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James Gunn Is Already Writing His Next DC Movie — It Might Be ‘Superman 3’

The man doesn't stop. James Gunn has confirmed he's already hard at work writing his next film, even as ‘Man of Tomorrow’ makes its way toward theaters next summer.

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Michael Mann’s ‘Miami Vice' Director's Final Cut Divides Fest Audiences With Polarizing New Ending

Mann brought his new "Director's Final Cut" to Beyond Fest in L.A. last night. Mann stayed for a Q&A afterward. Suffice it to say, the cut certainly has people talking, and mostly not in a good way.

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‘Digger' Bombs With $8M; Misunderstood or Insufferable? Post Your Review!

Welcome to the “Digger” megathread, where you can post your review of the movie in the comments below. I’ll try to keep this post up over the weekend as our readers catch up with Iñárritu’s $180M oddity.

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Stephen Colbert's ‘Lord of the Rings' Movie Paused by David Ellison After Paramount–Warner Bros. Merger

Bad news, Stephen. Your archnemesis has struck again. Ellison has hit pause on Colbert's LOTR movie. The film was originally rumored to begin shooting shortly after ‘The Hunt for Gollum.’

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‘A Statement’ First Reviews: Tom McCarthy’s Return After ‘Stillwater’ Gets a Mixed Reception

“A Statement” stars Paul Rudd, Paul Giamatti, Amy Ryan, John Turturro, Jason Clarke, Dylan Baker, and Tatiana Maslany. The film marks the return of Tom McCarthy, a filmmaker we haven’t heard from in a while.

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August 19, 2019
3-Hour ‘Midsommar' Director's Cut Screened in NYC
August 19, 2019

This year’s 12th edition of the Scary Movies festival at Film at Lincoln Center premiered Ari Aster’s extended version of “Midsommar” this past Saturday.

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August 19, 2019

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‘A Quiet Place Part II': Silence Has Never Been So Suspenseful [Review]

May 27, 2021 Theo Fisher

Whisper it quietly, the world of “A Quiet Place” is (finally) back. Hitting big screens over year after it was originally supposed to, and well worth the wait. 

Bigger than its masterful predecessor, and less subtle in its intensity but never missing a step. Writer/director John Krasinski, clearly filled with ideas born out of the first film, and armed with a bigger budget, takes the set pieces up a notch, each of them making you wince, squirm, and jump out of your seat (or jump so far out of your own skin that you get friction burn from the seat). 

Krasinski proves here that he can do the grandest of scale as well as the unique subtlety he brought to the first film and now this excellent add-on. However, as big as this instalment feels, it manages not to lose what made the first one such a revelation, its atmosphere. 

So carefully crafted, it’s the immersive-ness of the world created on screen that will leave you in a panic every time you reach for popcorn, take a drink, and eventually tip-toe out of the cinema after 90 pulsating minutes. 

This is never more evident than its opening. A flashback to day one, minutes before the chaos descended. Everything here is designed to set you on edge, a car door slam, a dog bark, talking, music, all winding you up, tying you in knots waiting for the inevitable…and when the hammer falls, it brings a feast for the senses, the blind monsters from the first film look even meaner this time round (courtesy of a big budget facelift), and even with their massive frames, their skulking, creeping movements in these opening moments invoke big slasher film vibes, almost making you watch through your fingers.  

How Krasinski handles the duality of storylines is also a massive achievement, managing to inject tension into multiple scenarios at once, cutting back effortlessly from frame to frame, proving his directing metal once again. I can’t imagine I’ll be alone in hoping he’ll return to this genre sooner rather than later, and in hoping this film kickstarts box-offices all over the globe. Definitely see this on the biggest screen you can. 

As much as Krasinski will take those plaudits (and rightly so) for bringing such an immersive world back to life, and while Emily Blunt and Noah Jupe carry over their terrific performances from AQP1, the film no doubt belongs to Millicent Simmonds. 

In a film in which dialogue is light and picture is everything, she absolutely shines as the hearing-impaired Regan. Emotive enough to carry the human drama that is the beating heart of the film, and powerful and confident enough to go toe to toe with the always on point Cillian Murphy. A triumphant performance.  

Tense, immersive, dramatic, escapism, emotive, panic-inducing. Say what you want about this superb thriller, just make sure you say it quietly…

SCORE: A

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CONFIRMED: Sadie Soverall Exits Brady Corbet's ‘The Origin of the World' Mid-Shoot, Lily McInerny Steps In Lead Role

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Jemima Kirke and Alexi Wasser to Star in Woody Allen's Next Film

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Critics Polls

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Fritz Lang’s ‘M’ Tops the Best Films of the 1930s, According to 100+ Critics

We’ve gone through the decades. The ‘40s ‘50s, ‘60s, ‘70s, ‘80s, ‘90s, ‘2000s, and ‘2010s. — all revisited, argued over. Now, here are the results for the best films of the 1930s.

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Critics Poll: ‘Citizen Kane' Named Best Film of the 1940s

The results are in, and according to critics, this decade filled with cinematic riches did not have a better film than Orson Welles’ “Citizen Kane.” Nobody should be surprised by this result. “Citizen Kane” changed cinema forever.

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Critics Poll: ‘Vertigo’ Named Best Film of the 1950s, Over 120 Participants

It was a closer race than anticipated, but Alfred Hitchcock’s “Vertigo” has topped our best of the ’50s poll, besting Gene Kelly and Stanley Donen’s “Singin’ in the Rain” by just two votes.

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Critics Poll: Kubrick’s ‘2001: A Space Odyssey’ Tops Our 1960s Critics Poll

We’ve already covered the 1970s, 1980s, 1990s, 2000s, and 2010s. Now we have the results for the Best Films of the 1960s.

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