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What A24 and MUBI’s Investor Reveals About the Future of Film Financing

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The Mind-Bending ‘Exit 8’ Turns the Subway Into Your Worst Nightmare

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Hope Is Not a Distribution Strategy

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‘Normal’ Review: The Jokes — and the Bullets — Fly Freely in Bob Odenkirk’s Latest Action-Hero Role

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‘Amrum’ Review: Fatih Akin’s World War II Coming-of-Age Film Is Unlike Anything He’s Done Before

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Seattle International Film Festival Announces 2026 Lineup with ‘The Invite,’ ‘I Love Boosters,’ and More

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How ‘Parks and Recreation’ Went from Nearly Canceled to Enduring Comedy Classic

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Joe Eszterhas’ Wild Tales, from Writing ‘Basic Instinct’ on Cocaine and Jack Daniels to an Unhinged Visit with Mel Gibson

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‘Blue Heron’ Review: Sophy Romvari’s Outstanding Debut Feature Explores the Imperfections of Memories

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George Clooney Chaplin Gala Tribute Reveals 2026 Presenters

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What Does Barbie Ferreira Really Want Now? An Indie Film Career, on Her Terms

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Tom Cruise as ‘Digger’ Is an Aging Blowhard Oil Man and the Highlight of Warner Bros.’ CinemaCon

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‘Dune: Part Three’ CinemaCon Preview: Denis Villeneuve Talks ‘New Direction’ and ‘Thriller’ Vibe for Final Entry in Series

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Sean Baker’s Next Film ‘Ti Amo!’ Lands at Warner Bros. New Specialized Label, Now Called Clockwork

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‘Godzilla Minus Zero’ Teaser: Godzilla Marches on the Statue of Liberty in ‘Minus One’ Sequel

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Inside ‘Lee Cronin’s The Mummy’: False Rumors, Real Grief, and the Scariest Monster of His Career

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Osgood Perkins Moves to Paramount with New ‘Longlegs’ Movie Starring Nicolas Cage

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The ‘Ben Solo’ Debacle Forced Steven Soderbergh Into a Pre-‘Sex, Lies, and Videotape’ Mindset

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What ‘The Pitt’ Gets Right (and Wrong) About ‘Pittsburghese’

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Cinema United Chief: Meeting with Ted Sarandos Was ‘Constructive,’ but Don’t Expect Netflix in Theaters Just Yet

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