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LOL: Eli Roth Blames Lionsgate for ‘Borderlands’ Failure, Says Final Cut Was Not His

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.

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Jeremy Saulnier’s New A24 Thriller ‘October’ Reveals First Plot Details — Will It Release This Year?

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.

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Jane Schoenbrun Says A24 Passed on ‘Teenage Sex and Death at Camp Miasma’: “I Want to Destroy” the Systems That Make Movies

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.

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‘One Night Only’ Makes Sex Boring — Negative Reviews Greet the ‘Sex Purge’ Rom-Com as Callum Turner’s Bond Hopes Takes a Hit

“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.

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NYFF 2026 Main Slate Announced! Chris Rock’s ‘Misty Green’ Surprises! ‘Fjord’ and ‘La Bola Negra’ Snubbed!

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

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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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David Ellison: Paramount-WBD Merger Backlash Is “Not Really About” Antitrust — It’s About CNN

August 4, 2026 Jordan Ruimy

I’ve mentioned this numerous times, and I’ll say it again: the pushback against Paramount acquiring Warner Bros. is not about antitrust laws; rather, it’s purely political.

The Ellison family has been associated with support for Donald Trump, and CNN’s future ownership is a central element of the merger. Many opponents, particularly those on the political left, fear that David Ellison could steer the network in a more conservative editorial direction. Whether those concerns are justified or not, they have become a central part of the debate—even if few are willing to acknowledge it openly.

This brings me to this morning’s New York Times op-ed penned by David Ellison, in which he says the quiet part out loud: the legal backlash is “not really about market share.” In other words, Ellison argues that opposition to the deal is not being driven primarily by concerns over market competition, but by politics.

Ellison points out that the merger has been “reviewed and approved by regulators reflecting 65 countries, including the United States.” He characterized the objections as stemming from a “plainer worry” about whether he can be trusted to oversee CNN.

Ellison acknowledged that he cannot convince critics of his intentions simply by explaining his beliefs. “Unfortunately, I can’t give anyone a view into my heart and mind,” he wrote, while emphasizing that he has “regularly voted for candidates of both parties” and holds views that are both conservative and liberal.

Ellison also sought to reassure critics that CNN and CBS News would remain politically independent. “I do not aspire to lead these companies to bend their newsrooms to my views,” he wrote, adding, “I believe that news should be based on facts and truth.” He argued that major news organizations must “tell it straight down the middle,” with newsrooms representing “the whole world, not one side of it,” and insisted that journalists will answer “to the facts and to all the people they serve – not to any party or cause.”

Do I believe him? Hard to say. But at least he’s finally addressing the elephant in the room: CNN. That conversation should have happened months ago, because pretending that CNN’s future editorial direction isn’t a major factor in the backlash surrounding this merger is simply unrealistic.

The essay comes as Ellison’s proposed WBD takeover faces a major legal challenge. A coalition of 12 states and the Writers Guilds has sued to block the merger on antitrust grounds, while a California judge has temporarily halted the deal. Paramount is seeking a November trial, while the states want April 2027, leaving the merger’s fate uncertain.

← Emily Wilson Doubles Down, Says Christopher Nolan’s ‘The Odyssey’ Is “Visually Stunning, Emotionally Empty”Maude Apatow’s ‘Poetic License’ Lands at Sony Pictures Classics After Row K Collapse →

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‘The Odyssey’ Review: Christopher Nolan’s Epic Is a Flawed but Astonishing Spectacle — Rave Reviews Confirm Best Picture Frontrunner

There is something undeniably powerful about a film that swings this hard, that embraces myth, spectacle, and the strange dream logic of ancient storytelling.

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Aaron Sorkin’s ‘The Social Reckoning’ Gets Reshoots, Won’t Premiere at Venice Film Festival

About a month ago, Variety published a piece saying that “The Social Reckoning” was being submitted to the Venice Film Festival. I can confirm now that will definitely not be happening.

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Joel Coen’s ‘Jack of Spades’ Delayed to 2027

The film stars Josh O’Connor, Lesley Manville, Frances McDormand, and Damien Lewis, but no plot details have been revealed. All we know is that it’s a “gothic mystery” set in 1880s Scotland.

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Christopher Nolan’s Place in Cinema History: Genius, Overrated, or Something In Between?

Nolan has changed what a modern blockbuster can be, and that alone is a significant legacy. The bigger question is whether he has truly transformed cinema itself, or simply reinvented the blockbuster.

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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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