President Trump is publicly endorsing the idea of a federal film and television tax incentive, signaling a potentially historic initiative — and it actually has bipartisan support! When has that ever happened this decade?

This past Saturday, Vidiots was set to screen “Borat,” with producer Monica Levinson and costume designer Jason Alper, who created Borat’s iconic speedo, in attendance. It never happened.

Instead of traditional location shoots, Liman used a “markerless performative capture stage,” enabling digitally created AI scenes. The approach dramatically cut costs, with the film shot in just 20 days.

Mescal was originally set to star in “The Dog Stars” before being replaced by Jacob Elordi. His team cited “scheduling conflicts” with Sam Mendes’ Beatles films, but that explanation has since been disputed.

AMC Entertainment is entering film distribution with Leawood Films, a new company aimed at bringing independent and emerging filmmakers’ movies to theaters.

Well, the review embargo has lifted on Adam Wingard’s “Onslaught,” which hits theaters Friday, and the reviews are mixed among top critics, with slightly kinder reactions from the lower-tier crop.

Given everything we’ve heard about the transition from the Snyderverse to James Gunn and Peter Safran’s new DC Universe, it was hardly a secret that the changing of the guard didn’t exactly go smoothly.

Paul Thomas Anderson’s concert doc will world-premiere at the New York Film Festival. The film will debut on October 1 at Alice Tully Hall on 35mm, with PTA and Cameron Winter in attendance.

Marielle Heller is putting the finishing touches on the ensemble of her next film, “The Comebacker,” a baseball movie that recently received a July 30, 2027, release date via Sony Pictures.

Here’s the trailer for the film, which comes with warnings of violence and nudity. It plays in such a self-aggrandizing fashion, with “poetic” narration and cinematography that looks like a Chanel ad.

These numbers are way off the film’s original tracking metrics, which were comparable to those of other successful Statham movies. “Mutiny” is running at about half or less of the box office expected.

The worst-kept festival secret of the last 24 hours is that Zack Snyder’s “The Last Photograph,” which is still seeking U.S. distribution, will be a surprise late addition to the Toronto International Film Festival.

The exact details of the MPA’s rating for “Wildwood” are as follows: Rated PG-13 for “strong fantasy violence/bloody images, thematic material, suicide related material, brief partial nudity and language.”

Speaking of sequels—the unusual kind, which are always the best kind—here’s a major update on one that’s been brewing since the pandemic.

The sequel looks like a vehicle to reunite Kidman and Bullock. Moviegoers are responding. This might turn out to be Warner Bros.’ biggest hit of the year—until “Dune 3”—and will easily outpace “Supergirl.”

The latest on “The Further Mis-Adventures of Cliff Booth,” starring Brad Pitt, written by Quentin Tarantino, and directed by David Fincher, is that it’s getting an unusually restricted theatrical release.

“Coyote vs. Acme,” came very close to never getting released, yet, it almost doubled the weekend box office of Ridley Scott’s much-pricier “The Dog Stars.”

Festival press conferences have turned into landmines of political questioning, to the point where some artists would probably prefer to turn down being a juror at Cannes, Venice, or Berlin.

Hathaway is set to play a racecar team owner and engineer. Cruise will reprise his role as NASCAR driver Cole Trickle. Jonathan Levine (“Long Shot,” “50/50”) is confirmed to direct.

It’s been seven years since Alma Har’el’s feature debut, “Honey Boy,” which was written by and starred Shia LaBeouf — she is now set to direct her next film, with a very talented cast.