“How to Rob A Bank” has been delayed by more than two months. Last I heard, the latest cut that was tested did not look 100% ready, so perhaps the delay has something to do with that.

After more than a year of editing, the film is finally in the can, and proof of that is that it just received a PG-13 rating from the MPA, with a short runtime to boot.

The trailer for Tony Gilroy’s “Behemoth!” has now been rated, signaling that a first look will likely arrive next week alongside a potential announcement of the film’s release window via Searchlight Pictures.

We know about Tarantino’s self-imposed 10-films-and-retire rule, but having other A-list directors give their opinions on it is quite fascinating. The general consensus: Tarantino is nuts.

As Neon leans toward not sending “Artificial” to any of the fall fests, Screen Daily has a report in which they ask distributors who considered buying the film what they actually thought of this hot potato.

Storrie has joined Polley’s Sylvia Plath adaptation of “The Bell Jar,” which stars Billie Eilish in the lead. No word yet on what role he’s playing, but Focus is backing the project, which is eyeing a 2027 premiere.

That’s a disappointing outlook for a film reportedly carrying a whopping $250M budget, especially given Disney’s apparent confidence in the brand.

Isn’t this a tad concerning? A studio being in charge of Letterboxd? The potential for conflicts of interest is something that deserves serious attention.

It’s July. The temperature’s hot, the release calendar is dry—at least until next weekend—and yet Gold Derby’s 30 or so “experts” have officially unveiled their early predictions for Best Picture at the 2027 Oscars.

This new version, written by Mary-Margaret Kunze and Jade Halley Bartlett, is being described as a “reimagining” — a word studios now prefer instead of “reboot” and “remake.”

Eisenberg is coming off the acclaim of his sophomore directorial effort, “A Real Pain.” A24 has dated “The Debut,” and it seems likely to premiere at the fall festival circuit, either at Telluride, TIFF, or both.

Timothy Olyphant is teasing what fans can expect from ‘Cliff Booth.’ Having seen the film, he says the sequel strikes a “cool mix” of both Fincher’s and Tarantino’s filmmaking styles.

Sony Pictures Classics has acquired Florian Zeller’s “Bunker,” which is reportedly set for the Venice Film Festival. The film stars Penelope Cruz, Javier Bardem, Paul Dano, Stephen Graham, and Patrick Schwarzenegger.

In an interview, Francesca Scorsese says she “burst into tears” after reading the script for Martin Scorsese’s “What Happens at Night,” citing the parallels in the story to her mother.

Neon has decided that a fall festival premiere is not the right route for Guadagnino’s “Artificial.” That’s certainly a choice. The studio is still moving ahead with an awards campaign for the film.

“Hope,” Na’s first film in ten years — his last one being the exemplary “The Wailing” —is a gloriously messy, blood-soaked sci-fi epic that may become a cult classic despite—or because of—its polarizing nature.

Liman’s film follows a covert team of Ukrainian divers on a high-stakes underwater mission as geopolitical tensions escalate in the months leading up to Russia’s full-scale invasion of Ukraine.

I was certain that the campaign against “The Odyssey” was running out of gas, but it looks like it hasn’t. The final trailer on Universal’s YouTube has 611,000 dislikes against just 68,000 likes, a 9-to-1 ratio

This is essentially a rollercoaster of torture — which, truth be told, will be a turn-on for some viewers. I found it numbing, and devoid of the spirit that made the first three so infectiously bonkers.