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leonardmaltin
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Leonard Maltin

The Best Movies You've Missed This Year

  • By Leonard Maltin
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  • November 25, 2013 10:04 PM
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  • 5 Comments
McConaughey, Gosling, Cooper, O'Dowd, Carell, and More.

Only God Forgives

  • By Leonard Maltin
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  • July 19, 2013 12:01 AM
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  • 9 Comments
Some people value style over content; I prefer a melding of the two, which is why I found Nicolas Winding Refn’s "Drive" so irritating and pretentious.

RYAN GOSLING AND BRADLEY COOPER—ON 35mm FILM

  • By Leonard Maltin
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  • March 14, 2013 12:00 AM
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  • 5 Comments
Two weeks ago I had the pleasure of screening "The Place Beyond the Pines," which opens in theaters March 29, for my class at USC School of Cinematic Arts. My guests were producer Jamie Patricof and co-writer/director Derek Cianfrance, who made a deliberate decision to shoot his feature on 35mm film.

The Ides Of March—movie review

  • By Leonard Maltin
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  • October 7, 2011 12:36 PM
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  • 21 Comments

Drive—movie review

  • By Leonard Maltin
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  • September 16, 2011 4:30 AM
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  • 106 Comments
Drive arrives with its credentials of cool all set: a hot star (Ryan Gosling) in the lead, a smart supporting cast, a Best Director prize from the Cannes Film Festival, and a stylish retro-noir look. These assets may hoodwink some audiences who don’t stop—or want to stop—to explore the emptiness of the movie or its incoherency.

Crazy, Stupid, Love.

  • By Leonard Maltin
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  • July 29, 2011 4:25 AM
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  • 0 Comments
When a movie opens with a woman telling her husband that she wants a divorce after twenty-five years of marriage and it isn’t played for laughs, you know you’re not in for a “typical” Hollywood comedy. Given the current state of comedy, that’s not necessarily a bad thing, but what we get instead is an odd, meandering, mood-swinging movie called Crazy, Stupid, Love. (Yes, there’s a period at the end of the title, for no apparent reason.)

film review: Blue Valentine

  • By Leonard Maltin
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  • January 7, 2011 5:00 AM
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  • 5 Comments
Two daring performances make Blue Valentine a standout, even if the film’s reach somewhat exceeds its grasp. Director and co-writer Derek Cianfrance attempts to explore the beginning and end of an intimate relationship, hopscotching back and forth in time from the couple’s first meeting and subsequent wooing through the utter disintegration of their marriage.

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