Anthony Lane

Anthony Lane is a British film critic and literary journalist who has served as a staff writer and film critic for The New Yorker magazine since 1993. He is known for his witty, incisive writing style and his ability to analyze both popular blockbusters and art house films with equal depth. Lane's essays and reviews frequently extend beyond cinema, covering literature, art, and various aspects of popular culture. His collected film criticism appears in the book "Nobody's Perfect: Writings from The New Yorker," published in 2002, which also includes profiles of cultural figures and broader essays on the arts. Before joining The New Yorker, Lane wrote for The Independent on Sunday and The Observer in London. His work has earned him the National Magazine Award for Reviews and Criticism, and he is considered one of the most influential film critics of his generation. Lane's writing is characterized by his extensive cultural knowledge, sharp humor, and ability to place films within broader historical and artistic contexts. His weekly film reviews appear in The New Yorker's "The Current Cinema" column, where he continues to be one of the magazine's most distinctive voices.

Readers consistently highlight Lane's wit and clever wordplay in his film criticism, with many noting his ability to craft memorable one-liners. The New Yorker comment sections show appreciation for his cultural references and intellectual depth when analyzing films. Readers praise: - Sharp, quotable writing style - Deep knowledge of film history and cultural context - Ability to make serious analysis entertaining - Balanced treatment of both blockbusters and art films Common criticisms: - Sometimes prioritizes clever phrasing over substance - Can be too harsh on popular films - Occasional tendency toward pretentiousness - Reviews sometimes focus more on witty observations than the film itself On Goodreads, "Nobody's Perfect" maintains a 4.1/5 rating from 300+ readers. Amazon reviews average 4.3/5 from 50+ reviews, with readers frequently citing his "entertaining cynicism" and "sophisticated humor." One reader notes: "Lane finds the perfect balance between intellectual rigor and pure entertainment value in his criticism."

Nobody's Perfect: Writings from The New Yorker (2002) A collection of film reviews and essays written during Lane's tenure as film critic for The New Yorker, covering releases from 1993 to 2002.

Do You Feel Anything When I Do This? (2019) A compilation of Lane's cultural criticism and literary essays from The New Yorker, examining topics ranging from literature and art to popular culture and social phenomena.

For Keeps: 30 Years at the Movies (2017) An anthology of Lane's most notable film criticism spanning three decades, including reviews of major Hollywood releases, international cinema, and retrospective analyses of classic films.

James Wood writes literary criticism for The New Yorker and brings an analytical eye to both contemporary and classic literature. His insights into technique and craft parallel Lane's approach to film criticism.

Pauline Kael wrote film reviews for The New Yorker from 1968 to 1991 and developed a distinctive voice in cultural criticism. Her collection "I Lost It at the Movies" established a style that influenced Lane's film writing.

Martin Amis combines cultural commentary with British literary perspective in his essays and criticism. His work spans fiction and non-fiction with a focus on contemporary culture.

John Updike wrote reviews and criticism for The New Yorker while maintaining a career as a novelist. His collections of criticism demonstrate the same breadth of cultural knowledge found in Lane's writing.

Geoff Dyer writes across multiple genres including criticism, essays, and cultural commentary. His work combines personal perspective with analysis of film, literature, and photography.