For many, his loss still stings, still feels unresolved. Because the truth is, in every film he touched, he made it better.

As expected, Lionsgate has decided to delay its long-in-the-works Michael Jackson biopic “Michael” to April 24, 2026 global theatrical release.

When Taylor Russell abruptly exited Michael B. Jordan’s “The Thomas Crown Affair” mid-shoot due to the usual “creative differences” line, plenty of eyebrows were raised.

In a surprising development, HBO has confirmed that legendary composer Hans Zimmer will score Sam Levinson’s upcoming third season of Euphoria.

Initial reactions suggest a more conventional, lower-stakes dramedy than his previous two features, with a tone and structure some compared to “The Big Sick.”

If you’ve never heard of “Calexit,” it’s about an authoritarian U.S. president who signs an executive order to deport all immigrants, California refuses.

I don’t envy the people tasked with putting together these kinds of lists—especially when it comes to horror, a genre defined by its wildly diverse tastes and countless subgenres.

By my count, Aziz Ansari’s “Good Fortune,” which is set to world premiere at TIFF, holds the unofficial record for most test screenings of any film in 2025.

Bryan Fuller (“Hannibal”) has decided to make movies, and the result looks as deranged as you’d expect. I’m hearing a TIFF Midnight Madness slot is reserved for this one.

Barinholtz, known for his roles in “The Mindy Project” and “Blockers,” will no doubt be bringing his usual satirical edge to Musk, who is depicted as a supporting character in the tech drama.

Burton currently has a couple of projects in development. As long as it’s not another sequel or a Disney-fueled live-action reboot, we’re open to whatever he chooses to tackle next.

This could be a good indication of its quality as NYFF’s Main Slate lineup tends to be highly curated and filled with Cannes titles.

Eszterhas, 80, signed a $4M deal with Amazon/MGM to pen the screenplay. A week later, he’s speaking about the project.

The first wave of social media reactions to Zach Cregger’s “Weapons” are in, and while it’s still early, and social media reactions are to be taken lightly, the “buzz” is promising.

Venice remains the unofficial kickoff to awards season, and Barbera has masterfully shaped it into Cannes’ most viable rival. 

“The Fantastic Four: First Steps,” which has an 88% on Rotten Tomatoes, sits at a tamer 65 on Metacritic. These reviews are slightly lower than “Thunderbolts.”

The trailer, which is tucked away on Warner Bros.’ official YouTube channel, is virtually undiscoverable unless you have the direct link. It’s not searchable, not embedded anywhere official, and somehow has only one comment.

I’ll admit, I wasn’t even sure if I wanted to post about this “first look” still of Kathryn Bigelow’s “A House of Dynamite,” which might be the worst image you could pick to build anticipation for a film.

The road to the Venice premiere was anything but smooth. The film, which Schnabel has been trying to make for more than a decade, faced pressure from financiers to trim down its considerable runtime.