Serkis, known for pushing performance capture and digital storytelling forward, would like to think he’s the filmmaker who can finally crack the code and deliver a version that does Orwell’s message justice.

Visually, it looks gorgeous, like all of Kogonada’s other films, with Benjamin Loeb (“Mandy”) behind the camera. However, plot-wise, it plats rather gooey and mawkish.

The man who gave us the nightmare in space has officially tapped out — and, surprise, he’s not exactly thrilled with what’s happened to his baby.

Baker has zero interest in diluting his voice for a larger paycheck. He’s staying scrappy—and good luck to anyone trying to tell him otherwise.

Here’s a plot twist. Clint Eastwood wants it known—he never sat down for a recent so-called interview that’s been making the rounds online.

One of our most anticipated films of the summer is Joseph Kosinski’s ”F1,” which, according to a press invite I just received, clocks in at an ambitious 155 minutes. It’ll certainly be one of the lengthier major studio movies of the season.

Tony Kaye can officially be removed from the list of directors who’ve gone quiet. After a long hiatus, he’s making a return with his first film in well over a decade.

In a Facebook post, Cameron announced that he has bought the rights to Joe Abercrombie’s bestselling novel “The Devils,” and that Cameron himself intends to co-write the script with Abercrombie.

Sydney Sweeney is set to headline a movie adaptation of the popular video game “Split Fiction,” with Jon M. Chu attached to direct. Amazon/MGM has just acquired the film for $2M.

People like to draw a line at everything he’s done since “The Grand Budapest Hotel” — the “last great one,” they say, as if everything since has been diminishing returns. I don’t totally buy that.

After months of speculation, The Wrap’s sources claim that“Superman” has a budget of $225M. According to the report, the film will have to earn $700M worldwide to be deemed profitable.

Gunn pointed to the acclaimed 2023 Japanese kaiju drama as a benchmark for the tone he was aiming to strike on his upcoming Man of Steel epic.

With the tidal wave of sequels crashing into theaters this year, I’m trying to channel my inner Dr. Strangelove: stop worrying and learn to love the sequel.

“Karate Kid: Legends” punched its way to a disappointing $21M domestic debut this weekend — a few million shy of Sony’s projected $30M target going into Friday.

What’s raising a few eyebrows about Coogler’s recent “no sequel” stance is that, according to THR, the project was originally pitched to Warner Bros. with “franchise potential” in mind.

Gilroy actually stated that, while negotiating for the budget, Disney told him “streaming is dead.” But before they bailed on the streaming game, they gave him $650M for “Andor.”

The film is drawing early comparisons to high-minded, emotionally resonant science fiction like “Arrival,” and “Interstellar” — the kind of sci-fi that plays just as well with awards voters as it does general audiences.

Del Toro, who’s been talking about making this movie since before streaming was a thing, was on stage to present the trailer, which hit the internet shortly after.

Netflix, which is also handling “Animals,” recently boarded “RIP” and has now set it up with a January 16, 2026 streaming date. Yes, this means that the film will be skipping theaters entirely.