A list of works by or about Anthony Lane, British journalist and film critic.
Books
Essays and reporting
1992–1999
Reviews Maurizio Nichetti's Volere Volare (1991) and Lucian Pintilie's The Oak (1992). Reviews Baz Luhrmann's Strictly Ballroom (1992) and Tony Bill's Untamed Heart (1993). Reviews John McNaughton's Mad Dog and Glory (1993) and Jacques Dorfmann and Pierre Magny's Shadow of the Wolf (1993).
2000–2009 Reviews Charlie Kaufman's Synecdoche, New York (2008) and Kenny Ortega's High School Musical 3 (2008). Reviews Danny Boyle's Slumdog Millionaire (2008) and Arnaud Desplechin's A Christmas Tale (2008).
2010–2014 Reviews Paul Greengrass' Green Zone (2010) and Bong Joon-ho's Mother (2009). Reviews Maurice Pialat's L’enfance Nue (1968). Reviews Matthew Vaughn's Kick-Ass (2010) and Banksy's Exit Through the Gift Shop (2010). Reviews João César Monteiro's Hovering Over the Water (1986). Reviews Ridley Scott's Robin Hood (2010). Reviews Todd Phillips' Due Date (2010) and Chris Morris's Four Lions (2010).
Reviews Susanne Bier's In a Better World (2010) and James Gunn's Super (2010). Reviews Brett Ratner's Tower Heist (2011) and Lars von Trier's Melancholia (2011). Reviews Wim Wenders's Pina (2011) and Roman Polanski's Carnage (2011). Reviews Otto Preminger's Laura (1944). Discusses the horror of M. R. James. Reviews Boris Barnet's Outskirts (1933). The films of Keisuke Kinoshita. Reviews Steven Spielberg's Lincoln (2012). Reviews Andrew Dominik's Killing Them Softly (2012) and Jacques Audiard's Rust and Bone (2012). Reviews Tom Hooper's Les Misérables (2012), Quentin Tarantino's Django Unchained (2012) and Michael Haneke's Amour (2012). Reviews Paolo and Vittorio Taviani's Caesar Must Die (2012) and Kim Jee-Woon's The Last Stand (2013). Reviews John Moore's A Good Day to Die Hard (2012) and Gael García Bernal's No (2012). Reviews Park Chan-wook's Stoker (2013) and Cristian Mungiu's Beyond the Hills (2012). Reviews Andrzej Wajda's Ashes and Diamonds (1958). Reviews Harmony Korine's Spring Breakers (2012) and Matteo Garrone's Reality (2012). Reviews Danny Boyle's Trance (2013) and Pablo Berger's Blancanieves (2012). Reviews Jean-Pierre Melville's Un flic (1972). Reviews Joseph Kosinski's Oblivion (2013) and François Ozon's In the House (2012). Reviews Shane Black's Iron Man 3 (2013) and Olivier Assayas' Something in the Air (2012). Reviews Jordan Vogt-Roberts's The Kings of Summer (2013) and Justin Lin's Fast & Furious 6 (2013). Reviews Nat Faxon and Jim Rash's The Way, Way Back (2013) and Pedro Almodóvar's I'm so Excited! (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). Reviews Ron Howard's Rush (2013) and Stuart Blumberg's Thanks for Sharing (2012). Reviews Abdellatif Kechiche's Blue is the Warmest Color (2013). Reviews Paolo Sorrentino's The Great Beauty (2013) and Stephen Frears' Philomena (2013). Reviews Spike Jonze's Her (2013), Ben Stiller's The Secret Life of Walter Mitty (2013) and John Lee Hancock's Saving Mr. Banks (2013). Reviews Claude Lanzmann's The Last of the Unjust (2013).
Reviews Hany Abu-Assad's Omar (2013) and Phil Lord and Christopher Miller's The Lego Movie (2014). Reviews Denis Villeneuve's Enemy (2013) and Roger Michell's Le Week-End (2013).
Reviews John Maloof and Charlie Siskel's Finding Vivian Maier (2013) and Bertrand Tavernier's The French Minister (2013). Reviews Jim Jarmusch's Only Lovers Left Alive (2013) and David Gordon Green's Joe (2013). Reviews Pawel Pawlikowski's Ida (2013) and Jon Favreau's Chef (2014). Reviews John Michael McDonagh's Calvary (2014) and Jonathan Demme's A Master Builder (2013). Reviews Lenny Abrahamson's Frank (2014) and Ira Sachs' Love is Strange (2014). Reviews Alejandro González Iñárritu's Birdman (2014) and Damien Chazelle's Whiplash (2014). Reviews Paul Thomas Anderson's Inherent Vice (2014).
