Oddly enough, one of the most recurrent questions I get via email is whether Andrew Dominik’s “Blonde” will be theatrically released.

Last month, we reported the rumor that Shia LaBeouf had joined Francis Ford Coppola’s “Megalopolis.” This casting news surprised many, given that Laboeuf has been persona non grata in Tinseltown for over a year now.

Filmmaker Andrey Zvyagintsev had a serious bout with COVID last year.

When Darren Aronofsky was adapting Samuel D. Hunter’s divisive play I figured there was a chance it would be a “bottle” movie.

After its mixed response at Cannes, George Miller’s “Three Thousand Years of Longing“ was obviously going to underperform at the box-office. Wasn’t this the movie Variety’s Clayton Davis swore could be a Best Picture contender after seeing it on the Croisette?

A total of eight titles have been sent over to Academy voters for Oscar consideration.

The miserablist in me really wants to dislike how the simple-minded “Top Gun: Maverick” could have become such a phenomenal success at the box-office.

Florence Pugh could clearly see a “Don’t Worry Darling” trainwreck coming from miles away. She’s decided to “severely limit her promotional press” at the Venice Film Festival [via Deadline].

If you had told me this trailer was a comedy skit, I would have believed you.

I’ve been emailing the last few weeks trying to get some answers as to why “The Son” and “The Whale” are not going to Telluride. As far as I’m concerned, those are the major omissions from the upcoming edition of that fest.

A little confusion arose over my A24 write-up. No, I wasn’t bashing the indie studio, I actually love many of the films and filmmakers they’ve cultivated over these last ten or so years. Without A24, American moviemaking would be much worse off.

Judging by Shia LaBoeuf’s letters to Olivia Wilde, obtained by Variety, the actor seems to have found some kind of inner-peace and tranquility after becoming as he says “persona non grata” in Hollywood.

The lovely Elsa Keslassy broke the embargo in regards to Florian Zeller’s “The Son.” I’m sure she had the blessings of Sony Pictures Classics, who are handling the film. Regardless, she’s flat-out raving about it.

A THR article, penned by Ethan Vlessing, reinforces that the Emmys and the Oscars have yet to follow the lead of other awards shows in adopting gender-neutral categories.

Opening Venice and New York is Noah Baumbach’s “White Noise.” A teaser has been released.

There have been a ton of A24-related articles written in the past year, including a few from France where moviegoers strangely look at the A24 phenomenon as a total enigma.

Spielberg became a better, more refined, filmmaker as he aged into his 60s.

As I’ve briefly mentioned in a few pieces I’ve published over the last few weeks, I’ve spoken to two people who have already seen Todd Field’s “Tár,” both have been glowing it with praise.

Maybe someone can enlighten me as to what Alejandro Gonzalez Inarritu is actually trying to say with his officially released Venezia statement on “Bardo”: