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We hear the "Jojo Rabbit" director and "Let You Love Me" singer were seen enjoying a romantic date night at Ambassadors Clubhouse.

Natalie Portman reveals how she built a "good girl" persona to counter childhood sexualization in Hollywood and why it became a lasting trap.

Like-minded lovers of the 1985 classic gathered at the familiar address.

Project Hail Mary, the sci-fi spectacular starring Ryan Gosling, made a $157.6 million profit at the box office this year.

With his voice alone, he brought so many characters to life, and made so many people happy, whether or not they knew his name.

Is DC's latest soft performance by "Clayface" a warning sign? Or is history repeating itself with another merger merger and fears of studio meddling?

A disturbing and worthwhile examination of privilege, alleged sexual predation and the long road to accountability.

His Elizabeth Holmes documentary, You Can See Everything, is a deeply unethical piece of filmmaking.

Eric Bauza, the voice actor who carried on Mel Blanc's legendary "Looney Tunes" legacy, died Sunday at age 46 of hypertensive cardiovascular disease.

The actor appeared in the cult 1960s show as well as many of the films but also worked as a writer Walter Koenig, the actor known for playing Pavel Chekov throughout the Star Trek franchise, has died, his representative confirmed to the Hollywood Reporter . He was 90. Koenig died at his home in North Hollywood surrounded by his daughter and niece, according to a Facebook post by Zachery McGinnis, the founder of Galactic Productions, an appearance agency that counted the actor as one of its clients. His death was attributed to “old age”, with no other details provided. Continue reading...

Writer-director Aaron Sorkin spent $50 million of Sony’s dollars to produce a fascist movie that attempts to shame corporate America into censoring the “unapproved” political and social opinions of everyday people. The post Nolte: ‘Musk’ Hit Job, Aaron Sorkin’s Fascist ‘Social Reckoning’ Both DOA at Box Office appeared first on Breitbart .

Nathan Fielder’s three-hour Elizabeth Holmes film has become a pop culture phenomenon but at a sold-out Times Square screening, no one was quite sure what to think In You Can See Everything, it’s Elizabeth Holmes’s partner who makes for 2026’s timeliest villain Secrets, lies and a shock A-list cameo: how You Can See Everything became the film of the year When I see a film a second time during its theatrical run, it’s typically to take someone else who hasn’t yet seen it, at least in part hoping to witness their reaction to a piece of art that excited or moved me in some way. Seeing Lance Oppenheim and Nathan Fielder’s You Can See Everything a second time in New York City on a Saturday night was that impulse writ larger. This is a movie garnering a surprisingly sizable audience, and outsized audience reactions to go along with it; rewatching it in a full 300-seat auditorium offered the opportunity to re-experience that sense of discovery. Perhaps more to the point, almost everyone I knew had seen it already; all I could do was observe strangers. This documentary, peering into (and helping to create) a hall of mirrors around the famed med-tech scammer Elizabeth Holmes, has become the box office story of the fall, actually rising 25% on its second weekend to gross another $19.5m – a rare feat even given its expanded screen count. With over $45m in North America, it’s already one of A24’s biggest movies ever; it could wind up in the company’s top three, and way up on the list of the highest-grossing nonfiction features. If You Can See Everything isn’t quite an Obsession -level cash cow, it’s probably even more surprising that a three-hour documentary whose existence was only announced about eight weeks ago is on track to make more money than high-profile new releases like Practical Magic 2, Verity and Street Fighter, among others. It’s also outgrossed co-director Oppenheim’s fellow A24 surprise hit Primetime , which has the benefit of genuine movie star Robert Pattinson. Continue reading...

Sophia Bush talks about her new book, "And I Will Tell You Mine: Notes from a Life in Progress," her experience on "One Tree Hill" and what she thinks about a possible reboot.

