The Sexiest Leading Men Alive

Invigorate your life and wardrobe by shopping the debonair and seductive style of cinema’s sexiest leading men with help from our ebay collection.

Ryan Gosling in Crazy, Stupid, Love

Get Ryan Gosling’s suave and stylish look in Crazy, Stupid, Love with an eccentric yet refined Ermenegildo Zegna jacket, classic Ralph Lauren shades, and sophisticated Salvatore Ferragamo Oxfords.

Ryan Gosling

Brad Pitt in Mr. and Mrs. Smith

Take inspiration from Brad Pitt’s effortlessly cool and alluring style in Mr. and Mrs. Smith with black patent leather Versace loafers, sleek Oliver Peoples sunglasses, and a clean, white Calvin Klein Oxford shirt.

Brad Pitt

Jon Hamm in Mad Men

Go retro and get Jon Hamm’s 1960s Mad Men look with accoutrements like a sterling silver tie clip, Madison Avenue whiskey glasses, and a vintage amber ashtray.

Jon Hamm

George Clooney in Ocean’s Eleven

Look to George Clooney’s sexy and chic Ocean’s Eleven style for inspiration and outfit yourself in Persol polarized sunglasses, a timeless Giorgio Armani watch, and a dashing Tom Ford silk bow-tie (best left untied).

George Clooney

Leonardo DiCaprio in Wolf of Wall Street

Go yacht-casual and get Leonardo DiCaprio’s preppy and polished summer look in Wolf of Wall Street with a vintage Tag Heuer watch, Ray Ban Tortoise Boyfriend shades, Gucci leather loafers, and a classic Prada belt.

Leonardo DiCaprio 

Hollywood’s Hottest Leading Men: 12 Chiseled Faces and Darling Smiles We Love

Jon Hamm. Photo: Billy Farrell/

Dear people who say things like “Happy Monday,” Who are you? For those of us who routinely wake up on “the wrong side of the bed,” here’s a little pick-me-up: 12 of Hollywood’s hottest leading men to crush on.

1. Ryan Gosling “Hey girl…” It’s gonna be okay, it’ll be hump day before you know it.

Photo: Matteo Prandoni/

2. Miles Teller This 28-year-old is not just pleasing to the eyes, but he’s also garnered tons of critical acclaim as an actor. Check our interview with him HERE.

WARNER BROS. & INSTYLE Host 16th Annual Post GOLDEN GLOBES Party Honoring Hollywood's Brightest Stars
Photo: David X Prutting/

3. Ryan Reynolds He might be married to Blake Lively (see the actresses best looks here) but that won’t stop us from dreamily re-watching The Proposal.

The Metropolitan Museum of Art's COSTUME INSTITUTE Benefit Celebrating the Opening of Charles James: Beyond Fashion and the Anna Wintour Costume Center - Red Carpet Arrivals
Photo: Julian Mackler/

4. Paul Rudd From Clueless to This Is 40, this guy just gets better and better.

VANITY FAIR OSCAR PARTY 2014 - Red Carpet Arrivals
Photo: Billy Farrell/

5. Bradley Cooper Here’s what would make a Monday better: staring into those baby blues.

Photo: Ben Rosser/

6. Joseph Gordon-Levitt 500 days would hardly be enough! Check out our 2011 cover story on him HERE.

VANITY FAIR OSCAR PARTY 2014 - Red Carpet Arrivals
Photo: Billy Farrell/

7. Jon Hamm We’d be mad not to love this man.

2nd Annual Breakthrough Prize Awards
Photo: John Salangsang/

8. Joe Manganiello Werewolf, human…Manganiello is hot in any form.

Photo: Matteo Prandoni/

9. Taye Diggs We Diggs Taye.

VANITY FAIR OSCAR PARTY 2015 - Red Carpet Arrivals
Photo: Billy Farrell/

10. Eddie Redmayne The accent, the eyes, the Oscar! What isn’t perfect about Eddie?

21st Annual Screen Actors Guild Awards - Press Room
Photo: John Salangsang/

11. Chris Hemsworth Another accent to swoon over, this gorgeous Australian is easy on the eyes and the ears.

Photo: John Salangsang/

12. Jamie Dornan For the 50 Shades fan, you already know he’s got Christian Grey skills down.

BAFTA Los Angeles Tea Party
Photo: John Salangsang/

Bye Ryan Gosling

Sorry, ladies… gays… everyone in the world.

