Ewan McGregor - Page 10 (2024)

A stubborn matriarch played by Ellen Burstyn lodges in a furniture store and wages emotional warfare with her adult children.

By Glenn Kenny

The actors, who met while filming “Fargo” in 2017, are now married and have reunited onscreen in “A Gentleman in Moscow.”

By Alexis Soloski

Ewan McGregor plays father to his real-life daughter Clara McGregor in this indie road-trip movie that’s also a meandering journey to healing.

By Manohla Dargis

Reporter’s Notebook

The 2003 box office flop has been embraced by a younger generation that understands the role-playing nature of courtship.

By Beatrice Loayza

This quirky classic has been made all the stranger by the decision to turn it into an ill-conceived metaphor about fascism.

By Manohla Dargis

Ewan McGregor and Ethan Hawke struggle to dig themselves out of this dreary drama about damaged siblings reckoning with their father’s death.

By Jeannette Catsoulis

Critic’s Pick

This mob drama folds family secrets and fading power into a story of operatic vengeance.

By Jeannette Catsoulis

with …

For a new Netflix series, the actor dropped his lightsaber and picked up the cigarettes and scissors.

By Maureen Dowd

Watching

Ewan McGregor hits the road again, Mo Willems does the Kennedy Center, and an edgy teen drama returns to Netflix.

By Margaret Lyons

In this Stephen King adaptation, Ewan McGregor fights old and new demons.

By A.O. Scott

Marc Forster’s film offers more or less what a Pooh reboot should: a lot of nostalgia, a bit of humor and tactile computer animation.

By Ben Kenigsberg

Ewan McGregor stars as the title character opposite the stuffed bear in Marc Forster’s forthcoming movie.

By Bruce Fretts

With Season 3 beginning on Wednesday, FX’s anthology of homespun murder is becoming an expertly made meta-concoction, a remix of a remix.

By James Poniewozik

Anatomy of a Scene

The director discusses a sequence featuring Ewan McGregor and Jonny Lee Miller.

By Mekado Murphy

TimesVideo

Danny Boyle narrates a sequence from "T2 Trainspotting" featuring Ewan McGregor and Jonny Lee Miller.

By Mekado Murphy

The sequel to the gloriously scabrous film that kick-started the careers of Danny Boyle and Ewan McGregor illustrates the consequences of a misspent youth.

By Jeannette Catsoulis

Set 20 years after the original film, the sequel finds the director Danny Boyle back at the helm of a bunch of characters who aren’t aging well.

By Roslyn Sulcas

The sequel to “Trainspotting” is released in Britain this week. Here’s what the critics had to say.

By Christopher D. Shea

Ewan McGregor’s directorial debut is a shallow but watchable gloss on this Roth novel, conjuring a searing image of the disintegrating American dream.

By Stephen Holden

The film, based on John le Carré’s 2010 novel of the same name, includes complications both geopolitical and conjugal.

By Manohla Dargis

Rodrigo García’s depiction of the temptations of Christ is a primal meditation on patriarchal authority.

By Stephen Holden

In the last few months, a spate of faith-based films has come to present never-told or newly imagined chapters of Jesus’ existence.

By Chris Lee

Don Cheadle stars in — and directed — this biopic about the jazz trumpeter, who was a sly chameleon, both in his life and in his music.

By Manohla Dargis

Movie Review

“Son of a Gun” teams a hardened criminal portrayed by Ewan McGregor with his 19-year-old protégé in a brutish Australian action-adventure fantasy.

By Stephen Holden

Theater Review

This revival of Tom Stoppard’s Tony Award-winning 1982 play about marital love and infidelity offers some lessons in chemistry.

By Ben Brantley

The Week Ahead

Maggie Gyllenhaal and Ewan McGregor are both making Broadway debuts in the revival of Tom Stoppard’s “The Real Thing.”

By Steven McElroy

Celebrities have found that taking a stand either way on Scotland's independence referendum can stir anger in about half of its population.

By Katrin Bennhold

ArtsBeat

He will star in the Roundabout Theater Company revival of Tom Stoppard’s play in October 2014.

By Allan Kozinn

A listing of shows to watch on Tuesday.

By Kathryn Shattuck

ArtsBeat

Two movies with big-name actors explore the fine line between inspiration and emotional annihilation.

By Michael Cieply

Movie Review

“Jack the Giant Slayer” sticks with the familiar bedtime story, embellishing it with 3-D and other effects, noisy battles and an occasional wink at the material.

By Manohla Dargis

Carpetbagger

Ewan McGregor recounts what it was like to work with very young actors for “The Impossible.”

By The New York Times

Arts, Briefly

The fashion designer Stella McCartney and the actor Ewan McGregor were among those named to receive New Year’s Honors from Queen Elizabeth II, The Associated Press reported.

