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Inside ‘Nerve Center,’ InfoWars’ New Flagship Show That Wants to Hold Every Possible Opinion at Once
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TCM Sticking Around Under Skydance, to Be Overseen by Film Group Instead of TV Team
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‘Crazy Rich Asians’ Series Ordered at HBO with Film’s Original Cast Returning
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‘Below’ Review: Josh Hartnett’s Silly Netflix Creature-Feature Is a Treat for the Eyes and Ears and Not Much Else
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‘Cupertino’ Review: Robert and Michelle King’s Slick and Spiky Legal Drama Takes on Today’s Most Noxious Tech
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Chris Rock Stopped Trying to Imitate Adam Sandler, and Came Out of the Arthouse Closet
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What Awards Is ‘You Can See Everything’ Even Eligible for?
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‘Matchbox: The Movie’ Review: If Skydance’s Theatrical Releases Are as Blandly Algorithmic as Its Streaming Ones, Hollywood Is Already Dead
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Crew Members on Ben Shapiro’s Pro-ICE Film Were Surprised by the Movie’s MAGA Politics. What Did They Deserve to Know?
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Cannes Prize Winner ‘Ben’Imana’ Becomes First Best International Feature Oscar Submission for Rwanda
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‘Ted Lasso’ Season 4 Found Its Way by Settling for Less
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With Trump Settlement Money in the Bank, E. Jean Carroll Finally Speaks — and in Time for the Documentary Oscar Race
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One-Night Only Screenings of ‘Wicker’ in 4DX Will Let Horny Fans Feel Every Creak and Splinter
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Athlete-Owned Production Companies Are Everywhere — Which Ones Are Working?
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‘Soul Patrol’ Trailer: A Historic Group of Black Vietnam War Veterans Reunite to Reckon with the Past
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‘The Social Reckoning’ Is the Kind of Film That the Oscars Have Moved Past Recognizing
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‘My Undesirable Friends: Part II — Exile’ Review: Don’t Be Intimidated by Julia Loktev’s Gripping Six-Hour Wartime Journalism Epic
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James Gray Looks Back at His Confident, Dangerous First Film ‘Little Odessa’
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‘The Social Reckoning’ Review: Aaron Sorkin’s Facebook Files Only Expose Bad Performances and an Even Lousier Script
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Why Harry Potter and Gandalf Won’t Be Teaming Up with Optimus Prime
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Why Is Gen Z Obsessed with the Oldest ‘American Horror Story’?
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Eva Marie Saint, Oscar-Winning ‘On the Waterfront’ and ‘North by Northwest’ Star, Dead at 102
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Andrew Garfield Massively Helps Neon’s ‘Artificial’ Gamble Pay Off on the Awards Front
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‘Pan’s Labyrinth’ Returns to Theaters in 3D and Dolby Atmos
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After Playing ‘Bombastic and Emotionally Volatile’ Roles, Mikey Madison Craved the ‘Restraint’ of ‘The Social Reckoning’
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The First Skydance Movie? An 8th ‘Transformers’ Film Executive Produced by Steven Spielberg
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The Emmys Ditch Broadcast for Streaming: Amazon Prime Video to Air Awards Show for Next 6 Years
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‘Heartland’ Trailer: Jessica Chastain Sings (and Solves a Murder?) in Shana Feste’s Country Mystery Thriller
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It’s Official: Paramount and Warner Bros. Discovery Merge in Skydance Mega-Deal
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‘Artificial’ Review: Luca Guadagnino’s Dark and Campy Tech Comedy Shows Just How Stupid the Road to Smarter AI Has Already Been
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David Ellison’s Big Bet: Why the Mogul Thinks Skydance Film Chiefs Dana Goldberg and Josh Greenstein Can Deliver 30 Movies a Year
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‘Artificial’ First Reactions: Luca Guadagnino’s Biting OpenAI Satire Is Both ‘Savage’ and ‘Terrifying’
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The Sticky Business of Loving Cinéma L’Amour: Inside Montreal’s Historic Porn Theater
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After the ‘Digger’ Disaster, What Should Tom Cruise Do Next?
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‘Skweezy Jibbs Makes a Movie’: How I Turned a TikTok Comedy Character Into an Indie Film That Toured 71 Cities
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Emily Blunt Returning for Third ‘Sicario’ Movie Alongside Josh Brolin and Benicio Del Toro
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‘What Can’t Be Mentioned’ Review: Dan Sallitt Returns with a Sequel to His Beloved Incest Drama ‘The Unspeakable Act’
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John Turturro on ‘Only Living Pickpocket,’ Wishing the Coen Brothers Would Reunite and Why Hollywood Ignores the Working Class
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‘Manhood’ Trailer: The World of Penis Enlargement Gets a Bizarre and Sensitive Documentary
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Kyle Chandler, Aaron Pierre, and the ‘Lanterns’ Creators on a ‘Quieter’ Finale, Ending with Love, and the New Oath
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‘Lanterns’ Finale Review: Episode 8 Makes the Hard Choices — and Leaves a Light on For Season 2
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Q3’s Horror Box Office Shows the Trouble with Always Hunting Another ‘Obsession’
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‘Digger’ Flops With $8 Million Opening, Becoming the Biggest Bomb of Tom Cruise’s Career
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Box Office: John Wilson’s ‘The History of Concrete’ from Magnolia Passes $1 Million
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‘A Statement’ Review: Tom McCarthy’s Talky Climate Crisis Seriocomedy Is Light Entertainment That Hardly Rakes the Muck
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Will ‘Behemoth!’ Push Pedro Pascal Into Oscar Contention?
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‘Josephine’ Director Beth De Araújo Delivers Powerful Speech Condemning Cornell Rape Case
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‘Behemoth!’ Review: Pedro Pascal Plays a Wayward Cellist in Tony Gilroy’s Movingly Atonal Character Study About How People Conduct Themselves
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What Has the Last Decade at Netflix Done for David Fincher?
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