2015–2019 Reviews Barry Levinson's The Humbling (2014) and Abderrahmane Sissako's Timbuktu (2014). Reviews Matthew Vaughn's Kingsman: The Secret Service (2014) and Taika Waititi and Jemaine Clement's What We Do in the Shadows (2014). Reviews Kenneth Branagh's Cinderella (2015) and David Robert Mitchell's It Follows (2014).Online version is titled "Not so Grimm". Reviews Alex Garland's Ex Machina (2014) and Asghar Farhadi's About Elly (2009). Reviews Olivier Assayas' Clouds of Sils Maria (2014).Title in the online table of contents is "Peak performances". Reviews Joss Whedon's Avengers : Age of Ultron (2015) and Thomas Vinterberg's Far from the Madding Crowd (2015). Reviews Andrew Niccol's Good Kill (2014) and John Maclean's Slow West (2015). Reviews George Miller's Mad Max: Fury Road (2015).Title in the online table of contents is "Maddest Max". Reviews Peter Docter's Inside Out (2015) and Andrea Di Stefano's Escobar : Paradise Lost (2014).Title in the online table of contents is "Pixar’s head trip". Reviews Judd Apatow's Trainwreck (2015) and Bill Condon's Mr. Holmes (2015).Title in the online table of contents is "Amy Schumer comes clean in 'Trainwreck'". Reviews Peyton Reed's Ant-Man and Joshua Oppenheimer's The Look of Silence. Reviews Todd Haynes' Carol (2015) and Brian Helgeland's Legend (2015).Title in the online table of contents is "Ravished by 'Carol'". Reviews Justin Kurzel's Macbeth (2015) and Paolo Sorrentino's Youth (2015).Title in the online table of contents is "A 'Macbeth' more foul than fair". Reviews Gavin O'Connor's Jane Got a Gun and J. Blakeson's The Fifth Wave. Reviews Ben Stiller's Zoolander 2 (2016) and Tobias Lindholm's A War (2015).Title in the online table of contents is "The fashion victims of 'Zoolander 2'". Reviews Robert Eggers' The Witch. Reviews Jon Favreau's The Jungle Book (2016) and Matteo Garrone's Tale of Tales (2015) Reviews Shane Black's The Nice Guys (2016) and Whit Stillman's Love & Friendship (2016). Woody Allen's Café Society (2016) and Roger Ross Williams' Life, Animated (2016). Reviews Paul Greengrass's Jason Bourne (2016) and Ira Sachs' Little Men (2016).Online version is titled "Jason Bourne and Little Men". Reviews Andrea Arnold's American Honey (2016) and Peter Berg's Deepwater Horizon (2016).Online version is titled "American Honey and Deepwater Horizon reviews". Mel Gibson's Hacksaw Ridge and Jeff Nichols' Loving.Online version is titled "The madness and majesty of 'Hacksaw Ridge'". Mike Mills' 20th Century Women and Pedro Almodóvar's Julieta.Online version is titled "20th Century Women and Julieta". Jim Jarmusch's Paterson and Pablo Larraín's Neruda.Online version is titled "Paterson and Neruda". Reviews Asghar Farhadi's The Salesman (2016) and M. Night Shyamalan's Split (2016). Reviews Jordan Vogt-Roberts's Kong : Skull Island (2017) and Julia Ducournau's Raw (2016).Online version is titled "'Kong: Skull Island' and 'Raw'". Online version is titled "Reading Jane Austen's final, unfinished novel". Reviews Olivier Assayas' Personal Shopper (2016) and François Ozon's Frantz (2016).Online version is titled "'Personal Shopper' and 'Frantz'". Reviews Terence Davies' A Quiet Passion (2016) and F. Gary Gray's The Fate of the Furious (2017).Online version is titled "'A Quiet Passion' and 'The Fate of the Furious'". Online version is titled "Jean-Pierre Melville's cinema of resistance". Reviews Ken Loach's I, Daniel Blake (2016) and Miguel Arteta's Beatriz at Dinner (2017).Online version is titled "'I, Daniel Blake' and 'Beatriz at Dinner'". Reviews Edgar Wright's Baby Driver (2017) and Bertrand Tavernier's (2016).Online version is titled "'Baby Driver' and 'My Journey Through French Cinema'". Reviews Josh Safdie and Benny Safdie's Good Time (2017) and Bertrand Bonello's Nocturama (2016).Online version is titled "'Good Time' and 'Nocturama'". Reviews Yorgos Lanthimos' The Killing of a Sacred Deer (2017) and Ruben Östlund's The Square (2017).Online