What Happens In Nobody'S Perfect By Anthony Lane?

2026-01-07 21:52:51 269

3 Respostas

Yvonne
Yvonne
2026-01-10 00:14:28
Reading 'Nobody’s Perfect' feels like attending a lively dinner party where Anthony Lane holds court, dropping one-liners and insights between sips of wine. His reviews are less about thumbs-up/thumbs-down judgments and more about capturing the weird magic (or tragic flaws) of movies. Take his piece on 'Star Wars'—he doesn’t geek out about lightsabers; he ponders why Yoda’s grammar is so peculiar. Or his review of 'Gone with the Wind,' where he cheekily notes that Scarlett O’Hara’s vanity 'could power a small city.' Lane’s genius is in the details, like how he spots the exact moment a film jumps the shark or rescues itself from disaster.

The book also includes his interviews, like the infamous chat with Kubrick where Lane’s nerves turn the whole thing into a comedy of errors. It’s this mix of humility and brilliance that makes his writing so addictive. Even if you haven’t seen half the films he discusses, you’ll still tear through the pages because his voice is just that compelling. By the end, you’ll have a list of movies to hunt down—and a few to avoid like the plague.
Natalia
Natalia
2026-01-12 22:05:17
Anthony Lane’s 'Nobody’s Perfect' is like a film festival in book form—packed with dazzling moments and a few duds, all viewed through his hilarious, hyper-literate lens. He’s at his best when eviscerating pretentious directors or celebrating unsung gems. His review of 'The Phantom Menace' is pure catharsis for anyone who suffered through Jar Jar Binks, while his ode to silent-film comedians reads like love letter. The essays aren’t just about movies; they’re about the absurdity of art and life, like when he compares watching a bad sequel to 'being trapped in an elevator with a mime.' Lane doesn’t just critique; he entertains, and that’s why this collection sticks with you long after the last page.
Liam
Liam
2026-01-13 02:07:37
Nobody’s Perfect' by Anthony Lane is this brilliant collection of his film reviews and essays from 'The New Yorker,' and honestly, it’s like sitting down with the wittiest, most erudite friend who’s seen every movie ever. Lane’s writing isn’t just criticism—it’s a masterclass in how to love (or mercilessly dissect) cinema. He covers everything from classic Hollywood to quirky indie flicks, and his take on 'Titanic' alone is worth the price of admission. He’s got this way of mixing razor-sharp analysis with laugh-out-loud humor, like when he compares a bloated blockbuster to 'a wedding cake left out in the rain.'

What makes the book special is how Lane balances highbrow and lowbrow effortlessly. One minute he’s unpacking the symbolism in 'The Matrix,' and the next he’s roasting a forgettable rom-com with such flair that you almost enjoy the takedown more than the film itself. His essay on the Bond franchise is legendary—he doesn’t just review the movies; he interrogates the entire mythos of 007 with the precision of a forensic scientist. If you’re into film, this book feels like a treasure trove. It’s the kind of thing you dip into randomly and always find something new to obsess over.
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