In a recent interview, Tilda Swinton, recalling her time on the Cannes jury in 2004, stood by the decision to give the Palme d’Or to “Fahrenheit 9/11” over “Oldboy.” It was an important “political” win, she says.

This must be the most exciting time to follow the box office because we’ve never seen anything quite like “Obsession” and ‘Backrooms” in the modern era.

It was inevitably going to happen, but now it’s here. An established, well-regarded film festival has finally selected an entirely AI-generated feature film in its lineup.

A final trailer for “Disclosure Day” finally gives us a more in-depth plot after a string of teases. I’ve sensed our readers have been split so far on this film—has this meatier trailer changed your opinion?

I’m sure you’ve heard about Tom Hardy’s firing from the hit Paramount+ series “MobLand.” More details have come out, and they actually align with some of Hardy’s past behaviors.

I seem to be in the minority here. The film sits at 91 on Metacritic and 100% on Rotten Tomatoes. I’m willing to give this one another shot, but for now, my take is that it’s being overpraised to the high heavens by critics.

“Backrooms” is driven entirely by atmosphere and surreal imagery, but there’s little beyond that. What subgenre is this anyway — spatial horror? It sits in the same category as “Cube,” though it’s less efficient

Here’s a trailer for one of the more interesting A24 movies coming out this year. “Primetime,” a drama-thriller, has Robert Pattinson playing “To Catch a Predator” host Chris Hansen.

There’s this really inane rumor circulating online that Kane Parsons didn’t actually direct A24’s “Backrooms,” and that it was his mentor Osgood Perkins who was calling the shots.

There hasn’t really been a case quite like “Obsession” in modern box office history, and all eyes will now turn to its third weekend and how well these legs hold up.

There are so many great filmmakers who haven’t released a film in almost or over a decade—usually because of financing struggles or simply being burned out by the industry.

After helming 2025’s “Warfare,” which he co-directed and co-wrote with Alex Garland for A24, Ray Mendoza has set up his next film as director, the western “Blood on the Promontory.”

Tobe Hooper has always been credited as the director of “Poltergeist,” but tell me you don’t feel a Spielbergian vibe when you watch the film — of course you do.

The latest audience tracking numbers show interest in “The Odyssey” has dropped in recent weeks by eight points, which is significant, falling from 54 to 46, according to The Quorum via Puck News.

“Cliffhanger” may now have been saved by Neon. The indie studio is reportedly well on track to secure the contract, with Row K still involved in some capacity.

Iannucci is the mind behind HBO’s “Veep” and the satirical political comedy “In the Loop” (2009). Iannucci also wrote and directed the excellent “The Death of Stalin” (2017)

Riley says Cannes rejected “I Love Boosters,” along with his previous projects, including his 2018 dark comedy feature debut “Sorry to Bother You,” and “I’m a Virgo.”

The film has tested over ten times, so I imagine it’s either not very good or Warner Bros. is heavily reworking it to find the perfect version. Or maybe the truth lies somewhere in the middle.

The plot has to do with “four street thieves on the road to hell, literally.” It sounds, and looks, like trash, and according to the WSJ, “every character, setting and prop in the 95-minute movie was generated by AI.”