From Wikipedia, the free encyclopedia
A list of works by or about
Anthony Lane , British journalist and film critic.
Lane, Anthony (2002). Nobody's perfect : writings from the New Yorker . New York: Knopf.
Lane, Anthony (November 9, 1992). "Beckett's last book". The Talk of the Town. The New Yorker : 41.
— (February 1, 1993). "Flights of fancy". The Critics. The Current Cinema. The New Yorker . 68 (50): 96–98. Reviews
Maurizio Nichetti 's
Volere Volare (1991) and
Lucian Pintilie 's
The Oak (1992).
— (February 15, 1993). "Gotta tango!". The Critics. The Current Cinema. The New Yorker . 68 (52): 95–98. Reviews
Baz Luhrmann 's
Strictly Ballroom (1992) and
Tony Bill 's
Untamed Heart (1993).
— (March 15, 1993). "Revenge of the nerd". The Critics. The Current Cinema. The New Yorker . 69 (4): 119–121. Reviews
John McNaughton 's
Mad Dog and Glory (1993) and
Jacques Dorfmann [
fr ] and Pierre Magny's
Shadow of the Wolf (1993).
— (March 29, 1993). "Crash courses". The Critics. The Current Cinema. The New Yorker . 69 (6).
— (April 12, 1993). "Drifters". The Critics. The Current Cinema. The New Yorker . 69 (8): 111–112, 114.
Lane, Anthony (March 15, 2010).
"Under the gun" . The Critics. The Current Cinema. The New Yorker . 86 (4): 82–83. Reviews
Paul Greengrass '
Green Zone (2010) and
Bong Joon-ho 's
Mother (2009).
— (April 5, 2010).
"The 401st blow" . Goings on About Town. Critic's Notebook. The New Yorker . 86 (8): 13. Reviews
Maurice Pialat 's
L’enfance Nue (1968).
— (April 26, 2010).
"Street justice" . The Critics. The Current Cinema. The New Yorker . 86 (10). Reviews
Matthew Vaughn 's
Kick-Ass (2010) and
Banksy 's
Exit Through the Gift Shop (2010).
— (May 24, 2010).
"Open House" . Goings on About Town. Critic's Notebook. The New Yorker . 86 (14): 10. Reviews
João César Monteiro 's Hovering Over the Water (1986).
— (May 24, 2010).
"Straight Arrows" . The Critics. The Current Cinema. The New Yorker . 86 (14): 82–83. Reviews
Ridley Scott 's
Robin Hood (2010).
— (November 15, 2010).
"Long Roads" . The Critics. The Current Cinema. The New Yorker . 86 (36). Reviews
Todd Phillips '
Due Date (2010) and
Chris Morris 's
Four Lions (2010).
— (March 14, 2011).
"And the Oscar will go to ..." Shouts and Murmurs. The New Yorker . 87 (4): 28.
— (April 4, 2011).
"Time bomb" . The Critics. The Current Cinema. The New Yorker . 87 (4): 82–83. Reviews
Susanne Bier 's
In a Better World (2010) and
James Gunn 's
Super (2010).
— (November 7, 2011).
"Home movies" . The Critics. The Current Cinema. The New Yorker . 87 (35): 90–91. Reviews
Brett Ratner 's
Tower Heist (2011) and
Lars von Trier 's
Melancholia (2011).
— (November 19–26, 2011).
"Theatre on film" . The Critics. The Current Cinema. The New Yorker . 87 (41). Reviews
Wim Wenders 's
Pina (2011) and
Roman Polanski 's
Carnage (2011).
— (January 2, 2012).
"Stings of desire" . Goings on About Town. Critic's Notebook. The New Yorker . 87 (42): 14. Reviews
Otto Preminger 's
Laura (1944).
— (February 13–20, 2012).
"Fright nights" . The Critics. Books. The New Yorker . 88 (1): 105–108.
[1]
— (April 16, 2012). "They, the people". Goings on About Town. Critic's Notebook. The New Yorker . 88 (9): 9. Reviews
Boris Barnet 's
Outskirts (1933).
— (November 19, 2012). "The war at home". Goings on About Town. Critic's Notebook. The New Yorker . 88 (36): 9.
[2]
— (November 19, 2012).
"House divided" . The Critics. The Current Cinema. The New Yorker . 88 (36): 82–84. Reviews
Steven Spielberg 's
Lincoln (2012).
— (December 3, 2012).
