Anthony Lane Movie Reviews & Previews - Rotten Tomatoes

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

Rating T-Meter Title | Year Review
100% Paddington 2 (2018) Grant somehow filches the entire movie, in the course of which he gets to dress as a candle-carrying nun, a knight in armor, and, to his eternal mortification, a giant spaniel.‐ New Yorker
Read More | Posted Jan 8, 2018
93% The Insult (L'insulte) (2018) As a study of inflammation in the body politic, "The Insult" is engaged and astute. In comparison with "West Beirut," though, it seems oddly programmatic in its moral layout, designed to prove that, in Wajdi's phrase, "no one has a monopoly on suffering."‐ New Yorker
Read More | Posted Jan 8, 2018
68% Happy End (2017) The result lacks the tenacious bite of [Haneke's] finest work, and one can think of more difficult targets for his unerring aim than the moral indifference of the rich.‐ New Yorker
Read More | Posted Jan 8, 2018
78% Film Stars Don't Die in Liverpool (2017) The central pairing lends it a touching intensity ...‐ New Yorker
Read More | Posted Jan 8, 2018
98% The Discreet Charm Of The Bourgeoisie (Le Charme Discret de la Bourgeoisie) (1972) I had forgotten just how spooky the dream scenes are; Bunuel could have been a master of horror, or a great farceur. As it was, he was simply Bunuel, which is cause enough for celebration.‐ Independent (UK)
Read More | Posted Jan 4, 2018
No Score Yet Masala (2013) Although this is a bad film, it's never boringly bad -- just garish and tangled, like a teenager's bedroom.‐ Independent (UK)
Read More | Posted Jan 4, 2018
53% City of Joy (1992) The unpleasant surprise is Ennio Morricone's score, his worst ever. The final chorus sounds like 10,000 Pekinese puppies stuck in a cave.‐ Independent (UK)
Read More | Posted Jan 3, 2018
61% Bitter Moon (1992) Bitter Moon is half-digested and grossly undramatised, a loop-tape of explanations and voiceover; the longer it goes on, the more it drains our interest away.‐ Independent (UK)
Read More | Posted Jan 3, 2018
37% 1492: Conquest of Paradise (1992) Ridley Scott's 1492: Conquest of Paradise is a long, becalmed and hollow hull of a movie about the old order bumping into the New World.‐ Independent (UK)
Read More | Posted Jan 3, 2018
95% Husbands and Wives (1992) It's strange how sour the results can be; Husbands and Wives takes the same kinds of dancing passions that looped through Hannah and her Sisters, and turns them into a crabby-go-round.‐ Independent (UK)
Read More | Posted Jan 3, 2018
77% A League of Their Own (1992) A League of Their Own is a bright idea that turns into a pile of mush.‐ Independent (UK)
Read More | Posted Jan 3, 2018
96% Unforgiven (1992) No thrill comes cheap in Unforgiven. The West that it shows is Wild all right, but more like a dog than a party. That doesn't mean we can't enjoy being dragged along for the ride; the rougher the better, in fact, as every action zings with ricochets.‐ Independent (UK)
Read More | Posted Jan 3, 2018
96% Groundhog Day (1993) Harold Ramis's direction is nothing special, yet there is a beautiful, lip-smacking efficiency in the way that a great idea is touched off and followed to its conclusion.‐ Independent (UK)
Read More | Posted Jan 3, 2018
54% Waterland (1992) Incest, drowning, teenage sex on a train: it's all here, but none of it clings to your mind.‐ Independent (UK)
Read More | Posted Jan 3, 2018
47% Alien3 (1992) It suffers from poor supporting performances, and a plot that splutters instead of pushing on; but when the chase is on, all is forgiven.‐ Independent (UK)
Read More | Posted Jan 3, 2018
No Score Yet Hitler: A Film From Germany (Hitler - ein Film aus Deutschland) (1978) No one has made a greater film about the attractions of wickedness, or given in to them with such a thrill.‐ Independent (UK)
Read More | Posted Jan 3, 2018
