It was a shocker of an announcement. Last month, The New York Film Festival selected Elegance Bratton‘s “The Inspection” as the closing night film of its upcoming 60th edition. We now have an underwhelming trailer for it

“Breaking,” formerly titled “892,” is a limp riff on “Dog Day Afternoon.”

We are around 8 weeks away before production begins on Francis Ford Coppola’s “Megalopolis.”

I’ll try to be as brief as possible, but I’ve noticed some here speculating that certain films, like “Babylon” and “Amsterdam,” skipping the September/October festivals usually spells trouble in terms of quality and Oscar odds.

Last week, Universal was contractually allowed (per its AMC agreement) to make Jordan Peele’s “Nope” available on VOD

Bruno Dumont’s “The Empire” just started production in France. The goal is a 2023 release, presumably a Cannes premiere.

A24 have set a theatrical release for Owen Kline’s “Funny Pages”, and are also opting to screen it on August 25th for $15.

I was told a couple of months ago that Netflix was prioritizing “Glass Onion: A Knives Out Mystery” over any other title they have this fall, and for good reason.

Alright, now that we’re all settled and ready to go, here are the last Best Picture predictions before we head into the intense final four months of this movie year.

It’s almost inevitable that Michael Mann’s “Heat 2” will be starting production next year. There’s a major studio battle already brewing over the rights to the sequel.

The teaser for “Tar” definitely intrigued us. It barely had any actual footage, but rather a slow-motion close-up of Cate Blanchett’s face with a smoke-filled mouth.

Not only is Laura Poitras’ “All the Beauty and the Bloodshed” the Centerpiece selection for the 60th New York Film Festival, but it’s also that rare documentary to actually crack the Venice competition.

A few months ago an Oscar pundit told me “don’t be surprised if “Babylon” goes to 2023. That’s the rumor.”

I’m not entirely sure why writer-director Jeff Baena decided to make a film as misguided as “Spin Me Round.”

I trust most readers of this site have already seen the results of our mid-year critics poll. Unsurprusingly, Daniel Scheinert and Daniel Kwan’s “Everything Everywhere All At Once” topped the poll.

Basing this on all that we know so far, the fall festival circuit is really spreading the wealth of world premieres this year.

Last week I reported that Alexander Payne’s “The Holdovers” was test-screened in Santa Monica. The early reactions were very positive, I was told that it was a return-to-form for the gifted writer-director.