In 2022, Stiller absolutely triumphed with his dystopian WTF-did-I-Just-watch sci-fi office drama “Severance.” The atmosphere of minimalist world-building was incredibly realized.

It’s been seven years since Kathryn Bigelow released her last film, “Detroit.” It turns out the Oscar-winning filmmaker has had a project brewing since March 2022, which is when she signed on to direct “Aurora” for Netflix.

The latest update on Marvel Studios' plans for Kang in the MCU. If you remember, Jonathan Majors was fired from the role, and notable rumors had emerged that Colman Domingo was the frontrunner to replace him.

If you had to narrow it down to just a single seminal film from 1999, what would it be? The contenders seem to be too many. What one film defined the greatest movie year?

If the Margot Robbie and Greta Gerwig Oscar snubs caused some backlash, Leonardo DiCaprio's absence in the Best Actor category went a little more discreetly unnoticed. But Martin Scorsese wants us to know that he deserved better.

Farhadi’s next film will be set in Los Angeles and was supposed to start production last year, but the strike occurred and I really have no idea if it’s even been shot yet.

Not many 2024 films were shot on film. There’s Luca Guadagnino’s “Challengers,” Jeff Nichols’ “The Bikeriders,” M. Night Shyamalan’s “Trap,” and Jane Schoenberg’s “ I Saw the TV Glow.”

We were wondering what was going on with Oscar-nominated actor Dev Patel’s directorial debut, “Monkey Man.” Then, late this week, we learned that it was no longer being distributed by Netflix.

UPDATE: The New Yorker’s Richard Brody is a top-notch film writer, with good insight into film history, but his tastes can veer towards total and utter bewilderment. He’s essentially the Armond White of far-left film criticism.

Deadline is reporting that “Argylle,” which is being released next Friday, will have an opening in the “teens,” so anywhere between $13-18 million — attaining the higher end of that number will depend on how good the reviews are.

UPDATE: According to Deadline, Warner Bros is now the frontrunner to acquire “Super/Man: The Christopher Reeve Story” for $15M. This is probably the hottest doc to have screened at Sundance this year.

It’s very hard not to believe that Marvel is currently going through some kind of identity crisis. Between Jonathan Majors getting fired, “Blade” in constant turmoil, and the box- office disasters, we’re starting to wonder if they can actually bounce back.

Ever since Tuesday, I’ve been catching up with all of the Sundance 2024 titles. I’ll post a recap by Sunday. All of this to say that the award winners were announced this afternoon.

Last November, I had exclusively reported on a project that filmmaker Paul Greengrass was working on for Apple TV, titled “Lost Bus.” I had mentioned that this would be Greengrass’ next film.

Paramount+/Showtime’s wildly audacious “The Curse” has to be seen to be believed. It’s no doubt an uncomfortable watch, but it’s also one of the most daringly bold, absurdist and rule breaking shows ever put on on television. This is not hyperbole.

Last August, Kravitz stood by the movie’s title, even as she encountered pushback for her to change it. She told The Wall Street Journal that “the title came from that world. The title is the seed of the story.” And yet, they got rid of it.

Last summer, the story goes, Martin Scorsese visited the Vatican and was told by Pope Francis to "show us Jesus" onscreen and that “moved” the filmmaker as some sort of higher calling.