Anthony Lane bibliography

A list of works by or about Anthony Lane, British journalist and film critic.

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.CS1 maint: date format (link) 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.CS1 maint: date format (link)[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 Garcia 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.CS1 maint: date format (link) 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.
"Roman conquests". The Critics. The Current Cinema. The New Yorker. 89 (38): 134–135. November 25, 2013. Reviews Paolo Sorrentino's The Great Beauty and Stephen Frears' Philomena.
"Only make believe". The Critics. The Current Cinema. The New Yorker. 89 (42): 130–131. December 23–30, 2013.CS1 maint: date format (link) 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.CS1 maint: date format (link) 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.CS1 maint: date format (link) 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.CS1 maint: date format (link) 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.CS1 maint: date format (link) 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–

"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).[30]

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 "Paris on the brink in 'Les Misérables'".

gollark: It allocates memory and doesn't consider it a side effect.

gollark: I didn't do any horrible homoglyph hacks with THAT.

gollark: It uses the function, yes.

gollark: So, I finished that to highly dubious demand. I'd like to know how #11 and such work.

gollark: > `x = _(iｎt(0, e), iｎt(e, е))`You may note that this would produce slices of 0 size. However, one of the `e`s is a homoglyph; it contains `2 * e`.`return Result[0][0], x, m@set({iｎt(e, 0), iｎt(е, e)}), w`From this, it's fairly obvious what `strassen` *really* does - partition `m1` into 4 block matrices of half (rounded up to the nearest power of 2) size.> `E = typing(lookup[2])`I forgot what this is meant to contain. It probably isn't important.> `def exponentiate(m1, m2):`This is the actual multiplication bit.> `if m1.n == 1: return Mаtrix([[m1.bigData[0] * m2.bigData[0]]])`Recursion base case. 1-sized matrices are merely multiplied scalarly.> `aa, ab, ac, ad = strassen(m1)`> `аa, аb, аc, аd = strassen(m2)`More use of homoglyph confusion here. The matrices are quartered.> `m = m1.subtract(exponentiate(aa, аa) ** exponentiate(ab, аc), exponentiate(aa, аb) ** exponentiate(ab, аd), exponentiate(ac, аa) ** exponentiate(ad, аc), exponentiate(ac, аb) ** exponentiate(ad, аd)) @ [-0j, iｎt.abs(m2.n * 3, m1.n)]`This does matrix multiplication in an inefficient *recursive* way; the Strassen algorithm could save one of eight multiplications here, which is more efficient (on big matrices). It also removes the zero padding.> `m = exponentiate(Mаtrix(m1), Mаtrix(m2)) @ (0j * math.sin(math.asin(math.sin(math.asin(math.sin(math.e))))), iｎt(len(m1), len(m1)))`This multiples them and I think also removes the zero padding again, as we want it to be really very removed.> `i += 1`This was added as a counter used to ensure that it was usably performant during development.> `math.factorial = math.sinh`Unfortunately, Python's factorial function has really rather restrictive size limits.> `for row in range(m.n):`This converts back into the 2D array format.> `for performance in sorted(dir(gc)): getattr(gc, performance)()`Do random fun things to the GC.

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[1] Discusses the horror of M. R. James.

[2] The films of Keisuke Kinoshita.

[3] Online version is titled "Not so Grimm".

[4] Title in the online table of contents is "Peak performances".

[5] Title in the online table of contents is "Maddest Max".

[6] Online version is titled "Jason Bourne and Little Men".

[7] Online version is titled "American Honey and Deepwater Horizon reviews".

[8] Online version is titled "The madness and majesty of 'Hacksaw Ridge'".

[9] Online version is titled "20th Century Women and Julieta".

[10] Online version is titled "Paterson and Neruda".

[11] Online version is titled "'Kong: Skull Island' and 'Raw'".

[12] Online version is titled "Reading Jane Austen's final, unfinished novel".

[13] Online version is titled "Jean-Pierre Melville's cinema of resistance".

[14] Online version is titled "'I, Daniel Blake' and 'Beatriz at Dinner'".

[15] Online version is titled "'Baby Driver' and 'My Journey Through French Cinema'".

[16] Online version is titled "'Good Time' and 'Nocturama'".

[17] Online version is titled "'The Killing of a Sacred Deer' and 'The Square'".

[18] Online version is titled "'Suburbicon' and 'Last Flag Flying'".

[19] Online version is titled "'Call Me by Your Name' : an erotic triumph".

[20] Online version is titled "'Loveless' and 'Permission'".

[21] Online version is titled "'Unsane' and 'Gemini'".

[22] Online version is titled "Emma Thompson's meticulous intensity in 'The Children Act'".

[23] Online version is titled "'Stan & Ollie' explores the slapstick pair's plaintive dusk".

[24] Online version is titled "The encrypted truths of 'Never Look Away'".

[25] Online version is titled "The grim rapacity of 'The Iron Orchard'".

[26] Online version is titled "Why make movies about writers?"

[27] Online version is titled "Olivia Wilde’s 'Booksmart' swerves aside from expectations".

[28] Online version is titled "A live-action 'Aladdin' falls short of its animated predecessor".

[29] Online version is titled "Boys will be boys in 'Ford v Ferrari'".

[30] Online version is titled "Paris on the brink in 'Les Misérables'".