Anthony Lane bibliography
A list of works by or about Anthony Lane, British journalist and film critic.
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Books[]
- Nobody's perfect : writings from the New Yorker. New York: Knopf. 2002.
Essays and reporting[]
2000–2009[]
- "Let's put on a show!". The Critics. The Current Cinema. The New Yorker. 84 (35): 122–123. November 3, 2008. Reviews Charlie Kaufman's Synecdoche, New York (2008) and Kenny Ortega's High School Musical 3 (2008).
- "Hard times". The Critics. The Current Cinema. The New Yorker. 84 (38): 130–131. November 24, 2008. Reviews Danny Boyle's Slumdog Millionaire (2008) and Arnaud Desplechin's A Christmas Tale (2008).
2010–2014[]
- "Under the gun". The Critics. The Current Cinema. The New Yorker. 86 (4): 82–83. March 15, 2010. Reviews Paul Greengrass' Green Zone (2010) and Bong Joon-ho's Mother (2009).
- "Street justice". The Critics. The Current Cinema. The New Yorker. 86 (10). April 26, 2010. Reviews Matthew Vaughn's Kick-Ass (2010) and Banksy's Exit Through the Gift Shop (2010).
- "Long roads". The Critics. The Current Cinema. The New Yorker. 86 (36). November 15, 2010. Reviews Todd Phillips' Due Date (2010) and Chris Morris's Four Lions (2010).
- "And the Oscar will go to ..." Shouts and Murmurs. The New Yorker. 87 (4): 28. March 14, 2011.
- "Time bomb". The Critics. The Current Cinema. The New Yorker. 87 (4): 82–83. April 4, 2011. Reviews Susanne Bier's In a Better World (2010) and James Gunn's Super (2010).
- "Home movies". The Critics. The Current Cinema. The New Yorker. 87 (35): 90–91. November 7, 2011. Reviews Brett Ratner's Tower Heist (2011) and Lars von Trier's Melancholia (2011).
- "Theatre on film". The Critics. The Current Cinema. The New Yorker. 87 (41). November 19–26, 2011. Reviews Wim Wenders's Pina (2011) and Roman Polanski's Carnage (2011).
- "Stings of desire". Goings on About Town. Critic's Notebook. The New Yorker. 87 (42): 14. January 2, 2012. Reviews Otto Preminger's Laura (1944).
- "Fright nights". The Critics. Books. The New Yorker. 88 (1): 105–108. February 13–20, 2012.[1]
- "They, the people". Goings on About Town. Critic's Notebook. The New Yorker. 88 (9): 9. April 16, 2012. Reviews Boris Barnet's Outskirts (1933).
- "The war at home". Goings on About Town. Critic's Notebook. The New Yorker. 88 (36): 9. November 19, 2012.[2]
- "House divided". The Critics. The Current Cinema. The New Yorker. 88 (36): 82–84. November 19, 2012. Reviews Steven Spielberg's Lincoln (2012).
- "Tough times". The Critics. The Current Cinema. The New Yorker. 88 (38): 112–113. December 3, 2012. Reviews Andrew Dominik's Killing Them Softly (2012) and Jacques Audiard's Rust and Bone (2012).
- "Love hurts". The Critics. The Current Cinema. The New Yorker. 88 (42): 80–81. January 7, 2013. Reviews Tom Hooper's Les Misérables (2012), Quentin Tarantino's Django Unchained (2012) and Michael Haneke's Amour (2012).
- "The evil that men do". The Critics. The Current Cinema. The New Yorker. 88 (46): 78–79. February 4, 2013. Reviews Paolo and Vittorio Taviani's Caesar Must Die (2012) and Kim Jee-Woon's The Last Stand (2013).
- "Ways to win". The Critics. The Current Cinema. The New Yorker. 89 (2): 84–85. February 25, 2013. Reviews John Moore's A Good Day to Die Hard (2012) and Gael García Bernal's No (2012).
- "Mad about you". The Critics. The Current Cinema. The New Yorker. 89 (4): 80–81. March 11, 2013. Reviews Park Chan-wook's Stoker (2013) and Cristian Mungiu's Beyond the Hills (2012).
