Scorsese’s ’Hugo’ is quietly enchanting. Imagine that.
Mr. Mean Streets unlocks a childhood fable about the birth of cinema
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Brian D. Johnson
Brian D. Johnson writes about film and the arts for Maclean’s. He’s also a filmmaker, and director of the annual Toronto Film Critics Association Awards Gala.
Virtuosity and passion in ’Café de Flore’
A virtuosic return to form by Jean-Marc Vallée, with a ferocious performance by Vanessa Paradis
Vanessa Paradis on motherhood, Johnny Depp and ’Café de Flore’
The French pop singer gives a fierce, powerful performance in Jean-Marc Vallée’s latest film
Taking George Clooney sideways in ’The Descendants’
Alexander Payne does for Hawaii what he did for wine in ’Sideways,’ with Clooney playing against type as an cuckolded dad
Consummating ’Twilight’—the honeymoon is over, but not fast enough
The drama flatlines in a paint-by-numbers payoff of sheer Harlequin fantasy
J. Edgar as the FBI’s gay G-man
FBI director J. Edgar Hoover is portrayed as a deeply closeted homosexual in a new biopic
Kevin Spacey occupies Wall Street in ’Margin Call’
In a tale of financial contagion that plays like a sci-fi disaster movie, Jeremy Irons devours his role as corporate vampire with droll relish—it’s a marvel of bespoke casting
Two Adam Sandlers are worse than one
In ’Jack and Jill,’ Sandler’s idea of playing a woman is to shriek with a lisp; Pacino dishes up self-parody
REVIEW: Pauline Kael: A Life in the Dark
Book by Brian Kellow
’Like Crazy’ is, like, crazy good
What goes on between Anton Yelchin and Felicity Jones is so intimate and real it’s hard to believe we’re allowed to watch