J. Hoberman

Paul Schrader’s cinema is largely defined by the pathology of his male protagonists, and with The Walker, he’s added a striking new character to his gallery of loners. Carter Page III (Woody Harrelson) is the degenerate scion of a political family. Openly gay and eminently presentable, this American aristo makes......

Acid flashback or déjà vu? Who, having lived through the late ’60s, would have anticipated re-experiencing the spectacle of an arrogantly mendacious U.S. administration bogged down in an ill-conceived, undeclared, bungled, costly and apparently endless counterinsurgency? (Although who familiar with American history could doubt its recurrence?) Iraq isn’t Vietnam. Yet,......

American Gangster is a movie with obvious gravitas and a familiar argument: Organized crime is outsider capitalism. As archetypal as its title, Ridley Scott’s would-be epic aspires to enshrine Harlem dope king Frank Lucas in Hollywood heaven, heir to Scarface and the Godfather. Or, as suggested by the Mark Jacobson......

Wristcutters: A Love Story, a well-wrought indie written and directed by Goran Dukic, has to be the kewpie doll of current zombie flicks: Its walking dead are a bunch of attractive slackers whose wounds are largely internal. They’ve got attitude. Before the opening credits end, the movie’s glum protagonist has......

Named for the spot in Christian-fundamentalist hell where sinners are condemned to spend eternity, Tony Kaye’s Lake of Fire is a provocatively beautiful movie on the hottest hot-button issue in American life: a woman’s right to an abortion. The British-born Kaye, an enormously successful maker of deluxe TV commercials, relocated......

Calling all pundits. It’s a baffling caprice of the Zeitgeist to have two studio Westerns released in the same month, 30-odd years after the genre basically gave up the ghost. James Mangold’s better-than-competent and highly crowd-pleasing 3:10 to Yuma has provided a harmonica fanfare for something more ambitious and polarizing......

I’ve said it before and hope to again: David Cronenberg is the most provocative, original and consistently excellent North American director of his generation. From Videodrome (1983) through A History of Violence (2005), neither Scorsese nor Spielberg, and not even David Lynch, has enjoyed a comparable run. A rhapsodic movie......

Johnnie To is the lone Hong Kong action director who’s done his best work in the aftermath of the crown colony’s reversion to China. In a sense, the feverishly active To is out of step with history and, as its title suggests, his latest gangster opus, Exiled, revels in that......

The universe of Jean-Pierre Melville is so specific to the movies that it verges on abstraction. The sun rarely shines and the universe weeps when tough guys die. Le Doulos, a 1963 thriller opening at the Nuart in a new and improved 35 mm print, unfolds in Melville’s characteristically austere......