (2003) " The latest flood of wizardry from Pixar, whose productions, from Toy Story onward, have lent an indispensable vigor and wit to the sagging art of mainstream animation." — New Yorker
Posted Aug 5, 2013
93% Out of Sight (1998) " After many mishaps, the art of bringing Elmore Leonard's novels to the screen is coming to fruition. This latest adaptation, by director Steven Soderbergh and screenwriter Scott Frank, gets it just about right." — New Yorker
Posted Aug 4, 2013
69% Cliffhanger (1993) " That rasping tension is soon smoothed away, as the plot sets off on its daft and hackneyed course." — New Yorker
Posted Aug 3, 2013
93% Saving Private Ryan (1998) " Spielberg obviously decided that blood and guts meant just that, and so he arranged his violence into a semblance of pure disorder. The illusion holds, complete with severed limbs and wellsprings of blood, and it feels honorable." — New Yorker
Posted Aug 2, 2013
89% The Bridges of Madison County (1995) " The two leads' sly comic rhythm is miles removed from the book's failing solemnity." — New Yorker
Posted Jul 31, 2013
98% Aliens (1986) " Action thrillers assail but rarely test us; this is the tautest, most provoking, and altogether most draining example ever made." — New Yorker
Posted Jul 30, 2013
93% Speed (1994) " The result is clean, delirious, and, yes, speedy -- the best big-vehicle-in-peril movie since Clouzot's The Wages of Fear." — New Yorker
Posted Jul 30, 2013
96% The Fugitive (1993) " It's a pleasure to find a thriller fulfilling its duties with such gusto: the emotions ring solid, the script finds time to relax into backchat, and for once the stunts look like acts of desperation rather than shows of prowess." — New Yorker
Posted Jul 29, 2013
40% Only God Forgives (2013) " Is Refn really tendering his grandly named film as a religious parable? If so, I'll pass." — New Yorker
Posted Jul 18, 2013
72% Pacific Rim (2013) " It is possible to applaud Pacific Rim for the efficacy of its business model while deploring the tale that has been engendered -- long, loud, dark, and very wet. You might as well watch the birth of an elephant." — New Yorker
Posted Jul 18, 2013
95% The Act Of Killing (2013) " There are good reasons to see The Act of Killing, a new documentary directed by Joshua Oppenheimer, but pleasure is not among them." — New Yorker
Posted Jul 18, 2013
85% The Way Way Back (2013) " Once again, the oppressed American teen-ager lopes and shuffles to center stage, there to display his woes." — New Yorker
Posted Jul 15, 2013
48% I'm So Excited! (2013) " To throw caution to the winds is one thing, but to jettison control of tone at the same time seems a liberty too far." — New Yorker
Posted Jul 15, 2013
84% Much Ado About Nothing (2013) " The movie swings along, with a grace denied to some of Whedon's grander projects ..." — New Yorker
Posted Jul 1, 2013
83% This Is the End (2013) " The film is more guileful than it looks, even though the narrative is nuts ..." — New Yorker
Posted Jul 1, 2013
94% Museum Hours (2013) " It finds the time to look at looking, and to offer a slow revelation: to the lonely and the stranded, it is art that feels like home." — New Yorker
Posted Jul 1, 2013
63% Byzantium (2013) " The film slows and slumps as it ventures into a historical backstory, complete with a mysterious brotherhood, an ancient map, and Sam Riley in a wig worse than death." — New Yorker
Posted Jul 1, 2013
94% The Truman Show (1998) " Carrey is on his mettle, but you wonder why thirty years of close observation have made Truman so funny; shouldn't he be a regular guy gone mad?" — New Yorker
Posted Jun 19, 2013
88% The Usual Suspects (1995) " In a season of fat blockbusters, a picture as brainy, bitter, and compact as this one comes as a shock and a treat." — New Yorker
Posted Jun 18, 2013
17% Showgirls (1995) " Berkley's acting début is a joy, if you can call it acting: she jumps up and down a lot to indicate excitement." — New Yorker
Posted Jun 12, 2013
68% Fast & Furious 6 (2013) " Just as the plot threatens to run out of gas, Lin rescues the film with a spate of vastly ridiculous and therefore enjoyable set-pieces, most of which involve means of conveyance designed to make the cars look puny." — New Yorker
Posted Jun 3, 2013
Showing 51 - 100 of 518
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