"Tough times" . The Critics. The Current Cinema. The New Yorker . 88 (38): 112–113. Reviews
Andrew Dominik 's
Killing Them Softly (2012) and
Jacques Audiard 's
Rust and Bone (2012).
— (January 7, 2013).
"Love hurts" . The Critics. The Current Cinema. The New Yorker . 88 (42): 80–81. Reviews
Tom Hooper 's
Les Misérables (2012),
Quentin Tarantino 's
Django Unchained (2012) and
Michael Haneke 's
Amour (2012).
— (February 4, 2013).
"The evil that men do" . The Critics. The Current Cinema. The New Yorker . 88 (46): 78–79. Reviews
Paolo and Vittorio Taviani 's
Caesar Must Die (2012) and
Kim Jee-Woon 's
The Last Stand (2013).
— (February 25, 2013).
"Ways to win" . The Critics. The Current Cinema. The New Yorker . 89 (2): 84–85. Reviews
John Moore 's
A Good Day to Die Hard (2012) and
Gael García Bernal 's
No (2012).
— (March 11, 2013).
"Mad about you" . The Critics. The Current Cinema. The New Yorker . 89 (4): 80–81. Reviews
Park Chan-wook 's
Stoker (2013) and
Cristian Mungiu 's
Beyond the Hills (2012).
— (March 18, 2013).
"Red shift" . Goings on About Town. Critic's Notebook. The New Yorker . 89 (5): 12. Reviews
Andrzej Wajda 's
Ashes and Diamonds (1958).
— (March 25, 2013).
"Fun in the sun" . The Critics. The Current Cinema. The New Yorker . 89 (6): 108–109. Reviews
Harmony Korine 's
Spring Breakers (2012) and
Matteo Garrone 's
Reality (2012).
— (April 8, 2013).
"Mind games" . The Critics. The Current Cinema. The New Yorker . 89 (8): 88–89. Reviews
Danny Boyle 's
Trance (2013) and
Pablo Berger 's
Blancanieves (2012).
— (April 22, 2013).
"Criminal elements" . Goings on About Town. Critic's Notebook. The New Yorker . 89 (10): 26. Reviews
Jean-Pierre Melville 's
Un flic (1972).
— (April 29, 2013).
"Home fronts" . The Critics. The Current Cinema. The New Yorker . 89 (11): 82–83. Reviews
Joseph Kosinski 's
Oblivion (2013) and
François Ozon 's
In the House (2012).
— (May 6, 2013).
"Battle weary" . The Critics. The Current Cinema. The New Yorker . 89 (12): 88–89. Reviews
Shane Black 's
Iron Man 3 (2013) and
Olivier Assayas '
Something in the Air (2012).
— (June 3, 2013).
"Never alone" . The Critics. The Current Cinema. The New Yorker . 89 (16): 74–75. Reviews
Jordan Vogt-Roberts 's
The Kings of Summer (2013) and
Justin Lin 's
Fast & Furious 6 (2013).
— (July 8–15, 2013).
"In transit" . The Critics. The Current Cinema. The New Yorker . 89 (20): 94–95. Reviews
Nat Faxon and
Jim Rash 's
The Way, Way Back (2013) and
Pedro Almodóvar 's
I'm so Excited! (2013).
— (July 22, 2013).
"Grim tidings" . The Critics. The Current Cinema. The New Yorker . 89 (21): 80–81. 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).
— (September 30, 2013).
"Fast moves" . The Critics. The Current Cinema. The New Yorker . 89 (30): 84–85. Reviews
Ron Howard 's
Rush (2013) and
Stuart Blumberg 's
Thanks for Sharing (2012).
— (October 28, 2013).
"New love" . The Critics. The Current Cinema. The New Yorker . 89 (34): 82–83. Reviews
Abdellatif Kechiche 's
Blue is the Warmest Color (2013).
— (November 25, 2013).
"Roman conquests" . The Critics. The Current Cinema. The New Yorker . 89 (38): 134–135. Reviews
Paolo Sorrentino 's
The Great Beauty (2013) and
Stephen Frears '
Philomena (2013).
— (December 23–30, 2013).
"Only make believe" . The Critics. The Current Cinema. The New Yorker . 89 (42): 130–131. 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).
— (February 10, 2014).
"The cost of survival" . The Critics. The Current Cinema. The New Yorker . 89 (48): 84–85. Reviews
Claude Lanzmann 's
The Last of the Unjust (2013).