version is titled "'The Killing of a Sacred Deer' and 'The Square'". Reviews George Clooney's Suburbicon (2017) and Richard Linklater's Last Flag Flying (2017).Online version is titled "'Suburbicon' and 'Last Flag Flying'". Reviews Luca Guadagnino's Call Me by Your Name (2017).Online version is titled "'Call Me by Your Name' : an erotic triumph". Reviews Andrey Zvyagintsev's Loveless (2017) and Brian Crano's Permission (2017).Online version is titled "'Loveless' and 'Permission'". Reviews Steven Soderbergh's Unsane (2018) and Aaron Katz's Gemini (2017).Online version is titled "'Unsane' and 'Gemini'". Reviews Richard Eyre's The Children Act (2018) and Robert Greene's Bisbee '17 (2018).Online version is titled "Emma Thompson's meticulous intensity in 'The Children Act'". Reviews Jon S. Baird's Stan & Ollie (2018) and Karyn Kusama's Destroyer (2018).Online version is titled "'Stan & Ollie' explores the slapstick pair's plaintive dusk". Reviews Florian Henckel von Donnersmarck's Never Look Away (2018).Online version is titled "The encrypted truths of 'Never Look Away'". Reviews Ty Robert's The Iron Orchard and Christian Petzold's Transit (2018).Online version is titled "The grim rapacity of 'The Iron Orchard'". Online version is titled "Why make movies about writers?" Reviews Kenneth Branagh's All Is True (2018) and Dome Karukoski's Tolkien (2019). Reviews Olivia Wilde's Booksmart (2019) and Joanna Hogg's The Souvenir (2019).Online version is titled "Olivia Wilde’s 'Booksmart' swerves aside from expectations". Reviews Guy Ritchie's Aladdin (2019) and Denys Arcand's The Fall of the American Empire (2018).Online version is titled "A live-action 'Aladdin' falls short of its animated predecessor". Reviews James Mangold's Ford v Ferrari (2019) and Mike Flanagan's Doctor Sleep (2019).Online version is titled "Boys will be boys in 'Ford v Ferrari'".
2020–2024 Reviews Greta Gerwig's Little Women (2019).Online version is titled "Greta Gerwig’s raw, startling 'Little Women'". Reviews Ladj Ly's Les Misérables (2019) and Chinonye Chukwu's Clemency (2019).Online version is titled "Paris on the brink in 'Les Misérables'". Reviews Benjamin Ree's The Painter and the Thief (2020) and Michael Winterbottom's The Trip to Greece (2020).Online version is titled "'The Painter and the Thief' is a quaveringly dark fairy tale". Reviews Armando Iannucci's The Personal History of David Copperfield (2019).Online version is titled "Charles Dickens at the movies". Reviews Thomas Vinterberg's Another Round (2020) and Ryan Murphy's The Prom (2020).Online version is titled "Planned alcoholism in 'Another Round' and weaponized camp in 'The Prom'". Reviews Andrei Konchalovsky's Dear Comrades! (2020).Online version is titled "'Dear Comrades!' is Andrei Konchalovsky's masterpiece". Reviews Sam Pollard's MLK/FBI (2020) and Preparations to be together for an unknown period of time (2020).Online version is titled "'MLK/FBI' forbids us to relax". Reviews Azazel Jacobs' French Exit (2020) and Mona Fastvold's The World to Come (2020).Online version is titled "Michelle Pfeiffer is a catwoman once more in 'French Exit'". Online version is titled "Tom Stoppard's charmed and haunted life". Reviews Mike Nichols' Closer (2004). Reviews Dominic Cooke's The Courier (2020) and Anthony Scott Burns' Come True (2020).Online version is titled "Cold War connections in 'The Courier'". Reviews Michael Radford's The Merchant of Venice (2004). Reviews John Frankenheimer's Ronin (1998). Reviews Jon M. Chu's In the Heights (2021) and Christian Petzold's Undine (2020).Online version is titled "Harmony rules in 'In the Heights'". Reviews Andreas Fontana's Azor (2021) and Natalie Morales's Language Lessons (2021).Online version is titled "The smell of villainy wafts compellingly through 'Azor'". Reviews Paul Schrader's The Card Counter (2021) and Bill Bentz's The Nowhere Inn (2020).Online version is titled "Guilt and numbness in 'The Card Counter'".