The Disney-Marvel deal: Great news for faceless bean-counters -- and for Ant-Man! For movie fans, not so much
By Andrew O'Hehir Sep 1, 2009
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Remember that "Settling for Mr. Good Enough" article? Well, Tobey Maguire just bought the movie rights.
By Sarah Hepola
April 9, 2008
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Spidey comes back swingin'! The third installment in the beloved blockbuster series may be the biggest, splashiest and best one yet.
By Stephanie Zacharek
May 4, 2007
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Clooney looks great -- again -- in black-and-white. But "Good German" is no "Good Night."
By Stephanie Zacharek
December 15, 2006
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Spears denies marital breakup, defends parenting style, gets sued by paparazzo. Plus: Naomi Campbell's anger explained?
June 12, 2006
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Tobey Maguire and Kirsten Dunst are back, but this sorta square Spidey movie doesn't swing.
By Charles Taylor
June 30, 2004
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Director Gary Ross yearns to make this saga of the racehorse who transfixed Depression America into a Hollywood classic. But unlike the awkward real-life Seabiscuit, his version is pretty -- and lacks a soul.
By Charles Taylor
July 25, 2003
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Maguire tells of restricted Spidey bathroom breaks; Devo admits to subliminal messages. Plus: Ozzy and fam in Ripa love fest; Hurley's financial instincts unmolested by motherhood!
By Amy Reiter
May 6, 2002
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Endearing Toby Maguire and Kirsten Dunst, the sexiest superhero's girlfriend ever, shine in this low-key but charming blockbuster.
By Charles Taylor
May 3, 2002
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McCartney denies Heather/Stella feud; Tobey takes black widow in Spidey stride; Rupert nixes gay Bond idea; "The Bachelor's" Michel whimpers about reality!
By Amy Reiter
April 29, 2002
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De Matteo from "The Sopranos" neuters own pooch; Bullock gives Chaplin foot job; Kerr poses for unfortunate photo; Spidey spins web of disgusting meat references!
By Amy Reiter
April 24, 2002
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Stephen Bing maintains baby snub; Sarah Jessica Parker finally pregnant. Plus: Yogurt-hurling R.E.M. guitarist gets off; Bill Maher disses his girlfriends' sex know-how.
By Amy Reiter
April 8, 2002
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Autograph collectors get back at nonsigning celebrities; Gene Simmons resorts to nude resorts. Plus: "Riverdance" runs dry; Sarah Jessica Parker gets mad; Brad and Jennifer get manse.
By Amy Reiter
July 31, 2001
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"Wonder Boys" is still the best -- and most moving -- comedy of the year. Director Curtis Hanson and novelist Michael Chabon explain why Hollywood gave them a second chance to prove it.
By Michael Sragow
November 10, 2000
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Tobey Maguire heroically squeezes into the Spidey suit; Chevy Chase gets dissed by an upstart; Angelina Jolie gets snobby about snobs; and more. Plus: Julia Roberts tired of her Bratt?
By Amy Reiter
August 1, 2000
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Salon's TV picks for Weekend, April 14-16, 2000.
By Joyce Millman
April 14, 2000
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Oscar watch: The author of "The Cider House Rules" talks about his Academy Award nomination, abortion and his strange fixation on oral sex.
By Jeff Stark
March 8, 2000
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Gershon, Wahlberg and Manheim act through their teeth; Hasselhoff in hasselhuff over character's exit. Plus: Like father, like pet. Rottweiler Anderson-Lee faces assault charges.
By Amy Reiter
February 29, 2000
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Michael Douglas and Tobey Maguire clash, connect and get baked in Curtis Hanson's literate upscale entertainment.
By Andrew O'Hehir
February 25, 2000
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Steve Kloves, screenwriter for Curtis Hanson's new "Wonder Boys," takes on Hollywood's hottest property -- boy wonder Harry Potter.
By Michael Sragow
February 24, 2000
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Salon's TV picks for Weekend, Jan. 28-30, 2000
By Joyce Millman
January 28, 2000
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Driven by Tobey Maguire's marvelously layered performance, Lasse Hallstrvm's old-fashioned cinematic yarn-spinning yields genuine emotion without sentimentality.
By Stephanie Zacharek
January 25, 2000
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President Oprah? Godfather Trump? Noah Wyle will see you now? Starstock.com survey sez ... fans are nuts. Plus: Antonio, my Banderas! Who was that unmasked man at the Maxim party?
By Amy Reiter
December 14, 1999
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Ang Lee's dark and sober fable might be the most interesting and least dogmatic view of the Civil War to wend its way into the multiplexes.
By Andrew O'Hehir
November 24, 1999
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Director Gary Ross fetishizes the '50s in this high-concept parable about the dangers of conformity.
By Charles Taylor
October 23, 1998