A rumor hit the web that Ryan Gosling and Eva Mendes are having a baby! i.e. basically ruining our hopes, dreams, desires, lives, etc. The on again off again couple who’ve been dating since 2011 (after meeting on set of some movie no one remembers) have yet to confirm the rumor, but, let’s be real. It’s most likely true because she’s old as fuck (read: 40), her shit’s drying up, and, hell, it’s fucking Ryan Gosling.

Regardless, he’s hot, she’s hot, and we couldn’t be happier for the hottie couple and their maybe future hottie baby! However, we can’t help but be a lil’ sad that our Notebook fantasies are going to be officially crushed for ever and ever. So, grab an ice cream Snickers bar (you know you love it) and a box of tissues… and let’s say bye to Noah.

Here are five of the most Notebook-y moments that’ll NEVER happen to you/me/no one (except maybe Eva) ever:

Can you be inside of meee?!?!

I meaaaaan…

Never NOT wanting this:

How hard IS it going to be, exactly??

The line that broke a billion hearts… and dildos.

Goodbye, Ryan. You’ll be missed.

A First Glimpse At What’s Opening and What Never Should Have Closed

A very fat – or is it phat – quiet cat is out of the bag. I am sworn to secrecy about Toy, the new Tony Theodore/Koch brothers-driven spot in the Ganesvoort Meatpacking. I was graciously and quietly given a tour the other day while workman readied the Jeffrey Beers-designed space. I promised to keep it all on the low but once a PR firm sends out invites… it’s time to talk. Toy looks like it will be fun to play with. My goodness that was corny but expected I guess. Daniel, Derek, and Tony gave me the $2-tour and I was impressed. There is a wonderful outdoor space, an oyster bar and multi-levels and faceted mirrors all over the ceiling, fabulous blue booths and ebonized tables, and the whole place is better suited than previous incarnations to embrace those seeking the good life down in the Meatpacking District.

The event the PR peeps are hawking is this Monster Diesel party Thursday night. No, that’s not a truck and an energy drink soiree rather it is the clothing company announcing the launch of its "Noise Division" and a headphone company. Noise at the event is offered up by Theophilus London, Solange Knowles, and Brendan Fallis. I promised everyone I would attend and will do so.

On Saturday night I was hobnobbing at Snap and Stash where bon vivants gathered to watch that wonderful fight where Tim Bradley whipped Manny Pacquiao. After the fight, the models, promoters, and owners poured into the street and then over to Darby Downstairs. I heard Ryan Gosling and a slew of others like that attended. I didn’t see them in the crowd. I did get to chat up a bearded Leonardo DiCaprio who I hadn’t seen in a minute. He used to hang with us at Life and other joints we ran. He’s as cool and down- to-earth as ever and it was great to small-talk with the big star. I don’t much like to talk about celebs in clubs, but when they’re on the sidewalk talking to me I figure it’s OK.

After all the hoopla, I joined my party downstairs at Snap for a bottle of Beau Joie Champagne. My group included Jenny Oz Leroy of Tavern on the Green and Russian Tea Room fame. It’s amazing to me that this city pushed her out of Tavern, the joint her dad created from nothing and now, years later, the building is rotting. It’s a testament to bureaucracy gone bad and it’s complete and utter bullshit from the pencil-pushers involved.

Tavern was part of the fabric of this town. It was weddings and galas and lights and magic. It was visited and revisited by generations. It was memories. It was jobs and tax revenues from one of the highest grossing restaurants in the country, until Vegas exploded the undisputed truth in restaurant revenues. It lays empty, and every warm summer day underscores the huge mistake made by this administration. Admit it fellows…admit that you royally fucked up, dropped the ball, blew it, and beg Jenny to take it back.