The actor opens up about almost playing Tony Soprano, why Quentin Tarantino ‘flipped out’ at him and how he’s ‘pretty much broke’ now Maybe once a year we get a celebrity memoir that is as good on the juicy stuff – the Hollywood gossip – as the interior excavation; and boy does Anthony LaPaglia deliver both in his new memoir, The Life We Choose . “They say acting is the cheapest form of therapy,” writes the actor, best known for his roles in Without a Trace, Empire Records, Lantana and Frasier. “And that was lucky for me, because, coming up in the way I did, Christ knows I needed it.” The memoir reveals a lot about his abusive childhood in Adelaide, at the hands of his father, Egidio; and how he went from working as a shoe salesman to moving to the US, to work on Broadway and in Hollywood. Continue reading...

Keanu Reeves is attached to star in "Maelstrom" at Netflix, a revived project that recently had fellow action hero Alan Ritchson of "Reacher" cast in the lead role

This profile of James ‘Fergie’ Chambers, who set up a commune in rural Massachusetts and is fighting extradition from Spain, is a brave attempt to package a complex character and story For a film that dispenses a lot of backstory information via intertitles, you are left with a lot of questions when the credits finally roll. For example, how in the world did Irish film-maker Sinéad O’Shea gain access to her main subject: James Cox Chambers, AKA “Fergie”, the American heir to a multimillion-dollar fortune – whom we first meet as the founding member and bankroller of a communist community of less than a dozen people in Alford, a town in rural Massachusetts. A scion of the wealthy Cox family, a liberal clan who have backed leftist causes in the past, Fergie wants to take things even further politically and is willing to use his own hefty inheritance (about $250m) to support his fellow communards’ commitment to learning, self-sustaining farm work and running a jujitsu studio and gym that won’t accept members of the police as members. But when the group decide to protest at Elbit Systems, the Israeli-owned arms manufacturer, its actions slide into “criminal mischief and criminal trespassing”, according to reports. Several Alford members are arrested, including one Paige Belanger; O’Shea’s film cuts back and forth between interviews with Belanger and other communards and Chambers, who has scarpered to Tunisia. Although he pays for Belanger’s defence and covers other costs arising from the action, considerable rancour rises between Fergie, Paige and other former Alford community members, that O’Shea perhaps wisely doesn’t let the film get too bogged down with trying to parse. Continue reading...

The latest in our ongoing series of writers explaining their most rewatched comfort films is a journey back to the 90s for Tom Hanks’ heartfelt 60s-set music comedy “How did we get here?” That’s the question Steve Zahn’s character in That Thing You Do! asks his bandmate with bemusement right before they perform on live television. It’s a moment I have thought of many times over the past 30 years. Sometimes, it’s been a moment I’ve aspired to, and sometimes it’s a moment I’ve felt myself. When the band hears their song on the radio for the first time, it’s one of the most ebullient moments I’ve ever seen on film. There is a euphoria that is recognizable for anyone who has ever felt the joy of a creative accomplishment – and isn’t that all of us, in one way or another? That’s what makes That Thing You Do! my feelgood movie. Continue reading...

Maka Gogaladze’s debut feature looks at generational differences in the context of Georgia’s education system and emphasis on collectivism The scars imprinted on impressionable young minds can never fully fade away. Aiming her lens at a rocky beach thrashed by crashing waves, Maka Gogaladze opens her intimate film with a painful anecdote from her adolescent years. Through on-screen texts against a stormy sky, the Georgian film-maker recalls the time she dumped all of her poems into the garbage. The impulsive decision was a gesture of rebellion against her domineering mother; Gogaladze had wanted her to feel guilty. This debut feature would appear, at first glance, to be another act of revolt. Putting her mother in front of the camera, Gogaladze asks probing, at times blunt, questions about the strict education thrust on her in childhood. Together, they talk about piano lessons that ended in tears, and tough academic exams that continued to haunt the director well into her adulthood. Their contrasting personalities are fascinatingly revealed across these conversations in all their tension, yet these sequences also represent a moving effort to reach across generational differences. Continue reading...