Compiled by Adam W. Kepler

Movie Review

“The Impossible,” starring Naomi Watts and Ewan McGregor, can be described as a horror film, with nature as the villain.

By A.O. Scott

TimesVideo

Part 10: The actor discusses his time on the “Star Wars” films, why he took the role of Obi-Wan, and what it was like to play a young Alec Guinness.

TimesVideo

Part 4: The actor reminisces about his drama school days and formative experiences as a young actor.

TimesVideo

The actor talks “Trainspotting,” “Star Wars,” “Beginners” and other milestones in his already-accomplished film career.

TimesVideo

Part 11: The actor talks about working with the director Mike Mills, the actor Christopher Plummer and two dogs in 2011’s “Beginners.”

TimesVideo

Part 1: Carol Olsen Day, director of TimesTalks, introduces the actor Ewan McGregor.

TimesVideo

Part 5: The actor explains why he wanted the part in “The Impossible” and talks about what it was like working primarily with child actors in the film.

TimesVideo

Part 7: The actor discusses the unique challenge of getting emotions to show up on camera.

TimesVideo

Part 13: The actor talks about which directors have taught him the most and who he wishes he could’ve worked with.

TimesVideo

Part 6: The actor talks about why “The Impossible” isn’t a disaster movie, and describes why he felt guilty about taking a role in the film.

TimesVideo

Part 9: The actor recalls what it was like to be in London when “Trainspotting” came out, and reflects on the abrupt end of his relationship with the director Danny Boyle.

TimesVideo

Part 12: The actor recalls what it was like to arrive in New York City on the final day of his 19,000-mile motorcycle trip around the world.

TimesVideo

Part 8: The actor reveals why he thinks action movies present a bigger dramatic challenge for an actor than smaller-scale film roles.

TimesVideo

Part 3: The actor talks about how he prepares for his roles, and describes working with the director Lasse Hallstrom on “Salmon Fishing in the Yemen.”

TimesVideo

Part 15: The actor reveals what it was really like to film the lightsaber fights in the “Star Wars” films, and reflects on what he wants to achieve with the rest of his career.

TimesVideo

Part 14: The actor tells three stories from his time on a Woody Allen film, and explains why he didn’t want to play James Bond.

TimesVideo

Part 2: The actor explains what made his film “Salmon Fishing in the Yemen” such a fun project to shoot.

Carpetbagger

The Globes were also good news for “Best Exotic Marigold Hotel,” whose best feature, comedy/musical nomination and some love for star Judi Dench gives it a better-than-average shot for a best picture nod at the Oscars.

By Melena Ryzik

The director J. A. Bayona and the visual effects supervisor Félix Berges discuss how they created a convincing tsunami scene in “The Impossible.”

By Mekado Murphy

ArtsBeat

Seth MacFarlane, Ewan McGregor, Simon Pegg and Carrie Fisher were some of the longtime “Star Wars” fans and actors who responded to Walt Disney’s purchase of Lucasfilm.

By Dave Itzkoff

Movie Review

The director Lasse Hallstrom (“Chocolat”) has transformed “Salmon Fishing in the Yemen,” based on an absurdist political satire, into a whimsical romantic comedy.

By Stephen Holden

Movie Review

In David Mackenzie’s “Perfect Sense,” a chef and an epidemiologist find love as an epidemic sweeps the planet, slowly depriving human beings of one sense after another.

By Stephen Holden

The Carpetbagger

After a six-decade stage and film career, Christopher Plummer still has plenty of acting work. “I want to be able to play as many things as possible,” he says, “before I croak.”

By Melena Ryzik

ArtsBeat

The show is aiming to open on Broadway next spring.

By Patrick Healy

Movie Review | 'Beginners'

Christopher Plummer and Ewan McGregor star in “Beginners,” a wistful memory piece about a straight son and his dying gay father.

By Manohla Dargis

In “Beginners,” an autobiographical film from the writer and director Mike Mills, the main character’s 75-year-old father comes out of the closet.

By Dennis Lim

Movie Review | 'I Love You Phillip Morris'

“I Love You Phillip Morris,” based on a real-life story, stars Jim Carrey as a charismatic con man.

By Stephen Holden

film

Jim Carrey and Ewan McGregor star in “I Love You Phillip Morris,” directed by Glenn Ficarra and John Requa.

By Dennis Lim

Movie Review | 'The Ghost Writer'

With “The Ghost Writer,” Roman Polanski creates a wholly believable world rich in strange contradictions and ominous implications.

By Manohla Dargis

Movie Review | 'The Men Who Stare at Goats'

“The Men Who Stare at Goats” is a likable, lightweight, absurdist comedy.

By Manohla Dargis

Movie Review | 'Angels & Demons'

“Angels & Demons,” without being particularly good, is nonetheless far less hysterical than “The Da Vinci Code.”

