Contributors
Anthony Lane
Anthony Lane has been a film critic for The New Yorker since 1993. Before coming to the magazine, he worked at the Independent, in London, where he was appointed deputy literary editor in 1989 and, a year later, a film critic for the Independent on Sunday. In 2001, his reviews received the National Magazine Award for Reviews and Criticism. His writings for The New Yorker are collected in the book “Nobody’s Perfect.”
All Work
The Current CinemaSeptember 27, 2021 Issue
The Uncanny Valley of “I’m Your Man”
Maria Schrader’s film, starring Dan Stevens as a robot designed to be the perfect man, confirms comedy as the playground of philosophy: nothing is funnier or more stirring than the sight of somebody learning how to be.
By Anthony LaneSeptember 17, 2021
The Current CinemaSeptember 20, 2021 Issue
Guilt and Numbness in “The Card Counter”
Paul Schrader’s obsession with sin and redemption is palpable in a film starring Oscar Isaac as a veteran haunted by his experiences in the Iraq War, but against the strong moral backdrop the characters seem adrift.
By Anthony LaneSeptember 10, 2021
The Current CinemaSeptember 13, 2021 Issue
The Smell of Villainy Wafts Compellingly Through “Azor”
Set during Argentina’s Dirty War, Andreas Fontana’s remarkable début feature avoids overt horrors, preferring to coolly examine the inexhaustible human talent for averting one’s gaze.
By Anthony LaneSeptember 3, 2021
The Current CinemaAugust 23, 2021 Issue
Trapped in a Video Game with “Free Guy”
Shawn Levy’s hectic sci-fi comedy “Free Guy,” starring Ryan Reynolds and Jodie Comer, is exhausting but charming.
By Anthony LaneAugust 13, 2021
CommentAugust 16, 2021 Issue
The Surprising Relief of the Tokyo Olympics
Rightly or wrongly, the Games did proceed, and, to general astonishment, began to work their weird, if slightly shopworn, magic.
By Anthony LaneAugust 8, 2021
The Current CinemaAugust 16, 2021 Issue
“Annette” and the Drama of the Gifted Child
Starring Adam Driver and Marion Cotillard, Leos Carax’s musical about a young star is a folie de grandeur without the grandeur.
By Anthony LaneAugust 6, 2021
The Current CinemaAugust 9, 2021 Issue
“The Green Knight” Wields Intermittent Magic
An uneasy blend of the bygone and the new, David Lowery’s adaptation of an Arthurian tale succeeds most when he is consumed by cinema’s capacity to measure and manipulate time.
By Anthony LaneJuly 30, 2021
The Current CinemaJuly 26, 2021 Issue
How “Settlers” Avoids the Perils of Mars Movies
Wyatt Rockefeller’s film about refugees from Earth carving out a hardscrabble existence on the red planet blends the high tech and the humdrum, offering a stripped-down kind of sci-fi, provocative and wary of hope.
By Anthony LaneJuly 16, 2021
BooksJuly 12 & 19, 2021 Issue
The Strange Case of Ivor Gurney
Composer, poet of the First World War, incurable psychiatric patient: Are we at last ready to understand this elusive figure’s interrupted idylls?
By Anthony LaneJuly 5, 2021
The Current CinemaJuly 5, 2021 Issue
Questlove’s “Summer of Soul” Pulses with Long-Silenced Beats
The music star’s directorial début, a documentary about the Harlem Cultural Festival of 1969, knits a wealth of unseen footage into a joyous whole.
By Anthony LaneJune 25, 2021
12345...107
Listen to the New Yorker Radio Hour
Buy the Cover
Play the Crossword
Play the Jigsaw Puzzle
Follow Us
© 2021 Condé Nast. All rights reserved. Use of and/or registration on any portion of this site constitutes acceptance of our User Agreement (updated as of 1/1/21) and Privacy Policy and Cookie Statement (updated as of 1/1/21). Your California Privacy Rights. The material on this site may not be reproduced, distributed, transmitted, cached or otherwise used, except with the prior written permission of Condé Nast. The New Yorker may earn a portion of sales from products and services that are purchased through links on our site as part of our affiliate partnerships with retailers. Ad Choices