Paramount CEO David Ellison and his advisers are considering relocating the company's headquarters and redirecting much of its planned $30 billion in annual spending elsewhere if California ultimately sues to block the deal.

That $125 million figure is understated. The numbers seem far too optimistic given the film’s massive budget. My best guess is that, at a minimum, we’re looking at $200M in losses.

Finally, after much hoopla, we’ll finally get our first look at Tom Cruise’s transformation tomorrow morning at 9 a.m. ET, when the trailer for Alejandro González Iñárritu’s “Digger” hits online.

Some thought it would flop; others believed the controversies surrounding the legend would be its kryptonite. Yet here we are, and “Michael” is now a $1 billion movie.

It turns out that connecting “The Odyssey” to “The Last Temptation of Christ” is not far fetched. Nolan screened Scorsese’s masterpiece for his cast and crew before shooting his latest film.

Joe and Anthony Russo aren’t “finding the movie in the edit.” Apparently, when they shot the movie, everything felt great, but now that they’re editing, they’re discovering some issues.

I don’t care if the Cannes Film Festival ended a month ago; I still wanted to write a recap about the films I saw, and yet it never happened, until now.

How many projects does Guy Ritchie currently have percolating, and who keeps funding them? The man is giving Hong Sang-soo a run for his money as the most prolific filmmaker working today.

If you’re wondering what Christopher Nolan thinks about the backlash surrounding “The Odyssey,” he’s shrugging it off completely.

Released in limited fashion two weeks ago before expanding into additional markets last week, “The Invite” is now playing wide starting today. That makes this a good opportunity to gauge our readers' thoughts.

“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.”