— (March 3, 2014).
"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. Reviews
Hany Abu-Assad 's
Omar (2013) and
Phil Lord and Christopher Miller 's
The Lego Movie (2014).
— (March 17, 2014).
"Double trouble" . The Critics. The Current Cinema. The New Yorker . 90 (4): 78–79. Reviews
Denis Villeneuve 's
Enemy (2013) and
Roger Michell 's
Le Week-End (2013).
— (March 24, 2014).
"Her again : the unstoppable Scarlett Johansson" . Onward and Upward with the Arts. The New Yorker . 90 (5): 56–63.
— (March 31, 2014).
"Candid camera" . The Critics. The Current Cinema. The New Yorker . 90 (6): 80–81. Reviews John Maloof and Charlie Siskel's
Finding Vivian Maier (2013) and
Bertrand Tavernier 's
The French Minister (2013).
— (April 14, 2014).
"After darkness" . The Critics. The Current Cinema. The New Yorker . 90 (8): 86–87. Reviews
Jim Jarmusch 's
Only Lovers Left Alive (2013) and
David Gordon Green 's
Joe (2013).
— (May 12, 2014).
"Road trips" . The Critics. The Current Cinema. The New Yorker . 90 (12): 82–83. Reviews
Pawel Pawlikowski 's
Ida (2013) and
Jon Favreau 's
Chef (2014).
— (August 4, 2014).
"Big men" . The Critics. The Current Cinema. The New Yorker . 90 (22): 74–75. Reviews
John Michael McDonagh 's
Calvary (2014) and
Jonathan Demme 's
A Master Builder (2013).
— (August 25, 2014).
"Hide and seek" . The Critics. The Current Cinema. The New Yorker . 90 (24): 74–75. Reviews
Lenny Abrahamson 's
Frank (2014) and
Ira Sachs '
Love is Strange (2014).
— (October 20, 2014).
"High fliers" . The Critics. The Current Cinema. The New Yorker . 90 (32): 106–107. Reviews
Alejandro González Iñárritu 's
Birdman (2014) and
Damien Chazelle 's
Whiplash (2014).
— (December 15, 2014).
"Swinging Seventies" . The Critics. The Current Cinema. The New Yorker . 90 (40): 76–77. Reviews
Paul Thomas Anderson 's
Inherent Vice (2014).
Lane, Anthony (February 2, 2015).
"Adventures in Rothland" . The Critics. The Current Cinema. The New Yorker . 90 (46): 62–64. Reviews
Barry Levinson 's
The Humbling (2014) and
Abderrahmane Sissako 's
Timbuktu (2014).
— (February 16, 2015).
"Society of men" . The Critics. The Current Cinema. The New Yorker . 91 (1): 64–66. Reviews
Matthew Vaughn 's
Kingsman: The Secret Service (2014) and
Taika Waititi and
Jemaine Clement 's
What We Do in the Shadows (2014).
— (March 16, 2015).
"Young love" . The Critics. The Current Cinema. The New Yorker . 91 (4): 88–89. Reviews
Kenneth Branagh 's
Cinderella (2015) and
David Robert Mitchell 's
It Follows (2014).
[3]
— (April 13, 2015).
"Feelings" . The Critics. The Current Cinema. The New Yorker . 91 (8): 82–83. Reviews
Alex Garland 's
Ex Machina (2014) and
Asghar Farhadi 's
About Elly (2009).
— (April 20, 2015).
"Way up high" . The Critics. The Current Cinema. The New Yorker . 91 (9): 96–97. Reviews
Olivier Assayas '
Clouds of Sils Maria (2014).
[4]
— (May 4, 2015).
"Fighting on" . The Critics. The Current Cinema. The New Yorker . 91 (11): 62–64. Reviews
Joss Whedon 's
Avengers : Age of Ultron (2015) and
Thomas Vinterberg 's
Far from the Madding Crowd (2015).
— (May 18, 2015).
"Distant emotions" . The Critics. The Current Cinema. The New Yorker . 91 (13): 102–103. Reviews
Andrew Niccol 's Good Kill and John Maclean's Slow West .
— (May 25, 2015).
"High gear" . The Critics. The Current Cinema. The New Yorker . 91 (14): 68–70. Reviews
George Miller 's
Mad Max: Fury Road (2015).
[5]
— (June 29, 2015).
