Leonardo DiCaprio

Hollywood struggles with its social conscience, lending interest to another overlong evening

From The Wolf of Wall Street to Nebraska, moviegoers this year were surrounded by the most vile people ever imagined

Barry Hertz on the pressure for filmmakers to be quicker, faster and stronger

27 frames from the most famous red carpet in the French Riviera

Brian D. Johnson’s review of Baz Luhrmann’s ambitious adaptation

Five dramatic transitions from child star to adult

FBI director J. Edgar Hoover is portrayed as a deeply closeted homosexual in a new biopic

An existential heist movie delivers a megaton blast of originality—and summer thrills

The Good guys of the year, like Capt. Sully and Kate Winslet

The best pics of the last seven days

Movies about America’s war on terror have fared dismally at the box office. But if anyone can succeed in sexing up this subject matter, it’s Ridley Scott. He’s done it before with Black Hawk Down, salvaging a heroic action movie from the disastrous carnage of the U.S. Ranger’s disastrous 1993 mission in Somalia. With Body of Lies, Scott creates a rollicking spy thriller out from the rubble of the Iraq war. Body of Lies takes a departure from the recent spate of Iraq war movies, which seem designed to convey a dire political message. In this case, the main vehicle is entertainment. The political sentiments seem like an option, some custom upholstery designed to add an air of relevance to a slickly crafted piece of escapism that in the end seems meaningless. You get the impression Sir Ridley can do this sort of thing in his sleep. He’s been scarily prolific lately, churning out four movies in four years— Kingdom of Heaven, A Good Year, American Gangster, and now Body of Lies—three of them loaded with epic action.