(Anthony Lane writes in the magazine this week about his 1932 silent comedy "I Was Born, But .")

As Anthony Lane, master of the review-as-entertainment, wrote in his gatherum of New Yorker film criticism, "Nobody's Perfect": "You are holding a hunk of old journalism.

Anthony Lane writes about the film in the magazine this week.

"So now we know," writes The New Yorker 's Anthony Lane.

This week in the magazine, Anthony Lane writes about "The Great Buck Howard," in which John Malkovich stars as a mentalist.

Anthony Lane, in his review for The New Yorker, wrote, "for all the movie's narrative momentum, Che retains the air of a study exercise-of an interest brilliantly explored.

Two years earlier, Anthony Lane wrote about Penn's solo show at the Metropolitan Museum of Art.

As Anthony Lane of The New Yorker wrote, "Ronin" has three of the best car chase scenes of recent years.

Anthony Lane, the film critic of The New Yorker, has also written in kind about Kees's enduring body of work, especially in regard to the Robinson poems:

(Anthony Lane wrote in the magazine last year about "The Shout," one of the many movies he made in Great Britain.)