Ilya Naishuller, best known for “Hardcore Henry” and the Bob Odenkirk-led “Nobody,” has officially stepped in to direct “Road House 2.”

Clint Bentley’s “Train Dreams,” a Malickian drama about a railroad worker who lives an isolated life, was acquired by Netflix in later January. The deal was reported to be in the $10M range. A trailer has been released for Bentley’s film.

It’s becoming more and more likely that Gilliam has directed his final film. As much as he remains creatively restless, the system no longer seems built to support someone like him.

Paul Thomas Anderson’s “One Battle After Another,” his 10th film, has released a new trailer, and it’s a wild one. The best of the bunch, so far.

NYFF has announced that Jim Jarmusch’s latest effort, “Father Mother Sister Brother,” will serve as this year’s Centerpiece selection, with its North American premiere set for October 3.

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.