If you want this and more in your inbox first-thing, sign up for my twice-a-week email blast. It’s gonna be good.

Four Legs Good: 10 Celebs and Their Famous Pooches


President Obama recently took some time out of his busy schedule to tell CNN’s Chris Cuomo about the latest addition to the First Family: a puppy named Sunny, who is Bo’s new playmate. It seems that if anything can distract us from the task at hand, it’s our canine companions. But often they are central to the task at hand, like Andy Warhol’s dachsunds, who were depicted in his paintings and were also regular subjects in his diaries. Here’s a look at ten famous Fidos—some of which have stolen the show from their celebrity guardians.

Alan Cumming, Honey and Leon

Actor Alan Cumming, who has two dogs—Honey, a Collie-Shepherd mix, and Leon, a shorthaired Chihuahua—claims his friends don’t think he’s a crazy dog person, although he admits, "My day is kind of focused around them." He may not be crazy, but his melodramatic Masterpiece Mystery! introductions—usually featuring arrestingly effective eyebrow raises, sideways glances and duck faces—hint at a wild and crazy guy within.

Rachael Ray and Isaboo

Rachael Ray brought her beloved dog Isaboo on her talk show to get microchipped in front of a live studio audience, urging all dog guardians to do the same with their precious pups. I honestly never gave much thought to Ray until I saw this segment and found out more about her work helping shelter dogs. I’ll have to try whipping up her Marsala Mushroom Ragout after all.


Picasso and Lump

This cute little animation by Raza Shah features Pablo Picasso’s famous line drawing of a dachshund (thought to be the artist’s own beloved dog Lump). In 2006, photographer David Douglas Duncan published the book Picasso and Lump: A Dachshund’s Odyssey, which revealed the duo’s close relationship through photographs taken in 1957 at the artist’s mansion in Cannes. Apparently, Lump was in charge.

Louis C.K.: An Old Woman and Her Dog

OK, so this clip isn’t about a celebrity and their dog. But it’s a celebrity talking about a dog; specifically it’s a bit about an old lady and her dog that comedian Louis C.K. performed in Phoenix in February that is pretty damn funny. Not sure if Louie is lucky enough to have a dog. I’ve seen him walking with his daughters, though. He was in a rush and all sweaty, kind of like his character in his awesome FX television series, Louie.

In the excellent heist film High Sierra (1941), Humphrey Bogart’s character Roy is befriended by a homeless mutt named Pard, played by the actor’s own dog, Zero.

Parker Posey and Gracie

The fact that I’ve seen Parker Posey and her dog Gracie walking around my neighborhood on several occasions isn’t surprising. According to Gawker, "everyone’s had a run-in with Parker Posey’s devil-dog"—though I’ve never seen anything other than a cute little canine behaving very well. But I’d hate to see what happens if Gracie ever lost her squeaky toy.

Ryan Gosling and George

Note to celebrities who don’t like talking about themselves on talk shows: Bring your dog. In 2011, when Ryan Gosling was a guest on Late Night with Jimmy Fallon, the actor brought along his dog George. "He’s more interesting than I am," said Gosling, "so I thought it would be helpful."

Susan Sarandon, Penny and Rigby

When she stopped by The View, Susan Sarandon brought her two dogs, Penny, who was in at least two of the Academy Award winner’s films: Arbitrage and Cloud Atlas, and Rigby, "who just got out of rehab."

Kevin Spacey and Boston

In May, actor Kevin Spacey adopted a shelter dog from the Surry County Animal Shelter in North Carolina. The two-time Academy Award winner named her Boston in honor of the city. Two more reasons to love this guy.