- "Red shift". Goings on About Town. Critic's Notebook. The New Yorker. 89 (5): 12. March 18, 2013. Reviews Andrzej Wajda's Ashes and Diamonds (1958).
- "Fun in the sun". The Critics. The Current Cinema. The New Yorker. 89 (6): 108–109. March 25, 2013. Reviews Harmony Korine's Spring Breakers (2012) and Matteo Garrone's Reality (2012).
- "Mind games". The Critics. The Current Cinema. The New Yorker. 89 (8): 88–89. April 8, 2013. Reviews Danny Boyle's Trance (2013) and Pablo Berger's Blancanieves (2012).
- "Criminal elements". Goings on About Town. Critic's Notebook. The New Yorker. 89 (10): 26. April 22, 2013. Reviews Jean-Pierre Melville's Un flic (1972).
- "Home fronts". The Critics. The Current Cinema. The New Yorker. 89 (11): 82–83. April 29, 2013. Reviews Joseph Kosinski's Oblivion (2013) and François Ozon's In the House (2012).
- "Battle weary". The Critics. The Current Cinema. The New Yorker. 89 (12): 88–89. May 6, 2013. Reviews Shane Black's Iron Man 3 (2013) and Olivier Assayas' Something in the Air (2012).
- "Never alone". The Critics. The Current Cinema. The New Yorker. 89 (16): 74–75. June 3, 2013. Reviews Jordan Vogt-Roberts's The Kings of Summer (2013) and Justin Lin's Fast & Furious 6 (2013).
- "In transit". The Critics. The Current Cinema. The New Yorker. 89 (20): 94–95. July 8–15, 2013. Reviews Nat Faxon and Jim Rash's The Way, Way Back (2013) and Pedro Almodóvar's I'm so Excited! (2013).
- "Grim tidings". The Critics. The Current Cinema. The New Yorker. 89 (21): 80–81. July 22, 2013. Reviews Guillermo del Toro's Pacific Rim (2013), Nicolas Winding Refn's Only God Forgives (2013) and Joshua Oppenheimer's The Act of Killing (2012).
- "Fast moves". The Critics. The Current Cinema. The New Yorker. 89 (30): 84–85. September 30, 2013. Reviews Ron Howard's Rush (2013) and Stuart Blumberg's Thanks for Sharing (2012).
- "New love". The Critics. The Current Cinema. The New Yorker. 89 (34): 82–83. October 28, 2013. Reviews Abdellatif Kechiche's Blue is the Warmest Color (2013).
- "Roman conquests". The Critics. The Current Cinema. The New Yorker. 89 (38): 134–135. November 25, 2013. Reviews Paolo Sorrentino's The Great Beauty (2013) and Stephen Frears' Philomena (2013).
- "Only make believe". The Critics. The Current Cinema. The New Yorker. 89 (42): 130–131. December 23–30, 2013. Reviews Her, The Secret Life of Walter Mitty (2013) and Saving Mr. Banks.
- "The cost of survival". The Critics. The Current Cinema. The New Yorker. 89 (48): 84–85. February 10, 2014. Reviews Claude Lanzmann's The Last of the Unjust (2013).
- "Best bets". The Talk of the Town. Comment. The New Yorker. 90 (2): 23–24. March 3, 2014.
- "Following orders". The Critics. The Current Cinema. The New Yorker. 90 (2): 84–85. March 3, 2014. Reviews Hany Abu-Assad's Omar (2013) and Phil Lord and Christopher Miller's The Lego Movie (2014).
- "Double trouble". The Critics. The Current Cinema. The New Yorker. 90 (4): 78–79. March 17, 2014. Reviews Denis Villeneuve's Enemy (2013) and Roger Michell's Le Week-End (2013).
- "Her again : the unstoppable Scarlett Johansson". Onward and Upward with the Arts. The New Yorker. 90 (5): 56–63. March 24, 2014.
- "Candid camera". The Critics. The Current Cinema. The New Yorker. 90 (6): 80–81. March 31, 2014. Reviews John Maloof and Charlie Siskel's Finding Vivian Maier (2013) and Bertrand Tavernier's The French Minister (2013).
- "After darkness". The Critics. The Current Cinema. The New Yorker. 90 (8): 86–87. April 14, 2014. Reviews Jim Jarmusch's Only Lovers Left Alive (2013) and David Gordon Green's Joe (2013).