By A.O. Scott

Movie Review | 'Deception'

A would-be erotic thriller with no heat and zero chills, “Deception” has a kind of glassy, glossy sheen and risible story.

By Manohla Dargis

In London, new productions of “Othello” and “Much Ado About Nothing” reveal a common theme: love’s susceptibility to deception.

By Charles Isherwood

Movie Review | 'Cassandra’s Dream'

“Cassandra’s Dream,” Woody Allen’s latest excursion to the dark side of human nature, is good enough that you may wonder why he doesn’t just stop making comedies once and for all.

By Manohla Dargis

FILM IN REVIEW

Nathan Lee reviews film Alex Rider: Operation Stormbreaker, directed by Geoffrey Sax; Alex Pettyfer and Ewan McGregor star; photo (M)

By Nathan Lee

FILM

IT was a late night in Seattle. It was probably raining. Scilla Andreen was still haunting the offices of her as-yet-to-be-started Internet movie company, IndieFlix, when the phone rang. It was -- no surprise -- a young filmmaker. ''He thought we were a local production company,'' said Ms. Andreen, 43, a filmmaker herself, as well as an Emmy-nominated costume designer. ''Or a distribution company that might buy his film.''

By John Anderson

FILM REVIEW

Manohla Dargis reviews movie Stay, directed by Marc Forster and starring Ewan McGregor, Naomi Watts and Ryan Gosling; photo (M)

By Manohla Dargis

FILM REVIEW

Stephen Holden reviews animated movie Valiant, directed by Gary Chapman, with voices of Ewan McGregor, Ricky Gervais and Tim Curry; photo (M)

By Stephen Holden

FILM REVIEW

A O Scott reviews movie The Island, directed by Michael Bay and starring Ewan McGregor and Scarlett Johansson; photo (M)

By A.O. Scott

THEATER

AS the leading man in the new revival of the musical ''Guys and Dolls,'' a big hit at the Piccadilly Theater here, Ewan McGregor could be said to incorporate traits from both sets of title characters. Not that there is anything particularly feminine about Mr. McGregor, who can also currently be seen channeling the spirit of Alec Guinness in the latest (and last) of the ''Star Wars'' films. But there is something doll-like -- as in made by Mattel -- about Mr. McGregor as he struts, sidles and scissors-kicks his way through the role of the crapshooting heartthrob Sky Masterson. His features and his form, in glove-snug three-piece suits, suggest old-style movie-star flawlessness more than they ever do on the screen. Yet evidence of an original presence, of the engagingly off-center figure that Mr. McGregor cuts in films like ''Trainspotting'' and ''Moulin Rouge!,'' appears to have evaporated when he stepped out of two dimensions and into three.

By Ben Brantley

FILM REVIEW

A O Scott reviews movie Star Wars: Episode III--Revenge of the Sith, written and directed by George Lucas and starring Hayden Christensen, Ewan McGregor and Natalie Portman; photos (M)

By A.O. Scott

CRITIC'S NOTEBOOK

Caryn James Critic's Notebook column on cloning as theme in movies, novels and plays; focuses on Caryl Churchill's play A Number, Kazuo Ishiguro's novel Never Let Me Go and Michael Bay's new movie The Island; photos (M)

By Caryn James

FILM REVIEW

A O Scott reviews computer-animated movie Robots, directed by Chris Wedge and Carlos Saldanha with voices of Ewan McGregor, Halle Berry, Robin Williams and others; photo (M)

By A.O. Scott

Arts, Briefly column; Donmar Warehouse, London nonprofit theater, announces spring and summer 2005 roster: production of Guys and Dolls starring Ewan McGregor, adaptation of J P Miller's Day of Wine and Roses, revival of David Greig's Cosmonauts Last Message to the Woman He Once Loved, Neil LaBute's This Is How It Goes and new version of Friedrich Schiller's Mary Stuart; photo (S)

By Lizette Alvarez

TELEVISION REVIEW

Virginia Heffernan reviews first installment of Bravo's six-part documentary Long Way Round starring Ewan McGregor and Charley Boorman; photo (M)

By Virginia Heffernan

FILM: THIS WEEK

Caryn James reviews David Mackenzie film Young Adam, starring Tilda Swinton and Ewan McGregor; photo (M)