100% Singin' in the Rain (1952) Tap-dancing has never looked so unstoppable, nor so liquid: most tappers clench up and hammer away like road-drills, but these two sway their hips and laugh off the effort.‐ Independent on Sunday
Read More | Posted Jan 3, 2018
70% Swoon (1991) Swoon is too pleased with its own amoral pose; but Kalin has the same alarming assurance as his heroes, whose story has, if anything, grown in its power to shock.‐ Independent (UK)
Read More | Posted Jan 3, 2018
74% Patriot Games (1992) Patriot Games is a good laugh, and a good look at Harrison Ford, and any connection with political truth, or with the real layout of London, is entirely coincidental.‐ Independent (UK)
Read More | Posted Jan 3, 2018
20% The Butcher's Wife (1991) The film is such candy-floss that it may not realise what a great screwball clinch it could have staged: the seer versus the shrink, two lovers fighting to get a lead on human behaviour. ‐ Independent (UK)
Read More | Posted Jan 3, 2018
81% The Best Intentions (1992) By the end, we no longer know why characters are choosing to leave or stay, live or die. Even more depressingly, the director follows suit, allowing scenes to ramble on well past their bedtime, and the film loses its grip.‐ Independent (UK)
Read More | Posted Jan 3, 2018
85% My Cousin Vinny (1992) My Cousin Vinny slumps badly as the courtroom scenes drag on; but when Tomei is on screen, even the jury wakes up.‐ Independent (UK)
Read More | Posted Jan 3, 2018
96% Belle de Jour (1968) People think of Deneuve as cinema's answer to bone china, and indeed the romantic efforts of Truffaut, say, left her looking stiff and staid. But she made the brilliant Bunuel think again, and gave his heart a jump.‐ Independent (UK)
Read More | Posted Jan 3, 2018
75% Straight Out of Brooklyn (1991) Matty Rich was 19 years old when he made this film, although you wouldn't know it. You'd think he was more like 16 and had watched too much TV.‐ Independent (UK)
Read More | Posted Jan 3, 2018
No Score Yet Cousin Bobby (1992) What keeps Cousin Bobby tense is the tug of war between style and disorder; it keeps drifting into asides and anecdotes, then suddenly pulling itself together.‐ Independent (UK)
Read More | Posted Jan 3, 2018
85% Les Amants du Pont-Neuf (The Lovers on the Bridge) (1999) Think of it as cinema living rough, scruffy patches of tedium broken by bursts of lunatic freedom.‐ Independent (UK)
Read More | Posted Jan 3, 2018
97% Bob Roberts (1992) The first 30 minutes of Bob Roberts are the best, with the conceit still fresh, but the last are unbelievable: where did all the fun go? ‐ Independent (UK)
Read More | Posted Jan 3, 2018
58% Chaplin (1992) Downey has a perfect ear for the Chaplin accent, the way it climbed from Cockney to minced posh, and a perfect boot and fist for the slapstick; the one thing he doesn't have is an eye on his own brilliance.‐ Independent on Sunday
Read More | Posted Jan 3, 2018
92% Phantom Thread (2018) Despite everything, we continue to cling to the problems and pursuits of this obsessive dandy. And why? Simply because there has never been an actor as obsessive as Day-Lewis.‐ New Yorker
Read More | Posted Dec 26, 2017
50% Downsizing (2017) The film, having launched a sprightly comic conceit, lets it glide away.‐ New Yorker
Read More | Posted Dec 26, 2017
88% The Post (2018) Nothing is more promisingly solid, to the moviegoer, than a major Spielberg production. You can foretell everything from the calibration of the craftsmanship to the heft of the cast, and "The Post" inarguably delivers.‐ New Yorker
Read More | Posted Dec 11, 2017
92% The Shape of Water (2017) At the start, I worried that the film might prove merely winsome, like a Maryland "Amélie," but Hawkins makes it taut and fierce.‐ New Yorker
Read More | Posted Dec 7, 2017
96% Call Me by Your Name (2018) So assailed are we by reports of harmful pleasures, and of the coercive male will being imposed through lust, that it comes as a relief to be reminded, in such style, of consensual joy.‐ New Yorker