The Obamas, Bo and Sunny

The White House recently unveiled the newest member to the First Family, Sunny, who seems to enjoy the first First Dog, Bo. Both of them are Portuguese Water Dogs, chosen partly because they are hypoallergenic, as Malia’s allergies require a breed that doesn’t shed. "Bo was starting to look a little down in the dumps inside the house," the pack leader-in-chief told CNN’s Chris Cuomo. "And Sunny, the new dog. she’s only a year old, and the truth is, she’s faster than he is. She jumps higher, she’s friskier…[Bo] is trying to keep up. But I think that ultimately, he’s loving it. I think that ultimately, it’s going to be great for him in the long term."

We Need To Clear Up Something About Chest Hair

Last night I was hanging out and reminiscing with some old college friends when bam, out came a photo of me as a freshman, in the first weeks of school—all of ten years ago at this point. Naturally, I was shirtless, and that was what caused my buddy to turn to me in awe. “Look how hairless you are!” he exclaimed, indicating the baldness of my chest as compared to the thicket of fur that currently blankets that same space. Yes, I had become a man in the interim.

I don’t think I’d want to go back to having just a few sprigs of chest hair. I’m much warmer in the winter, for one. Plus, at least in my experience, it feels like most women prefer a full carpet. If my pieced-together knowledge of the 1970s is at all correct, and contemporary photos of Burt Reynolds are any indication, chest hair was once even publicly prized and adored. So why does it seem like you can’t be a Hollywood hunk anymore without a baby-smooth torso that looks like it was molded from plastic?
Don’t be coy: you know exactly what I’m talking about. Whether it’s Brad Pitt in Fight Club or Ryan Gosling in whatever he was just in, producers just don’t trust you to see all those pecs and abs under a thatch of body hair or, god forbid, a happy trail. I can only imagine what kind of horrid waxing/shaving/ electrolysis routines these poor actors have to submit to. And for what? So we can promote an evolutionarily disadvantageous fashion that it feels like only a creepy bodybuilder would be into? For shame, America. I want to live in a country where I take my shirt off at the beach with confidence—at least until my back hair starts coming in.

Obsession, Submission, and ‘Only God Forgives’: A Conversation With Nicolas Winding Refn

It’s the hottest day of the summer and Nicolas Winding Refn is sitting outside in a button down shirt peeling hard-boiled eggs. When I meet the acclaimed Danish director at the Bowery Hotel, he’s eating his lunch and taking interviews in the shade, not daring to remove his sunglasses and as always, keeps it cool. This is the second time we’ve met, having previously done an interview back in 2010 for Valhalla Rising—but things were different then. Not only was I quite young and on one of my first in-person interviews with a favorite director and shaking in all-too vibrant dress, but this was before the cult of Drive and the first taste of major Refn appreciation in Hollywood. 