- "Road trips". The Critics. The Current Cinema. The New Yorker. 90 (12): 82–83. May 12, 2014. Reviews Pawel Pawlikowski's Ida (2013) and Jon Favreau's Chef (2014).
- "Big men". The Critics. The Current Cinema. The New Yorker. 90 (22): 74–75. August 4, 2014. Reviews John Michael McDonagh's Calvary (2014) and Jonathan Demme's A Master Builder (2013).
- "Hide and seek". The Critics. The Current Cinema. The New Yorker. 90 (24): 74–75. August 25, 2014. Reviews Lenny Abrahamson's Frank (2014) and Ira Sachs' Love is Strange (2014).
- "High fliers". The Critics. The Current Cinema. The New Yorker. 90 (32): 106–107. October 20, 2014. Reviews Alejandro González Iñárritu's Birdman (2014) and Damien Chazelle's Whiplash (2014).
- "Swinging Seventies". The Critics. The Current Cinema. The New Yorker. 90 (40): 76–77. December 15, 2014. Reviews Paul Thomas Anderson's Inherent Vice (2014).
2015–2019[]
- "Adventures in Rothland". The Critics. The Current Cinema. The New Yorker. 90 (46): 62–64. February 2, 2015. Reviews Barry Levinson's The Humbling (2014) and Abderrahmane Sissako's Timbuktu (2014).
- "Society of men". The Critics. The Current Cinema. The New Yorker. 91 (1): 64–66. February 16, 2015. Reviews Matthew Vaughn's Kingsman: The Secret Service (2014) and Taika Waititi and Jemaine Clement's What We Do in the Shadows (2014).
- "Young love". The Critics. The Current Cinema. The New Yorker. 91 (4): 88–89. March 16, 2015.[3] Reviews Kenneth Branagh's Cinderella (2015) and David Robert Mitchell's It Follows (2014).
- "Feelings". The Critics. The Current Cinema. The New Yorker. 91 (8): 82–83. April 13, 2015. Reviews Alex Garland's Ex Machina (2014) and Asghar Farhadi's About Elly (2009).
- "Way up high". The Critics. The Current Cinema. The New Yorker. 91 (9): 96–97. April 20, 2015. Reviews Olivier Assayas' Clouds of Sils Maria (2014).[4]
- "Fighting on". The Critics. The Current Cinema. The New Yorker. 91 (11): 62–64. May 4, 2015. Joss Whedon's Avengers : Age of Ultron (2015) and Thomas Vinterberg's Far from the Madding Crowd (2015).
- "Distant emotions". The Critics. The Current Cinema. The New Yorker. 91 (13): 102–103. May 18, 2015. Andrew Niccol's Good Kill and John Maclean's Slow West.
- "High gear". The Critics. The Current Cinema. The New Yorker. 91 (14): 68–70. May 25, 2015. Reviews George Miller's Mad Max: Fury Road (2015).[5]
- "Small victories". The Critics. The Current Cinema. The New Yorker. 91 (21): 74–75. July 27, 2015. Reviews Peyton Reed's Ant-Man and Joshua Oppenheimer's The Look of Silence.
- "Tough girls". The Critics. The Current Cinema. The New Yorker. 91 (46): 74–75. February 1, 2016. Reviews Gavin O'Connor's Jane Got a Gun and J. Blakeson's The Fifth Wave.
- "Spellbound". The Critics. The Current Cinema. The New Yorker. 92 (3): 78–79. February 29, 2016. Reviews Robert Eggers' The Witch.
- "Daring duos". The Critics. The Current Cinema. The New Yorker. 92 (15): 84–85. May 23, 2016. Shane Black's The Nice Guys and Whit Stillman's Love & Friendship.
- "Family ties". The Critics. The Current Cinema. The New Yorker. 92 (21): 88–89. July 11–18, 2016. Woody Allen's Café Society (2016) and Roger Ross Williams' Life, Animated (2016).
