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Anthony Lane

United Kingdom

Ironbark (2020)

Publish Date: March 15, 2021
"[It] lacks the emotional and moral punch of a truly great spy movie (...) For fans of Cumberbatch, on the other hand, it will be a fount of joy."

The New Yorker
Martin Eden (2019)

Publish Date: October 16, 2020
"In a cooped-up age, the great escapes and far-off horizons of Jack London’s fiction feel resonant"

The New Yorker
The Artist's Wife (2019)

Publish Date: September 18, 2020
"It opts for plangency, with a musical score applied like a gentle balm, and a plot that hungers for healing—absurdly so, given the incurable nature of Richard’s plight.

The New Yorker
Les Misérables (2019)

Publish Date: January 3, 2020
"Even everyday scenes vibrate with a sense that things are about to explode (...) [At the end] you feel exhausted yet satisfied"

The New Yorker
Ford v Ferrari (2019)

Publish Date: November 8, 2019
"Mangold’s strongest film yet (...) It would be a shame if “Ford v Ferrari” were to attract an audience composed of no one but motorheads"

The New Yorker
Dogman (2018)

Publish Date: April 12, 2019
"Garrone's forte, as ever, is to layer the brutish with the beautiful, and to find grace in dereliction."

The New Yorker
Stockholm (2018)

Publish Date: April 11, 2019
"Something mysterious—a contagion of souls—occurred in that vault, and Budreau’s movie, entertaining as it is, leaves us little the wiser."

The New Yorker
Roll Red Roll (2018)

Publish Date: April 1, 2019
"The film is brief, at eighty minutes, and all the more potently wrathful for being so restrained (...) [It] feels raw and pressing"

The New Yorker
The Beach Bum (2019)

Publish Date: March 28, 2019
"What a pleasure it is to meet certain characters in the movies, and what a relief not to know them in real life."

The New Yorker
Hotel Mumbai (2018)

Publish Date: March 21, 2019
"Lurking below the movie is an unsavory irony: the killers and the filmmakers picked the hotel for the same reasons."

The New Yorker
The Iron Orchard (2018)

Publish Date: March 4, 2019
"[It] is all over the place (...) The musical score is overcooked, the cast underpowered, and the dialogue something of a mishmash"

The New Yorker
The Aspern Papers (2018)

Publish Date: January 14, 2019
"It’s when Landais departs from the original, or has a bright idea for expanding on it, that the movie’s troubles begin"

The New Yorker
Mary Poppins Returns (2018)

Publish Date: December 14, 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."

The New Yorker
Vox Lux (2018)

Publish Date: December 10, 2018
"I reckon that Portman tips 'Vox Lux' off balance (...) Corbet’s second film is not a departure from his first, still less a renunciation."

The New Yorker
The Favourite (2018)

Publish Date: November 19, 2018
"Lanthimos is not one of nature’s cheerleader(...) and yet, from the mean and grasping shenanigans that pass for a plot, there rises an unmistakable whiff of—believe it or not—fun."

The New Yorker
Wildlife (2018)

Publish Date: October 15, 2018
"Dano doesn't appear in his own movie, but its texture is of a piece with his courteous and careful performances, where he always seems to plead fruitlessly with an unjust world."

The New Yorker
First Man (2018)

Publish Date: October 8, 2018
"The film captures the grandeur and otherness of the Apollo saga, but not the Midwestern modesty of its hero, Neil Armstrong."

The New Yorker
Colette (2018)

Publish Date: September 24, 2018
"The legend of Colette, in brief, is one of those rare real-life dramas that arrive at melodrama without assistance."

The New Yorker
The Sisters Brothers (2018)

Publish Date: September 24, 2018
"There's another reason for the lure of 'The Sisters Brothers'. If the lives that it portrays are in transit, the world that encircles them is in even faster flux."

The New Yorker
Bisbee '17 (2018)

Publish Date: September 10, 2018
"Greene's movie (...) grows into an adventurous exercise in drama-documentary; what could have seemed arch or awkward is handled with grace and tact"

The New Yorker

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