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‘Digger' Stumbles With $1.2M Previews; 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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J.A. Bayona in Talks to Direct Next ‘Jurassic World’ Movie After Gareth Edwards Exit

Bayona hasn't directed a feature since “Society of the Snow,” his 2023 Oscar nominee. His résumé also includes “The Orphanage,” “The Impossible,” and “A Monster Calls.”

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Luca Guadagnino Isn't Sure ‘American Psycho' Is Happening: “Maybe One Day I Will Do It"

Guadagnino goes through his ever-growing list of potential projects. When "American Psycho" comes up, his response is noncommittal: "Maybe one day I [will] do it."

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Jennifer Lawrence Reunites With ‘No Hard Feelings’ Director Gene Stupnitsky for Apple Rom-Com ‘One Month Mark’

Back in June, there was a bidding war for playwright-writer Sophie Fleur de Bruijn's "One Month Mark," a rom-com based on her own script. Apple Original Films ultimately landed the project

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James Gunn and Peter Safran Are Staying at DC Studios — for Now

Blowing up the DCU yet again, barely a year after "Superman" relaunched it, would be madness. I bet Ellison is waiting to see how well Gunn’s ‘Superman’ sequel does next summer.

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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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Cannes Boss Says David Fincher is Not Anymore “On the Same Level” Because of Netflix

January 31, 2024 Jordan Ruimy

Cannes boss, Thierry Fremaux, was a guest speaker at the Goteborg Film Festival. He had some interesting things to say about cinema, festivals, and, most intriguingly, Netflix.

Fremaux, again, cited David Fincher as a filmmaker who left cinema to make platform movies. Here’s the exact quote:

He’s still a great filmmaker, but he doesn’t exist at the same level in our hearts and minds than when he showed “Zodiac” in competition […] He wants to work alone, quietly, making his films for platforms. It’s a different world. We miss him. We want him back in our world. than when he showed ‘Zodiac’ in competition

As you know, Cannes does not screen Netflix films, at least they haven’t since 2017 (“The Meyerowitz Stories” and “Okja”) which was the first and last time the streamer went on the Croisette. I was there, at screenings for both of those films, and when the Netflix logo appeared before the film began, a loud chorus of boos could be heard from the audience.

These comments from Fremaux parallel what he had previously stated about Fincher — he’s of the belief that Fincher and cinema no longer co-exist:

Fincher has left cinema. Fincher now works for streamers where he’s directing incredible stuff. I tried to explain this to him, modestly, obviously, that he doesn’t exist anymore. At least for us. For reasons left up to his own liking, he wants his creative freedom, he doesn’t want to fight with studio heads, his films tend to be very expensive, but I’d love for him to come back to cinema. He’s one of the greats.

Fremaux is basically saying that because Fincher’s films are released on a streaming service, the quality of his work is somehow beneath what cinema should be. That’s quite the statement, and it does go to showcase the purism that a festival like Cannes strives for.

Is Fincher still making cinema? I think so. But it’d be foolish to believe that nothing has changed in terms of the trajectory that he’s taken the last decade. With the studio system closing down its doors on many "auteur" filmmakers, Fincher, with his ambitious needs, didn’t have much of a choice but to accept that there was a lack of opportunities for his own vision of things.

Fincher has an exclusive, multi-year deal, with Netflix that was recently extended for three additional years. Fincher has been all about Netflix for 10 years now, delving into the streaming game full-on, creating shows such as “House of Cards,” “Mindhunter“ “Love, Death + Robots” and films like “Mank” and the upcoming “The Killer.”

Fincher released “The Killer” last year, and Netflix had absolutely no intention of releasing it for more than just a few days in a scant number of theaters, for the sole purpose of qualifying it for next year’s Oscars.

And yet, in an interview with Le Monde, Fincher seemed to firmly believe that Netflix was the best place in Hollywood to make movies. There was no hesitation on his part. He called Netflix the “industry standard” and the best place to make movies in Hollywood.

← Sony Lands ‘28 Years Later’ — $60 Million Budget, Danny Boyle to DirectLuca Guadagnino’s ‘Queer’ to Premiere at Cannes? →

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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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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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