Disney has already had two of their blockbusters entirely skip theaters and go straight to Disney+ (“Artemis Fowl.” and “Mulan”) which begged me to ask the obvious question, would Pixar’s “Soul” be next? This past July, I contacted my source at Disney who then confirmed to me that there were indeed plans to do move “Soul” to the streaming service. I reported about it and was unsurprisingly met with negative responses, mostly from people who couldn’t accept the fact that Disney would just dump such a prize-worthy feature like that as streaming content.

Mexican director Michel Franco’s “New Order,” a dystopian shocker that resonates in these deeply troubling times, is not just his most grueling movie to date, and that’s already a feat in itself, but also his best and most accomplished work. If you were already not a fan of the guy’s work, then this won’t necessarily convert you, but, regardless, it’ll convince you of his technical talents as a director.

Served on a pitch-black platter, Ethan J. Blakeson's nastily rendered “I Care a Lot” has no likable characters. In fact, everyone in this dark comedy is either a sociopath, a psychopath, or both.

Here’s the first teaser for Aaron Sorkin’s Netflix-distributed “The Trial of the Chicago 7.” This is Sorkin’s second film as a director, after 2018’s “Molly’s Game,” but, first and foremost, he’s known as the legendary screenwriter of “The Social Network,” and “The West Wing.”

Although it opened in 100 additional theaters this weekend, Tenet’s box-office actually went down by 29 percent in its second North American weekend. Yes, Christopher Nolan’s sci-fi epic made a *whopping* $6.7 million in 2,910 theaters. A disappointing result which will now have studios delaying their big titles furthermore.

Chloe Zhao‘s “Nomadland,” which just won the Golden Lion at the Venice Film Festival, is not going to be a film for the masses, and all the better for it. This is a moody, and mesmerizing third film from the Chinese-American filmmaker, after her triumphant 2018 film, “The Rider.” Much like her previous efforts, this is Zaho’s 21st-century depiction of Americana angst, mixing non-fiction and fiction filmmaking in effortless fashion.

Kate Winslet has pulled a Timothee Chalamet and thrown Woody Allen and Roman Polanski under the bus, cleansing herself from past “sins.” She now again has a “clean” slate according to the Twiteratti wokesters and now has a path for the Academy to safely, without any backlash, nominate her much-buzzed performance in the upcoming “Ammonite.” Good God, Kate.

Is “Wonder Woman 1984” going to be delayed yet again? The first weekend of “Tenet” in North America proved that it’s going to be a long road ahead for Christopher Nolan’s film. “Tenet” grossed just $20 million during labor day weekend, which means it’s going to stay in theaters for the next few months to come, just to gross whatever it was supposed to have made in a pandemic-less world. Before the COVID-19 pandemic hit, protections were that Nolan’s film would have opened with a box-office of anywhere between $60-$85 million.

Netflix apologized after a controversial poster for the film “Cuties,” which has a pre-pubescent girl “becoming fascinated with a twerking dance crew,” went viral. The aforementioned poster, portraying four girls in suggestively risqué poses, sparked widespread backlash and a Change.org petition to halt the release of the film., prompting Netflix to apologize for what it called “inappropriate artwork.”

According to Collider’s Jeff Sneider, a sequel to Sacha Baron Cohen’s 2006 comedy classic, “Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan,” has been shot and screened “for a select few industry types.”

The Academy of Motion Pictures Arts and Sciences has announced new representation and inclusion standards for all would-be seekers of a Best Picture Oscar.

Despite U.S. press being unable to attend this year’s 77th Venice Film Festival, there is still a ban in place for U.S. travelers to Europe, the plan was to go half-digital so that, stateside at least, film journalists could create coverage, not to mention, considerable buzz for not just the Biennale, but the film industry as a whole. I will be jotting down dispatches for the next few days as the films continue to be screened in Italy, here’s the first one.

Of course, Disney adhered to the CCP in making “Mulan.” Even before today’s news, I had written in my 09.05.20 review of “Mulan” that “the film was built for the Orient demographic, it looks like something the Chinese movie industry would conjure up with the approval and help of the Chinese Communist Party. Safe, politically benign entertainment that has all the restrictive creative hallmarks to get the full approval from President Xi.”

Zhao’s “The Rider” was a surprise hit at Cannes back in 2017, so much so that her next film was bound to be hotly anticipated. Here was a female filmmaker with a keen, poetic eye for humanism. Marvel Studios, unfortunately, hired her to direct their upcoming “The Eternals,” but the real focus should be on “Nomadland,” starring Frances McDormand, which was announced to simultaneously world premiere on September 11 at the Venice and the Toronto International Film Festivals.