In Adolescence he proved himself one of the UK’s best actors. Now he has directed his first film, Animol. He reflects on the road from prison and addiction to soaring success Ashley Walters seems to have lived his life on fast-forward. Before he turned 21 he had already had a No 1 hit, performed on TV and the West End stage, become a father and served seven months in prison. He has had another lifetime’s worth of incident since – including seven more children – but at the ripe old age of 44, enough water has passed under the bridge for Walters to have some perspective on his youth. Not that all that living appears to have left a mark: when we meet in London, he’s the picture of health, his face unwrinkled, eyes twinkling, hair cut in a crisp lineup. Back in the early 2000s, he fit a certain stereotype of Black British youth as Asher D, the rapper from deprived and supposedly crime-ridden Peckham, who rolled with the street-tough So Solid Crew, got into beefs with east London rivals such as Dizzee Rascal, was demonised by the tabloids and called a “boasting macho idiot rapper ” by the then culture minister Kim Howells. Continue reading...

Eric Bauza, who voiced severals Looney Tunes characters the recent hit movie "Coyote vs. Acme," among others, dies.

"Verity," adapted by Colleen Hoover’s bestselling novel and starring Anne Hathaway, Dakota Johnson and Josh Hartnett, arrives on digital streaming this week.

Wildwood is the must-see theatrical release of October, a true masterpiece of human artistry and craf

Nathan Fielder’s Elizabeth Holmes documentary "You Can See Everything" helps increase the streaming viewership of Amanda Seyfried’s "The Dropout," starring Seyfried as the disgraced Theranos founder.

Nefarious doings, tiny-headed henchmen and sockless villains – the mob saga is back. And it’s as lovable as it is bloody Just when we thought we were out, they pull us back in. Seventeen months after it huffed off in its Toyota Omertà, This City is Ours is back for a second series of high-stakes gangland bastardry. Which means, all things being equal, or at least Liverpudlian, we can expect more of the following: convoluted drug deals conducted over congealing ragu; shouting; tiny-skulled henchmen with chests of astonishing bulbosity, as if someone had squeezed their legs like tubes of toothpaste and all the meat had been forced up to their armpits; beards. So yes, it’s back. Go tell it on the mountain. And bring a shovel while you’re at it. A shovel? Yes, a shovel. Now stop asking questions and start digging; this corpse won’t disappear by itself. “’Ee’s gone,” whimpers Cheryl (Saoirse-Monica Jackson), blinking weepily in the Marbella sunshine as troubled mobster Michael (James Nelson-Joyce) manoeuvres the decomposing remains of her late husband into a makeshift grave. And ‘ee has. Gone that is. Poor Davy (Stephen Walters). Shot by erratic kingpin Ronnie Phelan (Sean Bean) for leaking information about a drug deal, his life snuffed out like a heavily discounted Yankee Candle. Davy is now, alas, gravy. Continue reading...

The Hollywood star is so grumpy in this new travelogue it’s like he wishes he wasn’t there. Think sulky car journeys, strained encounters and the sense of a TV series imploding A Course Called Ireland is a new documentary in which Bill Murray golfs his way around the “Emerald Isle” while reflecting on everything from his great-grandmother to worms. The heart leaps. Bill Murray? The same Bill Murray whose genius for wounded obnoxiousness was so beautifully deployed in Groundhog Day and Lost in Translation? Yes, the same Bill Murray. A montage of coming attractions does little to dampen the ardour. Here is the 76-year-old actor teeing off amid the gasp-inducing greenery of County Kerry. Here he is squinting at the “hardworking Irish worms” that stripe the fairways of coastal Cork. And here he is saying “hah-hah” in a variety of other golf-adjacent locations while surrounded by locals whose body language suggests that they, too, are in the process of saying, or at least thinking, “hah-hah”. We ready our jaws for the cavalcade of bittersweet guffaws that will inevitably follow. Continue reading...