"Head trips" . The Critics. The Current Cinema. The New Yorker . 91 (18): 76–77. Reviews
Peter Docter 's
Inside Out (2015) and
Andrea Di Stefano 's
Escobar : Paradise Lost (2014).
[6]
— (July 20, 2015).
"Cold cases" . The Critics. The Current Cinema. The New Yorker . 91 (20): 76–77. Reviews
Judd Apatow 's
Trainwreck (2015) and
Bill Condon 's
Mr. Holmes (2015).
[7]
— (July 27, 2015).
"Small victories" . The Critics. The Current Cinema. The New Yorker . 91 (21): 74–75. Reviews
Peyton Reed 's Ant-Man and
Joshua Oppenheimer 's The Look of Silence .
— (November 23, 2015).
"Secret lives" . The Critics. The Current Cinema. The New Yorker . 91 (37): 120–121. Reviews
Todd Haynes '
Carol (2015) and
Brian Helgeland 's
Legend (2015).
[8]
— (December 7, 2015).
"Toil and trouble" . The Critics. The Current Cinema. The New Yorker . 91 (39): 82–83. Reviews
Justin Kurzel 's
Macbeth (2015) and
Paolo Sorrentino 's
Youth (2015).
[9]
— (February 1, 2016).
"Tough girls" . The Critics. The Current Cinema. The New Yorker . 91 (46): 74–75. Reviews
Gavin O'Connor 's Jane Got a Gun and J. Blakeson's The Fifth Wave .
— (February 22, 2016).
"Fashion victims" . The Critics. The Current Cinema. The New Yorker . 92 (2): 82–83. Reviews
Ben Stiller 's
Zoolander 2 (2016) and
Tobias Lindholm 's
A War (2015).
[10]
— (February 29, 2016).
"Spellbound" . The Critics. The Current Cinema. The New Yorker . 92 (3): 78–79. Reviews
Robert Eggers ' The Witch .
— (April 25, 2016).
"Wild things" . The Critics. The Current Cinema. The New Yorker . 92 (11): 102–103. Reviews
Jon Favreau 's
The Jungle Book (2016) and
Matteo Garrone 's
Tale of Tales (2015)
— (May 23, 2016).
"Daring duos" . The Critics. The Current Cinema. The New Yorker . 92 (15): 84–85. Reviews
Shane Black 's
The Nice Guys (2016) and
Whit Stillman 's
Love & Friendship (2016).
— (July 11–18, 2016).
"Family ties" . The Critics. The Current Cinema. The New Yorker . 92 (21): 88–89.
Woody Allen 's
Café Society (2016) and
Roger Ross Williams '
Life, Animated (2016).
— (August 8–15, 2016).
"Find yourself" . The Critics. The Current Cinema. The New Yorker . 92 (24): 80–81. Reviews
Paul Greengrass 's
Jason Bourne (2016) and
Ira Sachs '
Little Men (2016).
[11]
— (October 10, 2016).
"In deep" . The Critics. The Current Cinema. The New Yorker . 92 (32): 108–109. Reviews
Andrea Arnold 's
American Honey (2016) and
Peter Berg 's
Deepwater Horizon (2016).
[12]
— (November 7, 2016).
"Good fights" . The Critics. The Current Cinema. The New Yorker . 92 (36): 82–83.
Mel Gibson 's Hacksaw Ridge and
Jeff Nichols ' Loving .
[13]
— (December 19–26, 2016).
"Mother lode" . The Critics. The Current Cinema. The New Yorker . 92 (42): 130–131.
Mike Mills ' 20th Century Women and
Pedro Almodóvar 's Julieta .
[14]
— (January 2, 2017).
"Poets' corner" . The Critics. The Current Cinema. The New Yorker . 92 (43): 76–77.
Jim Jarmusch 's Paterson and
Pablo Larraín 's Neruda .
[15]
— (January 30, 2017).
"Depths of fear" . The Critics. The Current Cinema. The New Yorker . 92 (47): 76–77. Reviews
Asghar Farhadi 's
The Salesman (2016) and
M. Night Shyamalan 's
Split (2016).
— (March 13, 2017).
"Animal kingdoms" . The Critics. The Current Cinema. The New Yorker . 93 (4): 114–115. Reviews
Jordan Vogt-Roberts 's
Kong : Skull Island (2017) and
Julia Ducournau 's
Raw (2016).
[16]
— (March 13, 2017).
"Last laugh : Jane Austen's final, surprising, unfinished novel" . The New Yorker . 93 (4): 77–79.
