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Anthony Lane

Tomatometer-approved critic

Reviews

Movies TV Shows
Misery (1990) 87% EDIT “William Goldman has adapted Stephen King's novel for the screen and done it the world of good, or at least brushed up its evil.” – Independent (UK) Jan 21, 2026 Full Review Hook (1991) 37% EDIT “The result is his most sentimental film, because unlike E.T. it refuses to take up residence within a child's mind, preferring to stay outside and fantasise about it. Condescension is no way to treat a fable.” – Independent on Sunday Dec 19, 2025 Full Review True Lies (1994) 77% EDIT “The tale begins and ends in a flurry of joke violence; Cameron has decided to spoof what he used to take seriously, and the result, though bright and deafening, feels oddly slack—he loosens the screws, and our interest drops away. ” – The New Yorker Dec 10, 2025 Full Review Terminator 2: Judgment Day (1991) 91% EDIT “Terminator 2 beckons the art of special effects into alarming and beautiful new territory, and forces you to reconsider their place in cinema.” – Independent (UK) Dec 8, 2025 Full Review The Naked Gun 2 1/2: The Smell of Fear (1991) 77% EDIT “Eighty minutes of delicious trash, guaranteed free of sentimental additives... This film may well be moronic, but what a relief to sit in the dark and be a moron for a while.” – Independent (UK) Jul 22, 2025 Full Review Postcards From the Edge (1990) 83% EDIT “It's a relief when Nichols quits trying to tell us anything and starts indulging his lighter passions. He's a dab hand at cameos, and surprisingly nifty at sight gags.” – Independent on Sunday Apr 29, 2024 Full Review Ennio (2021) 91% EDIT ““Ennio” turns out to be overlong, overblown, and larded with such praises that Morricone, a modest if determined soul, would blush to hear them.” – The New Yorker Feb 5, 2024 Full Review The Taste of Things (2023) 97% EDIT “If too many cooks on TV, factual or fictional, have led you to expect a steaming jambalaya of shouts, showoffs, panic stations, and free-range oaths, Trần’s film will come as a calm and clear surprise: a consommé devoutly to be wished.” – The New Yorker Feb 5, 2024 Full Review I.S.S. (2023) 61% EDIT “As a thriller, regrettably, “I.S.S.” fails to fulfill its mission. Any air of plausibility soon leaks out of the plot, and the whole thing drifts into silliness, tricked out with familiar tropes.” – The New Yorker Jan 19, 2024 Full Review Tótem (2023) 97% EDIT “The surprising thing about this film, given its potential for devastation, is how funny it can be.” – The New Yorker Jan 19, 2024 Full Review The Crime Is Mine (2023) 98% EDIT “Ozon, as ever, is not just having fun. He is also making mischief with the sexual politics of the plot.” – The New Yorker Dec 22, 2023 Full Review Ferrari (2023) 73% EDIT “It features the trusty components of a Mann movie: the smooth mechanics of professional labor, plus—or, more often, versus—the exhaust manifold of men’s emotional lives.” – The New Yorker Dec 22, 2023 Full Review Anselm (2023) 98% EDIT ““Anselm” compels attention. We long-term Kiefer nerds may not learn much, but so what?” – The New Yorker Dec 8, 2023 Full Review The Zone of Interest (2023) 93% EDIT “Glazer achieves what he sets out to do, and you have to admire his tenacity, his technical skill, and his tact.” – The New Yorker Dec 8, 2023 Full Review Poor Things (2023) 92% EDIT ““Poor Things” revels in the notion that, even at the last gasp, there may be a chance for Homo to grow a little more sapiens.” – The New Yorker Dec 1, 2023 Full Review Monster (2023) 97% EDIT “If possible, watch “Monster” more than once.” – The New Yorker Nov 22, 2023 Full Review Napoleon (2023) 58% EDIT “If the movie falters, it’s because, as a bio-pic, it cannot do otherwise. Even the most expert of storytellers is defeated by the essential plotlessness of the form: one damn thing after another.” – The New Yorker Nov 22, 2023 Full Review Maestro (2023) 78% EDIT “Spurning a fruitless bid at comprehensiveness, Cooper has conjured something as restless and as headlong as his subject.” – The New Yorker Nov 17, 2023 Full Review Dream Scenario (2023) 91% EDIT “If “Dream Scenario,” a new film written and directed by Kristoffer Borgli, is one of Cage’s most fulfilling ventures, it’s because it allows him to trade so richly in the unforeseen.” – The New Yorker Nov 3, 2023 Full Review Priscilla (2023) 84% EDIT “To point out that “Priscilla” is superficial, even more so than Coppola’s other films, is no derogation, because surfaces are her subject.” – The New Yorker Nov 3, 2023 Full Review Killers of the Flower Moon (2023) 93% EDIT “Although its moral ambition is to honor the tribulations of an Indigenous people, it keeps getting pulled back into the orbit—emotional, social, and eventually legal—of white men.” – The New Yorker Oct 19, 2023 Full Review Goodfellas (1990) 93% EDIT “There is a short, needling comedy of violence and cowardice somewhere inside this stylish film, and it is worth watching more than once to prise it free. Scorsese himself chickened out, I think: perhaps the Mob got to him after all. ” – Independent on Sunday Oct 18, 2023 Full Review Anatomy of a Fall (2023) 96% EDIT “You should arrange to watch it at the cinema with your most captious friends, preferably at six o’clock, so that you can thrash things out over dinner—fondue, I’d suggest, for that handy whiff of bubbling Alpine chaos.” – The New Yorker Oct 13, 2023 Full Review El Conde (2023) 83% EDIT “Few jokes, no matter how sick and strong, can be told over and over without beginning to fade.” – The New Yorker Sep 15, 2023 Full Review A Haunting in Venice (2023) 76% EDIT “Branagh’s film has the charm of ridiculous excess: stylistic flourishes are piled high into a treasury of gothic camp, and the camera is tilted, regardless of provocation, at the most alarming angles—Dutch angles, as they are known in the trade.” – The New Yorker Sep 15, 2023 Full Review
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