- "Find yourself". The Critics. The Current Cinema. The New Yorker. 92 (24): 80–81. August 8–15, 2016. Reviews Paul Greengrass's Jason Bourne (2016) and Ira Sachs' Little Men (2016).[6]
- "In deep". The Critics. The Current Cinema. The New Yorker. 92 (32): 108–109. October 10, 2016. Reviews Andrea Arnold's American Honey (2016) and Peter Berg's Deepwater Horizon (2016).[7]
- "Good fights". The Critics. The Current Cinema. The New Yorker. 92 (36): 82–83. November 7, 2016. Mel Gibson's Hacksaw Ridge and Jeff Nichols' Loving.[8]
- "Mother lode". The Critics. The Current Cinema. The New Yorker. 92 (42): 130–131. December 19–26, 2016. Mike Mills' 20th Century Women and Pedro Almodóvar's Julieta.[9]
- "Poets' corner". The Critics. The Current Cinema. The New Yorker. 92 (43): 76–77. January 2, 2017. Jim Jarmusch's Paterson and Pablo Larraín's Neruda.[10]
- "Animal kingdoms". The Critics. The Current Cinema. The New Yorker. 93 (4): 114–115. March 13, 2017. Reviews Jordan Vogt-Roberts's Kong : Skull Island (2017) and Julia Ducournau's Raw (2016).[11]
- "Last laugh : Jane Austen's final, surprising, unfinished novel". The New Yorker. 93 (4): 77–79. March 13, 2017.[12]
- "Keeping cool : Jean-Pierre Melville's cinema of resistance". The Critics. A Critic at Large. The New Yorker. 93 (11): 70–73. May 1, 2017.[13]
- "How the other half lives". The Critics. The Current Cinema. The New Yorker. 93 (17): 74–75. June 19, 2017. Reviews Ken Loach's I, Daniel Blake (2016) and Miguel Arteta's Beatriz at Dinner (2017).[14]
- "Style and substance". The Critics. The Current Cinema. The New Yorker. 93 (19): 74–75. July 3, 2017.Reviews Edgar Wright's Baby Driver (2017) and Bertrand Tavernier's My Journey Through French Cinema (2016).[15]
- "Desperadoes". The Critics. The Current Cinema. The New Yorker. 93 (24): 82–83. August 21, 2017. Reviews Josh Safdie and Benny Safdie's Good Time (2017) and Bertrand Bonello's Nocturama (2016).[16]
- "Sacrificial victims". The Critics. The Current Cinema. The New Yorker. 93 (34): 78–79. October 30, 2017. Reviews Yorgos Lanthimos' The Killing of a Sacred Deer (2017) and Ruben Östlund's The Square (2017).[17]
- "American conflicts". The Critics. The Current Cinema. The New Yorker. 93 (35): 74–75. November 6, 2017. Reviews George Clooney's Suburbicon (2017) and Richard Linklater's Last Flag Flying (2017).[18]
- "Intertwined". The Critics. The Current Cinema. The New Yorker. 93 (39): 82–83. December 4, 2017. Reviews Luca Guadagnino's Call Me by Your Name (2017).[19]
- "Ties that break". The Critics. The Current Cinema. The New Yorker. 94 (1): 104–105. February 12–19, 2018. Reviews Andrey Zvyagintsev's Loveless (2017) and Brian Crano's Permission (2017).[20]
- "Unusual suspects". The Critics. The Current Cinema. The New Yorker. 94 (7): 94–95. April 2, 2018. Reviews Steven Soderbergh's Unsane (2018) and Aaron Katz's Gemini (2017).[21]
- "Extralegal actions". The Critics. The Current Cinema. The New Yorker. 94 (28): 70–71. September 17, 2018. Reviews Richard Eyre's The Children Act (2018) and Robert Greene's Bisbee '17 (2018).[22]
- "Togetherness". The Critics. The Current Cinema. The New Yorker. 94 (43): 72–73. January 7, 2019. Reviews Jon S. Baird's Stan & Ollie (2018) and Karyn Kusama's Destroyer (2018).[23]
- "Eyes wide open". The Critics. The Current Cinema. The New Yorker. 94 (48): 72–73. February 11, 2019. Reviews Florian Henckel von Donnersmarck's Never Look Away (2018).[24]
- "Badlands". The Critics. The Current Cinema. The New Yorker. 95 (2): 70–71. March 4, 2019. Reviews Ty Robert's The Iron Orchard and Christian Petzold's Transit (2018).[25]
- "The write stuff". The Critics. The Current Cinema. The New Yorker. 95 (13): 85–86. May 20, 2019.[26] Reviews Kenneth Branagh's All Is True (2018) and Dome Karukoski's Tolkien (2019).