Known for his violent, color-drenched films that serve up his fetishistic urges on a platter, Refn’s oeuvre is as stimulating and arousing as it is coldly removed from the reality of everyday life. No matter the subject, his characters exist in a world of his own creating, a heightened place where the inextricable link between death and sex is always present and gesture speaks far louder than words. His films are aggressive and carnal yet rather than giving us a stark look at that sense of grit, he slowly inches us towards that internal fire, shining a light onto the beauty in the brutal. 
With Drive, his ferocious pop fairytale, we saw a softer side to Refn—albeit still dangerous. There was a sense of romance and tenderness we hadn’t seen before in films like Bronson, Valhalla Rising, or the Pusher films. And in the process of creating that film and exposing himself to the Hollywood fantasy, he found his American leading man Ryan Gosling, whose near-silent protagonist drove us through a bloody kinetic love story with a bite. Now having re-teamed once again for Refn’s latest feature Only God Forgives, the two prove their symbiotic ability to transcend the work of the past and punch forward into the beyond.
Set in the neon-lit back alleys and seedier parts of Bangkok, Only God Forgives is Refn’s penetrating and evocative take on the Western. It’s a film so dark—both aesthetically and tonally—that when I first arrived to see the film fifteen minutes late, I found myself sitting in the isles because there wasn’t a shred of light emanating from the screen with which to find a seat. The revenge story about the connection between mother and sons, the struggle for morality, and the fear of submission plays out like a psychotropic nightmare, aided by a brilliantly visceral score from Cliff Martinez.
Starring Gosling, Kristin Scott Thomas, and Vithaya Pansringarm, Only God Forgives is a shot to the arm of pure id Refn. He employs the close-fisted anxious aggression of his pre-Drive days while taking his visual cues from a post-Drive world, completely blanketing us in the violent underbelly of Bangkok and putting a sword to our throat. Although the film is riddled with silence and languidly glides through darkened moments, Refn manages to hold us captive with his always-present sense of ecstatic desire. He plays on the dichotomy of what’s in and out of frame as well as what we do and not know is stirring in the characters’ psyche. It’s a film that warrants multiple viewings, but only because there’s a real pleasure in the experience of disappearing into his neon dreams and bloody obsessions, and as he says: that’s where the fun is.
Yesterday, I chatted with Refn about the importance of creative acts over result, the necessity of self-indulgence, and the polarizing nature of his work.
I interviewed you back for Valhalla Rising. That was one of my first in-person interviews, so it was a little weird.
Oh, cool. Well, now we get to reunite.
Back then you said you were going to make a Western in Bangkok once you made a movie with Ryan Gosling in Hollywood–so I guess that all worked out. 
You must have had some idea of what this would be back then but did your concept of the film evolve a lot from the and through meeting Ryan and collaborating with him on story and character?
Yeah, of course. Everything always mutates into something else. I very much always encourage that process and I very much like it. I don’t want to know what it is until it’s over.
You said that Drive was a film about how much you love your wife. And seeing this, is this your ode to your mother?
Well, you can certainly read anything into it—but no, it’s not my confrontation with my mother. It’s an interesting dramatic vehicle for male, masculine dangerous characters to confront their mothers much more than it is for them to confront their fathers. 
You don’t see that often in such a violent and bizarrely sexual way. I heard Scorsese say something once about all his films were about his father protecting his brother. But what was your initial spark for the film? Did it come from an image?
I had an idea of a clenched fist symbolizing the classic fight movie symbol—the clenched fist representing male aggression. At the same time, it’s an obvious phallic symbol, so the act of sex and violence in one movement is interesting. But if you were to open your fist and show the palm, it’s an act of submission. I thought there was a movie in that.
Your films all have a very primal, carnal feeling to them that’s very sexual but you never see that explicitly. It’s much more about what’s repressed like the clenched fist. Is that deliberate?
Not maybe so consciously, but maybe more of this is what I would like to see and less trying to understand it.
I really loved Bronson and this felt much more in the tone of that, a very primal aggression, which that departed a little with Drive because that was more of a fairytale. But in terms of aesthetics this felt like pushing forward into the visceral.
Whenever I make a film I almost make a point out of erasing all memory of it so that the next one I do bears as little resemblance. Of course if you use the same actor it’s reminiscent, but the challenge is to do something different. But for me, the act of creativity is more exciting than the actual product. I don’t really care about the end, I care about getting to the end.
Do you enjoy that collaborative process of working with an actor and molding them into someone different with each new role?
Yeah, especially when it works and then we challenge each other.
You’re certainly not one for exposition. Do you aim from that to evoke what’s really at the core of the story you’re trying to tell?
I like silence because it forces other ingredients to really come into the foreground—sound, music, gesture, compositions, camera angles, lighting, structure. We’re so used to the spoken word as a way to find story. 
And spoken word wasn’t really the most necessary in this film.
In this one I was interested in what was not being seen.
There’s something very haunting about what’s not shown and then when you do reveal thing, they’re extremely clear and graphic—like the scene where Mai’s masturbating, if felt like a trick to show these strong images and then hide so much around it.
It creates a  mystery between the two extremes that forces the viewer to connect the dots if they’re willing to go with it. If they’re not, they’ll just be very, very frustrated and they’ll be searching and searching—but that can also be a great experience. Remember, art is about the act of creativity.
I love Cliff Martinez’s music and your films are great at amalgamating image and sound together to create something that evokes something more than words could. How did you work with him to make this score because it adds so much to the film and submerges you so much deeper into their world.
Well, especially when you have silence, music becomes such a dominating force. It’s not only there to fill in the gaps, it’s an acting partner in the storytelling. You have a lot more discussions with your composer about what you want to evoke because it now becomes a key part. That means your relationship also becomes more intimate because the composer becomes much more a part of the storytelling. 
When this played at Cannes and going forth, the reactions have certainly been divisive. Do you enjoy that as a filmmaker, because if something’s not divisive than people are apathetic about it and what’s the point of making something that people are apathetic about?
Of course there’s a great pleasure in the act of polarization. You know you’ve touched people very deep if people can love or hate you for the same reason. But it’s never comfortable when people hate you, yet at the same time, you have to understand and respect the psyche and how it works. But I like the creativity of polarization because it means opposite ends, that’s almost what the films are: extremes.
I always seek to have a very physical reaction to a film—whether it’s good or bad, I want to feel something and if it can do that, than I usually have an appreciation for it. But that transcends to all art.
And that’s what it can do. It’s almost like you know how it can just evoke you into having a good time. To have a good time, there are so many other options, why would you choose this over something else? Being violated, either in a good way or a bad way, it leaves a very strong aftermath.
You talk about being a fetish filmmaker and seem more interested in expressing those desires very strongly rather than dissecting them. Would say that’s your main drive is, to put those obsessions on screen?
Oh yeah. Sure, sure. That’s what the fun is. It’s not about the result but about the process.
You shoot all of your films in chronological order. What do you find that enhances?
I don’t know any other way so it’s hard for me to sit down with a list, but I do believe that it helps to create a certain uncertainty and expectation and complete, utter self-indulgent element in seeing it unfold. And art is a very self-indulgent medium and is meant to be self-indulgent—how else can you create? I always take self-indulgence as a way of understanding your obsessiveness in what you do.
Where did the idea for Kristin Scott Thomas’ character emerge from?
The idea that the protagonist or antagonist was going to be his mother already evokes a lot of opportunity dramatically. The fact that she was like a insect that devours everything was almost like a movie about a man who’s chained to his mother’s womb. 
When you’re working on a film, do you find it better to isolate yourself from the creative world or to indulge in it?
The older I’ve gotten I just enjoy myself. The pleasure for me not the result, it’s the act of creativity and whatever that means. That’s where the fun is. 
Follow Hillary Weston on Twitter.