[17]
— (March 20, 2017).
"The living dead" . The Critics. The Current Cinema. The New Yorker . 93 (5): 100–101. Reviews
Olivier Assayas '
Personal Shopper (2016) and
François Ozon 's
Frantz (2016).
[18]
— (April 24, 2017).
"Poetic license" . The Critics. The Current Cinema. The New Yorker . 93 (10): 102–103. Reviews
Terence Davies '
A Quiet Passion (2016) and
F. Gary Gray 's
The Fate of the Furious (2017).
[19]
— (May 1, 2017).
"Keeping cool : Jean-Pierre Melville's cinema of resistance" . The Critics. A Critic at Large. The New Yorker . 93 (11): 70–73.
[20]
— (June 19, 2017).
"How the other half lives" . The Critics. The Current Cinema. The New Yorker . 93 (17): 74–75. Reviews
Ken Loach 's
I, Daniel Blake (2016) and
Miguel Arteta 's
Beatriz at Dinner (2017).
[21]
— (July 3, 2017).
"Style and substance" . The Critics. The Current Cinema. The New Yorker . 93 (19): 74–75. Reviews
Edgar Wright 's
Baby Driver (2017) and
Bertrand Tavernier 's
My Journey Through French Cinema [
fr ] (2016).
[22]
— (August 21, 2017).
"Desperadoes" . The Critics. The Current Cinema. The New Yorker . 93 (24): 82–83. Reviews
Josh Safdie and
Benny Safdie 's
Good Time (2017) and
Bertrand Bonello 's
Nocturama (2016).
[23]
— (October 30, 2017).
"Sacrificial victims" . The Critics. The Current Cinema. The New Yorker . 93 (34): 78–79. Reviews
Yorgos Lanthimos '
The Killing of a Sacred Deer (2017) and
Ruben Östlund 's
The Square (2017).
[24]
— (November 6, 2017).
"American conflicts" . The Critics. The Current Cinema. The New Yorker . 93 (35): 74–75. Reviews
George Clooney 's
Suburbicon (2017) and
Richard Linklater 's
Last Flag Flying (2017).
[25]
— (December 4, 2017).
"Intertwined" . The Critics. The Current Cinema. The New Yorker . 93 (39): 82–83. Reviews
Luca Guadagnino 's
Call Me by Your Name (2017).
[26]
— (February 12–19, 2018).
"Ties that break" . The Critics. The Current Cinema. The New Yorker . 94 (1): 104–105. Reviews
Andrey Zvyagintsev 's
Loveless (2017) and Brian Crano's
Permission (2017).
[27]
— (April 2, 2018).
"Unusual suspects" . The Critics. The Current Cinema. The New Yorker . 94 (7): 94–95. Reviews
Steven Soderbergh 's
Unsane (2018) and
Aaron Katz 's
Gemini (2017).
[28]
— (September 17, 2018).
"Extralegal actions" . The Critics. The Current Cinema. The New Yorker . 94 (28): 70–71. Reviews
Richard Eyre 's
The Children Act (2018) and
Robert Greene 's Bisbee '17 (2018).
[29]
— (January 7, 2019).
"Togetherness" . The Critics. The Current Cinema. The New Yorker . 94 (43): 72–73. Reviews
Jon S. Baird 's
Stan & Ollie (2018) and
Karyn Kusama 's
Destroyer (2018).
[30]
— (February 11, 2019).
"Eyes wide open" . The Critics. The Current Cinema. The New Yorker . 94 (48): 72–73. Reviews
Florian Henckel von Donnersmarck 's
Never Look Away (2018).
[31]
— (March 4, 2019).
"Badlands" . The Critics. The Current Cinema. The New Yorker . 95 (2): 70–71. Reviews Ty Robert's The Iron Orchard and
Christian Petzold 's
Transit (2018).
[32]
— (May 20, 2019).
"The write stuff" . The Critics. The Current Cinema. The New Yorker . 95 (13): 85–86.
[33] Reviews
Kenneth Branagh 's
All Is True (2018) and
Dome Karukoski 's
Tolkien (2019).
— (May 27, 2019).
"Awkward ages" . The Critics. The Current Cinema. The New Yorker . 95 (14): 76–77. Reviews
Olivia Wilde 's
Booksmart (2019) and
Joanna Hogg 's
The Souvenir (2019).
[34]
— (June 3, 2019).
