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      Anthony Lane

      Anthony Lane

      Tomatometer-approved critic

      Movies reviews only

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      Rating T-Meter Title | Year Review
      El Conde (2023) Few jokes, no matter how sick and strong, can be told over and over without beginning to fade. - New Yorker
      Read More | Posted Sep 15, 2023
      A Haunting in Venice (2023) 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. - New Yorker
      Read More | Posted Sep 15, 2023
      Fremont (2023) The story is suffused with an uncommon blend of radiance and resignation, nowhere more rapturously than in the final shot. - New Yorker
      Read More | Posted Aug 18, 2023
      Gran Turismo: Based on a True Story (2023) The overarching irony of the tale is that, true though it may be, it never feels quite real; the more that Jann exceeds what is foretold of him, the farther he accelerates into a mere simulation of a plausible narrative. - New Yorker
      Read More | Posted Aug 18, 2023
      Lady Killer (1937) “Lady Killer” strikes me as the real deal. - New Yorker
      Read More | Posted Aug 04, 2023
      Passages (2023) “Passages,” far from being an elegant love triangle, is more like a quadrilateral of desire. And the shape of it shifts, right up to the bitter end. - New Yorker
      Read More | Posted Aug 04, 2023
      The Age of Innocence (1993) Life in the New York of the eighteen-seventies may have been constrained, but it was never dull—not if Scorsese’s camera is anything to go by. - New Yorker
      Read More | Posted Jul 24, 2023
      Mission: Impossible - Dead Reckoning, Part One (2023) Relentlessness of this order ought to be chilling. Not so. Instead, we are stirred and amused by a preternatural sight: men as little machines. - New Yorker
      Read More | Posted Jul 14, 2023
      Mulholland Dr. (2001) This film is a record of a journey, and it leaves us with the dreadful possibility that all highways are lost. - New Yorker
      Read More | Posted Jul 10, 2023
      Y tu mamá también (2001) Cuarón’s style is so open and relaxed, and his actors are so attuned to one another, that not until the final scene... do we see that what felt life-affirming has also been a meditation on the slide of time, and on the offstage presence of death. - New Yorker
      Read More | Posted Jul 05, 2023
      Biosphere (2022) Biosphere, though sometimes larky in tone, is also a frowningly intense venture that never stops being about itself. - New Yorker
      Read More | Posted Jul 01, 2023
      Indiana Jones and the Dial of Destiny (2023) If you really want to rove back and forth through time, you don’t need the Antikythera at all. Forget the myth. Screw Archimedes. All you need is the movies. - New Yorker
      Read More | Posted Jul 01, 2023
      Maggie Moore(s) (2023) What Slattery conjures... for some reason, is a continual sourness and decay, which gets into every crevice of the action... - New Yorker
      Read More | Posted Jun 16, 2023
      Asteroid City (2023) Even if you regard the latest movie as a box of tricks, you have to admire the nerve with which Johansson, as Midge, delves into that box and plucks out scraps of coolly agonized wit. - New Yorker
      Read More | Posted Jun 16, 2023
      To Die For (1995) The film, adapted by Buck Henry from Joyce Maynard’s novel, is smartly structured, but Van Sant’s touch is uncertain: the story’s satirical bite begins to loosen as his camera lingers more and more on the disaffected teen-agers. - New Yorker
      Read More | Posted Jun 12, 2023
      Stranger Than Fiction (2006) The ending may be mush, but the rest has surprising bite. - New Yorker
      Read More | Posted Jun 05, 2023
      SLC Punk (1999) A messy but engaging look at the punk scene in Salt Lake City during the Reagan years; that may sound a little specialized, but how many of us knew there ever was a punk scene—or even a single punk—in the home of the Mormons? - New Yorker
      Read More | Posted Jun 05, 2023
      Squaring the Circle (The Story of Hipgnosis) (2022) Corbijn has an obsessive eye, and it suits the detail-crazy methods of Powell and Thorgerson. - New Yorker
      Read More | Posted Jun 02, 2023
      Past Lives (2023) The film hits home. In part, that is a tribute to its melancholy. - New Yorker
      Read More | Posted Jun 02, 2023
      Master Gardener (2022) It’s almost as if the movie were following the blueprint of a moral scheme, like the layout of a herbaceous border, and plausibility be damned. - New Yorker
      Read More | Posted May 19, 2023
      You Hurt My Feelings (2023) Well, this setup might possibly furnish a single episode of “Seinfeld.” Whether it’s enough to sustain a whole movie is another matter. - New Yorker
      Read More | Posted May 19, 2023
      Muriel's Wedding (1994) The two fine, edgy performances by Collette and Griffiths keep things afloat. - New Yorker
      Read More | Posted May 15, 2023
      Chile '76 (2022) It’s a hell of a performance from Küppenheim as the heroine, precisely because she demonstrates how hard it is to be heroic. - New Yorker
      Read More | Posted May 05, 2023
      BlackBerry (2023) One can imagine the film being screened for M.B.A. students as a cautionary tale—frequently very funny, but often disheartening, too. - New Yorker
      Read More | Posted May 05, 2023
