Anthony Lane

Anthony Lane
Anthony Lane's reviews only count toward the Tomatometer when published at the following Tomatometer-approved publication(s): Independent (UK) New Yorker Independent on Sunday

Movie Reviews Only

T-Meter Title | Year
No Score Yet A Bigger Splash (1974) The whole thing, by rights, should seem arch and overworked. Why, then, does it exert such an emotional pull? - New Yorker EDIT
Read More | Posted Jun 14, 2019
54% The Dead Don't Die (2019) The line between the laid-back and the listless, in "The Dead Don't Die," may be too fine even for [Jarmusch], and most of the running gags don't run at all, merely loping around in a circle. - New Yorker EDIT
Read More | Posted Jun 14, 2019
40% Godzilla: King of the Monsters (2019) Dougherty isn't quite sure whether to wow us with the hulking immensity of the action scenes or to wag his finger at us for the environmental hubris of our species. - New Yorker EDIT
Read More | Posted May 31, 2019
89% Rocketman (2019) If you need somebody to recount the rise of a British rock god from pallid suburbia to the baroque extremes of fame, and to create a stir without causing too much of a fuss, Fletcher is your man. - New Yorker EDIT
Read More | Posted May 31, 2019
63% The Fall of the American Empire (La chute de l'empire américain) (2019) The film grows into a caustic comedy, rife with fidgety questions. - New Yorker EDIT
Read More | Posted May 27, 2019
57% Aladdin (2019) In short, it's a whole old world. - New Yorker EDIT
Read More | Posted May 27, 2019
89% The Souvenir (2019) This is Hogg's most disconcerting work to date. - New Yorker EDIT
Read More | Posted May 17, 2019
97% Booksmart (2019) Such is the wise and humbling rule of "Booksmart": try as you might to flee your regular self, you always end up bumping into it. - New Yorker EDIT
Read More | Posted May 17, 2019
51% Tolkien (2019) Why do people keep making films about writers? - New Yorker EDIT
Read More | Posted May 10, 2019
71% All Is True (2019) The women suffer under hats the size of fire hydrants. The music is mostly scored for piano and mush. And our attention is drawn, at inordinate length, to landscapes that look too fanciful to be rooted in the real. - New Yorker EDIT
Read More | Posted May 10, 2019
89% Meeting Gorbachev (2019) Historians of the period will learn nothing new from the movie, yet it remains a stirring enterprise, especially when it peers back, beyond the bright public record of Gorbachev's heyday, into the mist of what feels like a distant past. - New Yorker EDIT
Read More | Posted May 3, 2019
81% Long Shot (2019) Clearly, Theron can turn her hand to any genre. - New Yorker EDIT
Read More | Posted May 3, 2019
94% Avengers: Endgame (2019) You can easily duck out during the middle hour, do some shopping, and slip back into your seat for the climax. You won't have missed a thing. - New Yorker EDIT
Read More | Posted Apr 26, 2019
67% The White Crow (2019) Some viewers will find the result too fussy by half; I liked its restlessness, and the sense of a chafed and driven spirit that refuses to be boxed in. - New Yorker EDIT
Read More | Posted Apr 26, 2019
81% Dogman (2019) Garrone's forte, as ever, is to layer the brutish with the beautiful, and to find grace in dereliction. - New Yorker EDIT
Read More | Posted Apr 12, 2019
71% Stockholm (2019) Something mysterious-a contagion of souls-occurred in that vault, and Budreau's movie, entertaining as it is, leaves us little the wiser. - New Yorker EDIT
Read More | Posted Apr 12, 2019
61% The Public (2019) The problem is, there's only just enough story to go round. You can hear the creak as both characters and subplots get jacked up out of proportion. - New Yorker EDIT
Read More | Posted Apr 7, 2019
83% High Life (2019) Denis delves into the group psychology of a beleaguered crew, housed in an interplanetary rust bucket. Her devotees will claim, correctly, that her movie blooms with provocative ideas... - New Yorker EDIT
Read More | Posted Apr 7, 2019
36% Out of Blue (2019) Viewers who like their mysteries to be solved, rather than merely mused upon, should prepare for bewilderment. - New Yorker EDIT
Read More | Posted Apr 1, 2019
47% Dumbo (2019) I was psyched for the reteaming of Keaton and Burton, who together cooked up "Beetlejuice" and two of the better Batman films, but the chemistry, sad to say, produces no magical brew. - New Yorker EDIT
Read More | Posted Mar 29, 2019
55% The Beach Bum (2019) What a pleasure it is to meet certain characters in the movies, and what a relief not to know them in real life. - New Yorker EDIT
Read More | Posted Mar 29, 2019
100% Roll Red Roll (2019) Even if you're steeped in the saga of Steubenville, the film contains plenty to appall you afresh. - New Yorker EDIT
Read More | Posted Mar 22, 2019
94% Us (2019) "Us" is political filmmaking of the most spirited sort, and it sets up quite a fight: the Hydes come to visit the Jekylls, and the Jekylls hit back. Whom you cheer for, in the long run, is up to you. - New Yorker EDIT
Read More | Posted Mar 22, 2019
98% Ash Is Purest White (2019) Do not be gulled by the slow pace of Jia's stories; they are ceaselessly alive to his country's haste, as it rushes to erase and to construct, and his sympathies tilt to those uncertain souls who simply can't keep up. - New Yorker EDIT
Read More | Posted Mar 15, 2019