- "Awkward ages". The Critics. The Current Cinema. The New Yorker. 95 (14): 76–77. May 27, 2019. Reviews Olivia Wilde's Booksmart (2019) and Joanna Hogg's The Souvenir (2019).[27]
- "Wish list". The Critics. The Current Cinema. The New Yorker. 95 (15): 70–71. June 3, 2019. Reviews Guy Ritchie's Aladdin (2019) and Denys Arcand's The Fall of the American Empire (2018).[28]
- "Wheels within wheels". The Critics. The Current Cinema. The New Yorker. 95 (36): 68–70. November 18, 2019. Reviews James Mangold's Ford v Ferrari (2019) and Mike Flanagan's Doctor Sleep (2019).[29]
2020–[]
- "Home comforts". The Critics. The Current Cinema. The New Yorker. 95 (43): 68–69. January 6, 2020.[30] Reviews Greta Gerwig's Little Women (2019).
- "Witnesses". The Critics. The Current Cinema. The New Yorker. 95 (44): 72–73. January 13, 2020. Reviews Ladj Ly's Les Misérables (2019) and Chinonye Chukwu's Clemency (2019).[31]
- "Folies à deux". The Critics. The Current Cinema. The New Yorker. 96 (15): 70–71. June 1, 2020.[32] Reviews Benjamin Ree's The Painter and the Thief (2020) and Michael Winterbottom's The Trip to Greece (2020).
Notes[]
- ^ Discusses the horror of M. R. James.
- ^ The films of Keisuke Kinoshita.
- ^ Online version is titled "Not so Grimm".
- ^ Title in the online table of contents is "Peak performances".
- ^ Title in the online table of contents is "Maddest Max".
- ^ Online version is titled "Jason Bourne and Little Men".
- ^ Online version is titled "American Honey and Deepwater Horizon reviews".
- ^ Online version is titled "The madness and majesty of 'Hacksaw Ridge'".
- ^ Online version is titled "20th Century Women and Julieta".
- ^ Online version is titled "Paterson and Neruda".
- ^ Online version is titled "'Kong: Skull Island' and 'Raw'".
- ^ Online version is titled "Reading Jane Austen's final, unfinished novel".
- ^ Online version is titled "Jean-Pierre Melville's cinema of resistance".
- ^ Online version is titled "'I, Daniel Blake' and 'Beatriz at Dinner'".
- ^ Online version is titled "'Baby Driver' and 'My Journey Through French Cinema'".
- ^ Online version is titled "'Good Time' and 'Nocturama'".
- ^ Online version is titled "'The Killing of a Sacred Deer' and 'The Square'".
- ^ Online version is titled "'Suburbicon' and 'Last Flag Flying'".
- ^ Online version is titled "'Call Me by Your Name' : an erotic triumph".
- ^ Online version is titled "'Loveless' and 'Permission'".
- ^ Online version is titled "'Unsane' and 'Gemini'".
- ^ Online version is titled "Emma Thompson's meticulous intensity in 'The Children Act'".
- ^ Online version is titled "'Stan & Ollie' explores the slapstick pair's plaintive dusk".
- ^ Online version is titled "The encrypted truths of 'Never Look Away'".
- ^ Online version is titled "The grim rapacity of 'The Iron Orchard'".
- ^ Online version is titled "Why make movies about writers?"
- ^ Online version is titled "Olivia Wilde’s 'Booksmart' swerves aside from expectations".
- ^ Online version is titled "A live-action 'Aladdin' falls short of its animated predecessor".
- ^ Online version is titled "Boys will be boys in 'Ford v Ferrari'".
- ^ Online version is titled "Greta Gerwig’s raw, startling 'Little Women'".
- ^ Online version is titled "Paris on the brink in 'Les Misérables'".
- ^ Online version is titled "'The Painter and the Thief' is a quaveringly dark fairy tale".
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