Sense of an Ending eludes closure
Movie Review: The Sense of an Ending
In the film version of the ambiguous Julian Barnes novel, Jim Broadbent shines as an older man whose quiet life is interrupted by a letter that makes him re-evaluate the past
The Wide River of Gordon Pinsent’s Dreams
Movie Review: The River of My Dreams
Documentary about the Canadian actor captures much of his impish charm, but it leaves many questions unanswered about what really makes him tick
Paterson finds poetry in the everyday
Movie Review: Paterson
In Jim Jarmusch's new film, a bus driver named Paterson who lives in Paterson, N.J. — hometown of William Carlos Williams and Alan Ginsberg — sees life as gentle verse
La La Land is where love and art tangle
Movie review: La La Land
This musical love letter to the movie business, jazz and romance is an intoxicating throwback to the days of dancing among the stars and singing your heart out in the hopes of making it
Between the lines: Delicate tragedy of Manchester by the Sea
Interview: Kenneth Lonergan on Manchester by the Sea
Kenneth Lonergan makes a triumphant return to movies with a story about a solitary man who must go back home to face his family and the events that changed his life
By Jay Stone
TORONTO — There’s a scene in the penetrating and devastating drama Manchester by the Sea where Casey Affleck, playing a loner with a crippling secret in his past, stands in front of a burning building. It’s defining tragedy in the film: the Affleck character, named Lee, has just been to the grocery store to buy some 2 a.m. snacks and beer, and he has returned to find his life going up in flames.
It’s the kind of moment that would call — in a lesser film — for a lot of outsized emotions. But Manchester by the Sea is too quiet and controlled for that: it’s written and directed by Kenneth Lonergan, a master of understated sadness, and has in Affleck a leading man whose own work (he’s the younger, less famous brother of Ben) reflects a ...
Elle and the politics of rape
Movie Review: Elle
Paul Verhoeven's provocation gives Isabelle Huppert a difficult and complex role, but the movie itself is a confused series of disturbing incidents about the meaning of sexual assault
Leonard Cohen and me: A reminiscence
By Jay Stone
Even if we stated our case very clearly and all those who held as we do came to our side, all of them, we would still be very few. -- Leonard Cohen, Parasites of Heaven
When he died last week his constituency emerged, thousands, millions perhaps, smitten, devoted, some with stories of how they had gone to his house in Montreal and he had made them egg salad sandwiches. He was gracious, modest, haunting, and with the key to something we thought was ours alone. “Have you ever noticed how private a wet tree is, a curtain of razor blades?,” he wrote (in A Cross Didn’t Fall On Me), and suddenly you did notice. A poem is something that everyone knows but no one ever said before.
I found him by accident. When I was a teenager, there was a copy of his first novel, The Favourite Game, on the bookshelf in my father’s den when we lived in north Toronto. I don’t know how it got there, but my father got a lot of books from publishers because he was on the ...