76% Hotel Mumbai (2019) Lurking below the movie is an unsavory irony: the killers and the filmmakers picked the hotel for the same reasons. - New Yorker EDIT
Read More | Posted Mar 15, 2019
No Score Yet Tale of Tales (Skazka skazok) (1984) There's something blessed and consoling in these unfathomable sights. You may not get them, but they get to you, and stay. - New Yorker EDIT
Read More | Posted Mar 8, 2019
78% Captain Marvel (2019) Superhero cinema has lectured us, ad infinitum, on the responsibility that is conferred by extraordinary gifts. Praise be to Larson, for reminding us that they can be bringers of fun. - New Yorker EDIT
Read More | Posted Mar 8, 2019
60% Greta (2019) Jordan's movie is not graced with subtlety, nor does it wish to be, and that's the fun of it. Its purpose is to prick your nerves, and every detail is enlisted to that end. - New Yorker EDIT
Read More | Posted Mar 1, 2019
92% Gloria Bell (2019) For the millionth time, the female of the species is let down by the male, and that's that. The genius of Moore, though, is how plausibly, and how patiently, she fills the spaces of ordinary living. - New Yorker EDIT
Read More | Posted Mar 1, 2019
95% Transit (2019) Sitting through "Transit" is like watching an anti-"Casablanca," so diligent is Petzold in the draining of romantic hopes, and there were times when I dreamed that Claude Rains would stroll in and order a champagne cocktail. - New Yorker EDIT
Read More | Posted Feb 22, 2019
17% The Iron Orchard (2019) The musical score is overcooked, the cast underpowered, and the dialogue something of a mishmash... - New Yorker EDIT
Read More | Posted Feb 22, 2019
85% The LEGO Movie 2: The Second Part (2019) Viewers reared on "The Lego Movie" will find plenty to nourish them anew. - New Yorker EDIT
Read More | Posted Feb 9, 2019
78% Everybody Knows (Todos lo saben) (2019) The movie is not to be skipped. You should sample its mixture of bacchanal and gall, and revel in Farhadi's dependable deftness, as he sketches and frames his collection of characters. - New Yorker EDIT
Read More | Posted Feb 9, 2019
77% Never Look Away (2019) Stately rather than stealthy... but you are borne along, nonetheless, by the clash of characters, and by the ironies of historical momentum. - New Yorker EDIT
Read More | Posted Feb 4, 2019
94% The Wild Pear Tree (Ahlat agaci) (2019) You find yourself gradually engulfed, as if by rising waters... - New Yorker EDIT
Read More | Posted Jan 25, 2019
19% Serenity (2019) Whatever they pay these movie stars to keep a straight face, it's not enough. - New Yorker EDIT
Read More | Posted Jan 25, 2019
14% An Acceptable Loss (2019) If you want somebody to save the neighborhood, or to blow up the planet, Jamie Lee Curtis is the one. She has the smile, the moves, the haircut, and the chops. Now all she needs is the directors to match. - New Yorker EDIT
Read More | Posted Jan 18, 2019
37% Glass (2019) You have to admire Shyamalan's efforts to deconstruct a genre that he evidently loves, yet there is just so little to haunt or to fool us in the result, and a few sharp laughs might have helped his cause. - New Yorker EDIT
Read More | Posted Jan 18, 2019
92% Cold War (Zimna wojna) (2018) Political freedom, long dreamed of, brings little release. - New Yorker EDIT
Read More | Posted Jan 7, 2019
89% La religieuse (The Nun) (1971) It writhes with almost uncontainable surges of anger, lust, and distress. - New Yorker EDIT
Read More | Posted Jan 6, 2019
20% The Aspern Papers (2019) Much of this movie, to be honest, is conducted on the level of amateur dramatics, in particular as we stray beyond the bounds of the palazzo. - New Yorker EDIT
Read More | Posted Jan 6, 2019
73% Destroyer (2018) "Destroyer" is a thriller, but only just. - New Yorker EDIT
Read More | Posted Dec 29, 2018
93% Stan & Ollie (2019) The film depends... on its stars. Both, you can tell, have studied their respective masters with scrupulous care, and the results of their pupillage are plain to see. - New Yorker EDIT
Read More | Posted Dec 29, 2018
27% Mortal Engines (2018) The stakes are enormous, but the outcome is neither here nor there. - New Yorker EDIT
Read More | Posted Dec 17, 2018
79% Mary Poppins Returns (2018) 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. - New Yorker EDIT
Read More | Posted Dec 14, 2018
96% Roma (2018) It is the clarity of Cuarón's eye, and the sea-like sway of his remembrance, that compel you to trust the tale he tells. - New Yorker EDIT
Read More | Posted Dec 7, 2018
95% If Beale Street Could Talk (2019) The planets of the plot, as it were, are more exciting than the sun around which they revolve. - New Yorker EDIT
Read More | Posted Nov 30, 2018
62% Vox Lux (2018) Portman tips "Vox Lux" off balance. The simple act of drinking through a straw is turned into an embarrassing megaslurp. Other actors get shouted down. - New Yorker EDIT
Read More | Posted Nov 30, 2018
99% Shoplifters (Manbiki kazoku) (2018) 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. - New Yorker EDIT
Read More | Posted Nov 19, 2018
93% The Favourite (2018) Nobody in "The Favourite" could be described as a noble specimen of humanity, and yet, from the mean and grasping shenanigans that pass for a plot, there rises an unmistakable whiff of-believe it or not-fun. - New Yorker EDIT
Read More | Posted Nov 19, 2018