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Ira Sachs’ ‘The Man I Love’ Is Cannes 2026's Best Film Still Seeking U.S. Distributor

Just five Cannes competition titles still seek U.S. distribution, four of them subpar, all French. The fifth, and easily the best film still without US studio attachment, is Ira Sachs’ “The Man I Love.”

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‘How to Lose a Guy in 10 Days’ Sequel at Paramount — With Kate Hudson and Matthew McConaughey

McConaughey recently said that “How to Lose a Guy in 10 Days” is the movie that pays him the most in residuals—the ongoing “mailbox money” he receives from the film being shown, streamed, and rented.

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Casey Affleck’s ‘Company’ Finds a European Welcome as U.S. Festivals Keep Their Distance

Despite the Venice launch, “Company” has so far failed to land a berth at any of the major North American fall festivals. It was not announced by Toronto, Telluride or the New York Film Festival.

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Ang Lee’s ‘Gold Mountain’ Wraps 4-Month Production, Marking His First Film in Nearly Eight Years

The story being told in “Gold Mountain” feels right at home for Lee — especially after his tech-obsessed filmmaking of the last 14 years (“Life of Pi,” “Billy Lynn’s Halftime Walk,” “Gemini Man”).

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Nicholas Hoult Exits ‘Harry Potter’ After JK Rowling Backlash, Replaced by Kit Harington as Gilderoy Lockhart

Hoult has dropped out of ‘Harry Potter’ and has been replaced by Kit Connor. Hoult’s reason was “scheduling issues,” and hey, maybe it really was “scheduling issues,” but the timing is rather odd.

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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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Steven Soderbergh Doubles Down on AI Use in Next Movie: “I’m Just Not Threatened by It”

April 11, 2026 Jordan Ruimy

Listen, Steven Soderbergh has always been a risk taker. This is the same guy who mainstreamed the indie film movement with “Sex, Lies, and Videotape.” The same man who shot films on iPhones, stripped down production models, and has jumped between studio and micro-budget work. His career has been defined by risk.

Which is why I wasn’t surprised by Soderbergh’s now controversial comments from the past week, where he announced an upcoming movie tackling the Spanish-American War, starring Wagner Moura, that will “use a lot of AI.”

However, in a new interview with Variety, Soderbergh is actually doubling down.

Soderbergh’s attitude toward the backlash is, to put it mildly, unconcerned. When asked about criticism of his AI embrace, he responds: “I’m just not threatened by it. I’m only scared of things I don’t understand.”

For Soderbergh, AI is not an existential crisis—it’s an unfamiliar instrument that he intends to learn, test, and potentially exploit creatively. In his own words, “My job is to deliver a good movie, period.”

No, really—Soderbergh is genuinely confused at the intensity of the reaction to his comments. When he first learned about the controversy, with a friend repeating his words back to him, his reaction? “Where’s the smoke here?”

In his view, AI simply replaced what would once have required expensive VFX pipelines:

“Ten years ago, I would have needed to engage a visual effects house at an unbelievable cost… No longer.”

There needs to be some context here. What went unmentioned in many of the think pieces is that Soderbergh is recalibrating creatively after the underperformance of “Black Bag,” which, despite critical acclaim, struggled at the box office, prompting him to rethink his approach.

He now says he wants to make films with “scale” and something that can be “event-ized”—a notable shift for a director often associated with lean, experimental storytelling.

← Paramount’s ‘Avatar: Aang, The Last Airbender’ Allegedly Leaked in Full, Six Months Before ReleaseBox Office: ‘Project Hail Mary’ Drops Only Just 31%, Heads for $300M; ‘The Drama’ Has Major Legs; “Super Mario Galaxy Movie” Rules Again →

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Good/Great Movies That Don't Deserve Their “Rotten" Scores

These 31 titles clearly have their share of detractors — that’s why they’re “rotten” — and I expect some people to question a few of these picks. That’s fine. However, I believe most are strong films, worth reevaluating.

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‘Dune: Part Three’ Reportedly “Blew Away" Warner Bros. With Rough 3-Hour Cut as New Teaser Stuns

Today, “Dune: Part Three” tickets went on sale, this time non-premium formats were made available, and it was all accompanied by a brand-new teaser—and the footage is stunning.

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What is David Fincher’s Best Film? 100+ Critics Say, No Contest, It’s ‘Zodiac’

We managed to gather 118 ballots from critics, programmers, filmmakers, and scholars. Each was asked to submit a single title, the one they believe to be the best of Fincher’s filmography.

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Francis Ford Coppola’s ‘Glimpses of the Moon’ (Apparently) Starts Production This Month in Italy

Coppola has described “Glimpses” as a “strange 30s-style musical.” No cast has been announced. The film is a loose adaptation of Edith Wharton’s novel, “inspired” by Leo McCarey’s “The Awful Truth.”

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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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