Yeah, hard to believe, but Turturro has never been recognized by the Academy despite delivering a string of great performances in films such as “The Big Lebowski,” “Do the Right Thing,” “Barton Fink,” “Miller’s Crossing,” and “Quiz Show.”

Apparently, David Zaslav believes all is well with James Gunn’s DCU. In fact, he’s just pretending “Supergirl” never existed.

Amazon has decided to dump “Madden” straight to Prime on November 18. “Madden” was already branded as a “Prime Original,” which was a hint, and we basically just got it confirmed via press release.

How do you follow up a TIFF Midnight Madness that had “Obsession,” “Nirvanna the Band the Show the Movie” and “The Furious”? That’s what programmer Peter Kuplowsky will have to contend with this year.

Can we finally admit that Pattinson’s acting range and his post-Twilight career have been highly successful? He’s turned into a genuinely strong actor.

Reeves is supposed to direct, David E. Kelley is writing, and just like that, Apple got cold feet — the usual “creative differences” excuse is being cited in the report, and maybe that was indeed the case.

Having an insurance director is not uncommon in Hollywood. Aging filmmakers, in case a health issue arises, sometimes need to have one. It seems like that’s what might have occurred on “What Happens at Night.”

The box-office bomb cost $145M to produce and ended up finishing its run with a total of just $31M worldwide in receipts. The film was reportedly a $115M for Lionsgate.

A24 has been keeping quiet about the film, but I hear it was recently screened internally, and a decision should be coming shortly, if not by the end of this month.

Schoenbrun struggled to get ‘Camp Miasma’ made after A24 passed on the project. MUBI eventually came aboard, financing the film with a $10 million budget.

“One Night Only” is essentially a rom-com version of “The Purge,” where premarital sex is banned except for one night a year. Yet it spends so much time justifying its concept that it forgets the sex.

Overall, the Main Slate selection will have tons of Cannes stalwarts, with films from Hamaguchi, Almodóvar, Grisebach, Marre, Wollner, Pawlikowski, Sachs, Zvyagintsev, and Harari.

The most anticipated doc of the fall festival season has got to be Alex Gibney’s “Musk,” which is dated for theatrical release on October 16, 2026.

The film arrives unrated, set to screen in 2,000+ theaters this weekend, but is already plagued by disastrous early reviews, amounting to a 29% score on Rotten Tomatoes.

The judge in the antitrust suit against Paramount’s proposed acquisition of Warner Bros. has set the trial for March, rather than the November date Paramount requested. That is catastrophic for David Ellison.

In a new interview, James Cameron admits that he is considering which other stories he wants to tell, beyond Avatar, adding that he’s mapping out the “last act” of his career.

Apparently, Wilson isn’t done attacking Nolan’s The Odyssey. In fact, she seems outright pissed, publishing a new The Atlantic op-ed where she even slams the film’s $69.99 popcorn bucket

David Ellison believes the legal backlash over his Warner Bros. merger is “not really about market share,” and not driven primarily by concerns over market competition, but by politics.

“Row K” acquired “Poetic License” out of TIFF last year, but Sony Pictures Classics has now stepped in and picked up the film. According to Variety, SPC is planning a release next year.

The Marvel sequel has surpassed $1 billion worldwide in just six days, making it the second-fastest movie ever to reach the milestone.