Stream the Incredible Cliff Martinez Soundtrack for Nicolas Winding Refn’s ‘Only God Forgives’

For months now, we’ve been showered with clips, teasers, trailers, posters, and soundtrack bits from Nicolas Winding Refn’s Drive follow-up Only God Forgives. We’ve been teased with so much of the film, I was worried that upon seeing the feature, the experience would suffer. However, it certainly did not. The neon-lit and stoically violent feature set in Bangkok is a revenge film with teeth yet holds the dark beauty that all of Refn’s work possesses. And of course, Cliff Martinez’s haunting and powerful score for the film is only makes it all the better, weaving its way between moments, heightening each scene into the uniquely Refn world we know and love.

Nicolas Winding Refn Warns Cinema-Goers to Keep It Silent in a New ‘Don’t Talk’ PSA

With the Alamo Drafthouse opening their first New York theater this summer, cinephiles and fans of the theater’s delicious menu will be forced to disconnect from their beloved cellphones and focus on the film in front of them. Doesn’t sound too difficult, right? Well, as shown in the past, there have been a few incidents where patrons of the Drafthouse have found it hard to adhere to their strict "No Talking, No Texting" Policy.

And with the opening of their latest venue, the folks at Alamo are showering us with a series of "Don’t Talk" PSAs. We saw Julie Delpy and Ethan Hawke banter on about his incessant talking and now, the master of strong silent types, director Nicolas Winding Refn is here to warn you that if you don’t shut off your phone his leading man Ryan Gosling could do some horrible things to you.

Check out the video below in which he suggests, like sex, you should keep it in the dark.