      Jimmy Hollywood (1994) The movie goes on too long, and the ending is milked too heavily for irony, but it makes you sit up and watch—it’s serious fun. - New Yorker
      Read More | Posted Apr 24, 2023
      Everything Went Fine (2021) In truth, every performance in “Everything Went Fine” is nicely judged—too much so, I suspect, for many filmgoers, who will be praying for someone to explode. Yet the movie is anything but bland. - New Yorker
      Read More | Posted Apr 14, 2023
      Beau Is Afraid (2023) Does Aster think we’re too slow, or too dumb, to pick up hints as we go? Some viewers will revel in such excess; I found it ever more wearisome... - New Yorker
      Read More | Posted Apr 14, 2023
      Paint (2023) Maybe all the characters are stoned. That would explain a lot. - New Yorker
      Read More | Posted Apr 05, 2023
      Air (2023) This movie, in short, kneels at the altar of high capitalism. - New Yorker
      Read More | Posted Apr 05, 2023
      The Talented Mr. Ripley (1999) The film feels warm but unsettled, as if hinting at approaching storms; the score, too, flits from lugubrious to manic. - New Yorker
      Read More | Posted Apr 03, 2023
      Acidman (2022) This film is what would remain if you deleted all the spaceships from “Close Encounters of the Third Kind”: the tale of a once ordinary man beset by an unworldly thirst that he can neither explain nor quench. - New Yorker
      Read More | Posted Mar 31, 2023
      Joyland (2022) Sadiq is not lecturing us or trading in types; he is taking us by sensory surprise, and the tale that he tells is funny, forward, and sometimes woundingly sad. - New Yorker
      Read More | Posted Mar 31, 2023
      What the Hell Happened to Blood, Sweat & Tears? (2023) More than it knows, this movie is an engaging, and sometimes enraging, exposé of chronic insularity. - New Yorker
      Read More | Posted Mar 17, 2023
      Inside (2023) Life, in the hands of Dafoe, is an agonized game. For Katsoupis, regrettably, agony wins the day. - New Yorker
      Read More | Posted Mar 17, 2023
      Strange Days (1995) Fiennes holds steady; his moody, lonely performance, especially in the beguiling first half hour, lends the story an air of calm despair. - New Yorker
      Read More | Posted Mar 10, 2023
      The Quiet Girl (2022) Finely framed by the cinematographer Kate McCullough, “The Quiet Girl” is an idyll, yet its placid surface is puckered by anxiety. - New Yorker
      Read More | Posted Feb 24, 2023
      Cocaine Bear (2023) The excess, however gleeful, is that of a film paying anxious tribute to itself. Look, it seems to shout, here’s an apex predator becoming a homicidal junkie! What did you expect? - New Yorker
      Read More | Posted Feb 24, 2023
      The Station Agent (2003) None of the central performers put a foot wrong; Dinklage excels as a burdened man who is angry, tired, and tough. - New Yorker
      Read More | Posted Feb 24, 2023
      The Tailor of Panama (2001) Boorman wants to turn the novel’s rueful satire into something sharp and sweaty, but the tone veers all over the place, and the plot feels like reckless fantasy. - New Yorker
      Read More | Posted Feb 07, 2023
      Godland (2022) One secret of this extraordinary film, and of its power to exhilarate: the shock of emotional vigor, arising from the continual rub of physical texture and effort. - New Yorker
      Read More | Posted Feb 03, 2023
      Knock at the Cabin (2023) For some reason, the movie doesn’t cling and stick as it should. - New Yorker
      Read More | Posted Feb 03, 2023
      You People (2023) The one person to emerge with credit from the melee is Murphy, whose character grows ever more rigid with anger. Supporting actors as forceful as Rhea Perlman and Elliott Gould barely get a chance to speak. - New Yorker
      Read More | Posted Feb 02, 2023
      Close (2022) What Dhont understands, in short, is how kinetic the rites of passage are—how growing pains are expressed not in words, however therapeutic, but in rushes of activity. - New Yorker
      Read More | Posted Jan 20, 2023
      When You Finish Saving the World (2022) Although “When You Finish Saving the World” is... taut with unhappiness, it allows itself to be funny... - New Yorker
      Read More | Posted Jan 20, 2023
      Corsage (2022) What Kreutzer aims to impress upon us is the effect of smothering and constraint—not only upon her heroine but also upon the female sex, at every social stratum, under Habsburg rule. - New Yorker
      Read More | Posted Dec 23, 2022
      Babylon (2022) It goes nowhere, in a mad rush. - New Yorker
      Read More | Posted Dec 23, 2022
      The Truth About Charlie (2002) The film is hilariously indifferent to the conundrum of the plot, but it is sustained, just about, by the buoyancy of its mood. - New Yorker
      Read More | Posted Dec 19, 2022
      Living (2022) So compelling are Nighy and Burke that I will watch them in anything... - New Yorker
      Read More | Posted Dec 16, 2022
      Avatar: The Way of Water (2022) The moral combat could not be more simplistic, yet all the Cameron trademarks are in play... - New Yorker
      Read More | Posted Dec 16, 2022
      Roald Dahl's Matilda the Musical (2022) It seems fitting... that the best thing about Warchus’s film should be the energy of the children. - New Yorker
      Read More | Posted Dec 02, 2022
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