These reactions come from press doing junkets/interviews. Most critics, including myself, will get to see it on Monday evening — the actual review embargo lifts on Tuesday, June 9th at 12 PM ET.

Every day, “Obsession” posts another number that should be impossible. And every day, the industry, the “experts,” respond with disbelief.

According to Sciamma, this new cut of “Girlhood” will now be the reference version going forward and will be the only one permitted for exhibition in any new release or retrospective.

We’re now seeing reporting that “Supergirl” actually has a budget of $175M, much higher than the $100M figure that had been circulating for months.

We have a fresh look at Bird’s retro sci-fi noir, which he has been developing since the 1990s and will debut on Netflix later this year. It does seem to have a fairly similar animation style to “The Incredibles.”

No word yet on a studio, but it will likely be either A24 or Neon, the latter of which has been Perkins’ exclusive home for the last four films he has directed.

Of course, backlash was inevitable—and it has arrived. Scorsese is now the most prominent, most respected filmmaker to publicly endorse generative AI.

Paramount is behind the film, and I gather a splashy 2027 premiere will be planned. Maybe Chazelle will make his debut at Cannes? He has 11 months to complete post-production before the next edition.

Roth’s “Ice Cream Man” is here, and the trailer goes incredibly hard. m surprised YouTube didn’t make me confirm I was 18 or older before viewing this mayhem.

In the latest issue of Sight and Sound, we are promised an “exclusive” op-ed from Tarantino about the current state of cinema, only to be met with three pages of him raving about—of all things— “The RIP.”

Kuritzkes, best known for “Challengers” and “Queer,” was on the shortlist to write the script for “Bond 26.” Steven Knight eventually got the gig. He also wrote the upcoming Don Winslow adaptation “City on Fire.”

Strong test scores helped Paramount position Jonathan Levine’s “Mr. Irrelevant” for a prestigious Christmas Day release, a window often reserved for major commercial and awards-season hopefuls.

The film is currently at $870M, with a major Japan release coming up this month — meaning it’s still very possible the billion-dollar milestone could be reached.

In a statement, Scorsese writes, “ I’m interested in the intersection of technology and storytelling, and seeing how that can push the bounds of creativity to create deeper and richer experiences for audiences.”

While “Backrooms” and “Obsession” are currently rewriting the Hollywood rule book, this Friday sees the release of what looks like another IP-driven bomb: Amazon/MGM’s “Masters of the Universe.”

The Astaire estate doesn’t want this biopic to happen, saying that Fred “was explicit in his Will that he did not want his life story to be depicted on screen” … and threatened legal action.

Amazon/MGM plans a wide theatrical release for “How to Rob A Bank” over Labor Day weekend, with a premiere date set for September 4, 2026.

The film reunites Wingard and Simon Barrett, the team behind “You’re Next” (2011) and “The Guest” (2014). Wingard is — quite sadly — coming off two massive Godzilla movies.

The new “Barbarella,” set to be directed by Edgar Wright, is “still moving forward,” and Sweeney is “already working” on it under her new producing deal over at Sony.