Anthony Lane bibliography

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

Books

• Lane, Anthony (2002). Nobody's perfect : writings from the New Yorker. New York: Knopf.

Essays and reporting

1992–1999

• 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 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.

2000–2009

• Lane, Anthony (November 3, 2008). "Let's put on a show!". The Critics. The Current Cinema. The New Yorker. 84 (35): 122–123. Reviews Charlie Kaufman's Synecdoche, New York (2008) and Kenny Ortega's High School Musical 3 (2008).
• — (November 24, 2008). "Hard times". The Critics. The Current Cinema. The New Yorker. 84 (38): 130–131. Reviews Danny Boyle's Slumdog Millionaire (2008) and Arnaud Desplechin's A Christmas Tale (2008).

2010–2014

• 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).

2015–2019

• 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 (2014) and John Maclean's Slow West (2015).
• — (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]

2020–2024

• 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]
• — (January 25, 2021). "Surveillance". The Current Cinema. The New Yorker. 96 (45): 76–77. Reviews Sam Pollard's MLK/FBI (2020) and Lili Horvát's  [ hu ] Preparations to be together for an unknown period of time (2020). ^[43]
• — (March 1, 2021). "O lucky man! Tom Stoppard's charmed and haunted life". The Critics. Books. The New Yorker. 97 (2): 57–62. ^[44]
• — (March 8, 2021). "Closer". Goings on About Town. Movies. The New Yorker. 97 (3): 8. Reviews Mike Nichols' Closer (2004).
• — (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). ^[45]
• — (April 26 – May 3, 2021). "Ronin". Goings on About Town. Movies. The New Yorker. 97 (10): 16. Reviews John Frankenheimer's Ronin (1998).
• — (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). ^[46]
• — (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). ^[47]
• — (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). ^[48]
• — (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). ^[49]
• — (May 30, 2022). "Battle ready". The Critics. The Current Cinema. The New Yorker. 98 (14): 76–77. Reviews Joseph Kosinski's Top Gun: Maverick (2022) and Alex Garland's Men (2022). ^[50]
• — (September 5, 2022). "What you wish for". The Critics. The Current Cinema. The New Yorker. 98 (27): 66–67. Reviews George Miller's Three Thousand Years of Longing (2022) and Fernando León de Aranoa's The Good Boss (2021). ^[51]
• — (March 27, 2023). "Sin City". Goings on About Town. Movies. The New Yorker. 99 (6): 12. Reviews Robert Rodriguez and Frank Miller's Sin City (2005).
• — (July 3, 2023). "The Selfish Giant". Goings on About Town. Movies. The New Yorker. 99 (19): 10. Reviews Clio Barnard's The Selfish Giant (2013).

Notes

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. Title in the online table of contents is "Pixar’s head trip".
7. Title in the online table of contents is "Amy Schumer comes clean in 'Trainwreck'".
8. Title in the online table of contents is "Ravished by 'Carol'".
9. Title in the online table of contents is "A 'Macbeth' more foul than fair".
10. Title in the online table of contents is "The fashion victims of 'Zoolander 2'".
11. Online version is titled "Jason Bourne and Little Men".
12. Online version is titled "American Honey and Deepwater Horizon reviews".
13. Online version is titled "The madness and majesty of 'Hacksaw Ridge'".
14. Online version is titled "20th Century Women and Julieta".
15. Online version is titled "Paterson and Neruda".
16. Online version is titled "'Kong: Skull Island' and 'Raw'".
17. Online version is titled "Reading Jane Austen's final, unfinished novel".
18. Online version is titled "'Personal Shopper' and 'Frantz'".
19. Online version is titled "'A Quiet Passion' and 'The Fate of the Furious'".
20. Online version is titled "Jean-Pierre Melville's cinema of resistance".
21. Online version is titled "'I, Daniel Blake' and 'Beatriz at Dinner'".
22. Online version is titled "'Baby Driver' and 'My Journey Through French Cinema'".
23. Online version is titled "'Good Time' and 'Nocturama'".
24. Online version is titled "'The Killing of a Sacred Deer' and 'The Square'".
25. Online version is titled "'Suburbicon' and 'Last Flag Flying'".
26. Online version is titled "'Call Me by Your Name' : an erotic triumph".
27. Online version is titled "'Loveless' and 'Permission'".
28. Online version is titled "'Unsane' and 'Gemini'".
29. Online version is titled "Emma Thompson's meticulous intensity in 'The Children Act'".
30. Online version is titled "'Stan & Ollie' explores the slapstick pair's plaintive dusk".
31. Online version is titled "The encrypted truths of 'Never Look Away'".
32. Online version is titled "The grim rapacity of 'The Iron Orchard'".
33. Online version is titled "Why make movies about writers?"
34. Online version is titled "Olivia Wilde’s 'Booksmart' swerves aside from expectations".
35. Online version is titled "A live-action 'Aladdin' falls short of its animated predecessor".
36. Online version is titled "Boys will be boys in 'Ford v Ferrari'".
37. Online version is titled "Greta Gerwig’s raw, startling 'Little Women'".
38. Online version is titled "Paris on the brink in 'Les Misérables'".
39. Online version is titled "'The Painter and the Thief' is a quaveringly dark fairy tale".
40. Online version is titled "Charles Dickens at the movies".
41. Online version is titled "Planned alcoholism in 'Another Round' and weaponized camp in 'The Prom'".
42. Online version is titled "'Dear Comrades!' is Andrei Konchalovsky's masterpiece".
43. Online version is titled "'MLK/FBI' forbids us to relax".
44. Online version is titled "Tom Stoppard's charmed and haunted life".
45. Online version is titled "Cold War connections in 'The Courier'".
46. Online version is titled "Harmony rules in 'In the Heights'".
47. Online version is titled "The smell of villainy wafts compellingly through 'Azor'".
48. Online version is titled "Guilt and numbness in 'The Card Counter'".
49. Online version is titled "The uncanny valley of 'I'm Your Man'".
50. Online version is titled "'Top Gun: Maverick' far outflies its predecessor".
51. Online version is titled "'Three Thousand Years of Longing' and the perils of unworldliness".