By Caryn James

FILM REVIEW

This soft, thin magic-realist fable concerns the fabulous (and largely self-fabricated) life of Edward Bloom, a garrulous Southerner played in his youth by Ewan McGregor and on his deathbed by Albert Finney. Edward is a devoted teller of tall tales, which charms everyone except his son, Will (Billy Crudup), who must overcome this estrangement before his father's death. There is an interesting family drama hidden behind all the whimsy and moonshine, but the movie is so steadfast in its admiration for Edward and his inventions that it never considers that Will might have a point. The movie, in consequence, lacks one, as it wanders through a series of cute, fairy-tale episodes, featuring, among other things, a glass-eyed witch, a pair of conjoined Korean chanteuses, and a town where nobody wears shoes. Tim Burton's imagination, so wild and marvelous in movies like "Pee Wee's Big Adventure," "Edward Scissorhands" and "Beetlejuice," seems to have been tamed. Rather than resonating with the uncanny magic of the unconscious, his images seem to be part of a strategy of denial, designed to obscure the possibility that Edward, a charismatic raconteur, might also be a narcissist and a compulsive liar. Will might forgive these lapses — that is a son's prerogative, after all. Far worse, from the audience's point of view, is that Edward is also a bit of a bore. — A. O. Scott

By A. O. Scott

FILM FESTIVAL REVIEW

Ewan MacGregor plays Joe, a moody, literary young man in postwar Glasgow who works on a barge and seduces women as much out of boredom as out of lust. One day Joe and his boss, whose unhappy wife (Tilda Swinton) Joe has been sleeping with, fish a dead body out of the water, an event which precipitates something of a crisis in Joe's slack, selfish life. In a discontinuous series of flashbacks, we revisit his relationship with Cathie (Emily Mortimer), from the first flirtation on the beach to a fateful encounter on the docks. Based on a novel by Alex Trocchi, the film is all mood and attitude, a dated exercise in existentialist angry-young-man noir. It follows its literary source in assuming, rather than showing, that Joe's narcissism and indifference to other people offer deep insights into the human condition. — A. O. Scott

By A. O. Scott

FILM REVIEW

This brightly colored romp is both a loving tribute to the old Rock Hudson-Doris Day Technicolor comedies of the late 1950's and early 60's and a revisionist critique of their moldy sexual politics. Renee Zellweger and Ewan McGregor are thinner and wirier than their predecessors, but their timing and energy are impressive, as is Peyton Reed's fanatical regard for the look, sound and tone of the old pictures. This one unfolds in a fairy-tale 1962 Manhattan, its streets thronged with boxy cabs and impossibly stylish dressers. What is missing, though, is the subtext of sexual and social panic that made the earlier movies so bracing in their silliness. Ms. Zellweger's proto-feminist firebrand, an apostle of sex without love and workplace equality, tangles with Mr. McGregor's playboy journalist, with matrimony the foreordained result. David Hyde-Pierce and Sarah Paulson are the neurotic second couple, and the romantic high jinks are fairly well managed. But the laughter ultimately grows out of complacency rather than confusion, and the teasing naughtiness, at this late date, seems more dutiful than daring. — A. O. Scott

By A. O. Scott

Elvis Mitchell reviews Baz Luhrmann's movie musical Moulin Rouge, starring Nicole Kidman and Ewan McGregor; photo (M)

By Stephen Holden

Opening This Week

FILM REVIEW

British agent protects murderer for personal reasons. Impenetrable mess.

By Stephen Holden

TV WEEKEND

Anita Gates reviews Cinemax television movie Rogue Trader, based on Nicholas Leeson's account of his rise and fall in futures trading, which led to collapse of Britain's venerable Barings bank; photo of Ewan McGregor as Leeson; Leeson himself, now 32 and suffering from colon cancer, is to be released from Singapore prison and will return to England (S)

By Anita Gates

FILM

Stephen Holden article discusses movie Velvet Goldmine, starring Jonathan Rhys Meyers and Ewan McGregor and directed by Todd Haynes; photos (M)

By Stephen Holden

FILM REVIEW

All the world's a morgue and the people in it either corpses or panting homicidal necrophiles in Ole Bornedal's laughably garish thriller, ''Nightwatch.'' Well, not all the people. Although an obsession with necrophilia doesn't apply to everyone in this putrid fun house of a movie, it often feels that way. Much of the film takes place in a cavernous medical examiner's building that resembles a giant decaying high school. Moths trapped in the structure's continually flickering lights flutter around noisily like bats in a belfry. To get from one room to the next, Martin Bells (Ewan McGregor), the frisky new night watchman, has to unlock six-inch-thick metal doors with keys hidden in a studded black leather case, as though he were making a tour of torture chambers in a network of dungeons. In an added touch of horror, the facade of this castle of death is draped in black plastic garbage bags that rustle ominously in the night wind.

By Stephen Holden

FILM REVIEW

Janitor and beautiful hostage. Madcap romance with mean streak.

By Janet Maslin

FILM REVIEW

Model and calligrapher-lover, via Peter Greenaway. Rapturously perverse.

By Janet Maslin

FILM

Profile of and interview with Ewan McGregor, 26-year-old fast-rising and prolific Scottish actor; photo in scene from Brassed Off (M)

By Michael Dwyer