Read More | Posted Nov 27, 2017
86% Darkest Hour (2017) How badly we need another Winston Churchill film is open to question. Nonetheless, Joe Wright's contribution to the genre is welcome, largely because of Gary Oldman in the leading role.‐ New Yorker
Read More | Posted Nov 27, 2017
92% Thelma (2017) "Thelma" exerts a grip of its own, not least when it presses against other genres, leaching details from both science fiction and horror.‐ New Yorker
Read More | Posted Nov 13, 2017
57% Murder On The Orient Express (2017) Contriving somehow both to dawdle and to rush, "Murder on the Orient Express" is handsome, undemanding, and almost wholly bereft of purpose.‐ New Yorker
Read More | Posted Nov 13, 2017
93% Three Billboards Outside Ebbing, Missouri (2017) Not since "Fargo" (1996) has [McDormand] found a character of such fibre. She doesn't pitch it to us, still less try to make it palatable; she seems to state Mildred, presenting her as a given fact, like someone unrolling a map.‐ New Yorker
Read More | Posted Nov 6, 2017
28% Suburbicon (2017) Only occasionally does an image strike a lyrical blow and yield the creepy effect that Clooney is aiming for ...‐ New Yorker
Read More | Posted Oct 30, 2017
74% Last Flag Flying (2017) Some stories need not be told again.‐ New Yorker
Read More | Posted Oct 30, 2017
81% The Square (2017) Any compassionate gestures toward the lower depths of society, with nicely composed shots of the homeless on the street, feel too flimsy to carry critical weight.‐ New Yorker
Read More | Posted Oct 23, 2017
79% The Killing of a Sacred Deer (2017) No one but Lanthimos could adhere so loyally to the classical model of the tragic, yet the result treads close to monotony, and even to a kind of sorrowful sadism ...‐ New Yorker
Read More | Posted Oct 23, 2017
92% The Meyerowitz Stories (New and Selected) (2017) Baumbach's ripest and wisest film to date, alert to the fact that so little in life, especially a screwy or a super-ambitious life, is open to resolution.‐ New Yorker
Read More | Posted Oct 23, 2017
69% Wonderstruck (2017) "Wonderstruck" fails to convince, so intent is Haynes on banishing loose ends and slotting each coincidence into place. The result is itself a kind of diorama: exquisitely detailed, assembled with infinite care, but lacking the breath of life.‐ New Yorker
Read More | Posted Oct 23, 2017
91% Our Souls at Night (2017) Much of this is too hokey by half, yet the two leading actors, their skills unfaded, command your attention to the end.‐ New Yorker
Read More | Posted Oct 9, 2017
87% Blade Runner 2049 (2017) Despite all the overlaps, this is not a simulacrum of a Ridley Scott film. It is unmistakably a Denis Villeneuve film, inviting us to tumble, tense with anticipation, into his doomy clutches.‐ New Yorker
Read More | Posted Oct 6, 2017
87% American Made (2017) The impetuous pace of the film is at one with its moral shamelessness, and, without thinking, we sign up for both.‐ New Yorker
Read More | Posted Sep 29, 2017
66% Victoria & Abdul (2017) The film's attempt to portray the Queen as more politically enlightened than her courtiers is kindly but unconvincing, and many of the actors bark and behave as if participating in a spoof.‐ New Yorker
Read More | Posted Sep 29, 2017
20% Woodshock (2017) The movie unfolds in a fog of grief and guilt-a state of affairs instead of a plot, and a serious test of the viewer's patience.‐ New Yorker
Read More | Posted Sep 25, 2017
86% Battle of the Sexes (2017) The steady procession of setups and payoffs can feel suspiciously pat. Yet the new movie holds more surprises.‐ New Yorker
Read More | Posted Sep 18, 2017
69% mother! (2017) If you gave an extremely bright fifteen-year-old a bag of unfamiliar herbs to smoke, and forty million dollars or so to play with, "Mother!" would be the result.‐ New Yorker
Read More | Posted Sep 18, 2017