"Wish list" . The Critics. The Current Cinema. The New Yorker . 95 (15): 70–71. Reviews
Guy Ritchie 's
Aladdin (2019) and
Denys Arcand 's
The Fall of the American Empire (2018).
[35]
— (November 18, 2019).
"Wheels within wheels" . The Critics. The Current Cinema. The New Yorker . 95 (36): 68–70. Reviews
James Mangold 's
Ford v Ferrari (2019) and
Mike Flanagan 's
Doctor Sleep (2019).
[36]
Lane, Anthony (January 6, 2020).
"Home comforts" . The Critics. The Current Cinema. The New Yorker . 95 (43): 68–69. Reviews
Greta Gerwig 's
Little Women (2019).
[37]
— (January 13, 2020).
"Witnesses" . The Critics. The Current Cinema. The New Yorker . 95 (44): 72–73. Reviews
Ladj Ly 's
Les Misérables (2019) and
Chinonye Chukwu 's
Clemency (2019).
[38]
— (June 1, 2020).
"Folies à deux" . The Critics. The Current Cinema. The New Yorker . 96 (15): 70–71. Reviews Benjamin Ree's
The Painter and the Thief (2020) and
Michael Winterbottom 's
The Trip to Greece (2020).
[39]
— (September 7, 2020).
"Mad about the boy" . The Critics. The Current Cinema. The New Yorker . 96 (26): 80–81. Reviews
Armando Iannucci 's
The Personal History of David Copperfield (2019).
[40]
— (December 21, 2020).
"Under the influence" . The Critics. The Current Cinema. The New Yorker . 96 (41): 84–85. Reviews
Thomas Vinterberg 's
Another Round (2020) and
Ryan Murphy 's
The Prom (2020).
[41]
— (January 4–11, 2021).
"Mother Courage" . The Critics. The Current Cinema. The New Yorker . 96 (43): 86–87. Reviews
Andrei Konchalovsky 's
Dear Comrades! (2020).
[42]
— (March 22, 2021).
"Borderlands" . The Critics. The Current Cinema. The New Yorker . 97 (5): 74–75. Reviews
Dominic Cooke 's
The Courier (2020) and
Anthony Scott Burns '
Come True (2020).
[43]
— (June 21, 2021).
"With the flow" . The Critics. The Current Cinema. The New Yorker . 97 (17): 70–71. Reviews
Jon M. Chu 's
In the Heights (2021) and
Christian Petzold 's
Undine (2020).
[44]
— (September 13, 2021).
"Troubled talk" . The Critics. The Current Cinema. The New Yorker . 97 (28): 80–81. Reviews
Andreas Fontana 's
Azor (2021) and
Natalie Morales 's
Language Lessons (2021).
[45]
— (September 20, 2021).
"Inside stories" . The Critics. The Current Cinema. The New Yorker . 97 (29): 82–83. Reviews
Paul Schrader 's
The Card Counter (2021) and Bill Bentz's
The Nowhere Inn (2020).
[46]
— (September 27, 2021).
"Better selves" . The Critics. The Current Cinema. The New Yorker . 97 (30): 90–91. Reviews
Maria Schrader 's
I'm Your Man (2021) and
Michael Showalter 's
The Eyes of Tammy Faye (2021).
[47]
^ 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".
^ Title in the online table of contents is "Pixar’s head trip".
^ Title in the online table of contents is "Amy Schumer comes clean in 'Trainwreck'".
^ Title in the online table of contents is "Ravished by 'Carol'".
^ Title in the online table of contents is "A 'Macbeth' more foul than fair".
^ Title in the online table of contents is "The fashion victims of 'Zoolander 2'".
^ 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 "'Personal Shopper' and 'Frantz'".
^ Online version is titled "'A Quiet Passion' and 'The Fate of the Furious'".
^ 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".
^ Online version is titled "Charles Dickens at the movies".
^ Online version is titled "Planned alcoholism in 'Another Round' and weaponized camp in 'The Prom'".
^ Online version is titled "'Dear Comrades!' is Andrei Konchalovsky's masterpiece".
^ Online version is titled "Cold War connections in 'The Courier'".
^ Online version is titled "Harmony rules in 'In the Heights'".
^ Online version is titled "The smell of villainy wafts compellingly through 'Azor'".
^ Online version is titled "Guilt and numbness in 'The Card Counter'".
^ Online version is titled "The uncanny valley of 'I'm Your Man'".