“The Christophers” is only mildly enjoyable, yes, and McKellen’s dazzle keeps it from sinking, but it’s also Soderbergh holding back, a trivial canvas stretched too tight.

“Superman” leads the pack with an estimated $125M in theatrical profits, followed by “Final Destination: Bloodlines” ($75M), “Weapons” ($65M and climbing), and “Sinners” ($60M).

Paul Thomas Anderson’s “One Battle After Another” had a DGA screening last night in. Los Angeles moderated by Steven Spielberg, and reactions are ecstatic.

Gad describes the film as a “period piece” with production costs still being finalized. He’s currently in the midst of “going through the script right now with the studio,” and anticipating a shoot in early 2026,

The best horror film I’ve seen so far at TIFF is “Obsession,” Curry Barker’s feature debut, which just premiered at Midnight Madness on Friday night. No surprise, it sparked a bidding war.

These numbers are ridiculous. Last week, projections had “The Conjuring: Last Rites” opening in the $50M+ range, but thise numbers turned out to be way off.

Brendan Fraser is back, of course, aiming for another Oscar, and Searchlight has chosen the Toronto International Film Festival for the premiere of his latest: “Rental Family.”

Now, with “Wake Up Dead Man,” Rian Johnson’s built the most ambitious but weakest of the three—a still entertaining, and for the most part, engrossing puzzle box that only falls apart in its last stretch.

Sam Worthington, who had a major role in the project, revealed this week that the continuation of the saga may rest entirely on whether “Chapter 1” finds a large enough audience on streaming.

Who steps in now? Noah Hawley already has the well-received “Alien: Earth” series on his plate — could he slide over? Or does Ridley Scott actually want to take the reins himself?

Jury president Alexander Payne is getting flamed online for simply admitting, during the post-awards press conference, that “No Other Choice” didn’t even make his jury’s top eight.

It’s official, Jim Jarmusch has won the Golden Lion for “Father Mother Sister Brother.” A shocking turn of events, but a lovely little film has won. Still, a truly surprising pick.

For fans, Big Kahuna Burger is one of those deep cuts that’s been floating around the QT-verse for decades: it first showed up in “Reservoir Dogs,” and was immortalized in “Pulp Fiction.”

This project was first announced as a Stallone-led “Cliffhanger” sequel, but many months later, right as production was about to start, things shifted dramatically.

Boots Riley has already shot his next film, titled “I Love Boosters,” in fact it wrapped production in November 2024, but don’t expect it to come out this year.

What saves this film—what keeps the lights going—is Sydney Sweeney. She’s the reason this thing breathes. Her performance is exceptional.

Paul Thomas Anderson’s “One Battle After Another” has been quietly screened for select press in New York and Los Angeles this past Friday.

Tim Mielants’ “Steve” is the kind of film that insists on its own intensity. It’s a suffocating experience, and that’s despite a committed Cillian Murphy performance.

Paul Greengrass makes movies like a man chasing after panic with a camera, and in “The Lost Bus” he has a doozy of a subject: the 2018 Camp Fire.

Looks like we might be looking at a $25M Friday for “The Conjuring: The Last Rites.” The opening weekend is now aiming for the $80M mark. Unbelievable. Beyond expectations.