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NYC Weekend Watch is our weekly round-up of repertory offerings.

Museum of the Moving Image

Johnnie To’s The Heroic Trio and To & Ching Siu-tung’s Executioners play in See It Big: Stunts!; John Waters’ Serial Mom screens on Friday and Sunday; Amir Azizi’s Two Dogs shows on Saturday.

Japan Society

A massive Mikio Naruse retrospective, featuring numerous imported 35mm prints, has begun.

Roxy Cinema

Heat shows on Friday; John Ford’s The Grapes of Wrath screens on 35mm this Saturday, as does King Vidor’s Stella Dallas; Cinderella plays for free on Sunday, along with a print of All About My Mother.

Film Forum

A restoration of René Clément’s Forbidden Games begins a run (watch our trailer debut); a new 35mm print of 8½ and Mort Rifkin favorite A Man and a Woman continue; The Incredibles screens Sunday morning.

Bam

Haydn Keenan’s Going Down, newly restored, begins a run.

After making what many people cite as the greatest film ever made, "Citizen Kane" (1941), multi-talented actor, writer, director and producer Orson Welles struggled to live up to the success he achieved when he was just 26 years old. Yet seen today, many of the films he made afterwards have attained a similar acclaim. Let's take a look back at all 13 of his completed feature films as a director, ranked worst to best.

Born in 1915, Welles first came to prominence as a stage director, mounting groundbreaking productions of "Macbeth," "Dr. Faustus," and "The Cradle Will Rock" before forming his own repertory company, The Mercury Theater. In addition to Welles, the Mercury Theater Players included Joseph Cotten, Ray Collins, Agnes Moorhead, Everett Sloane, George Coulouris, Norman Lloyd, Martin Gabel and Paul Stewart, many of whom would go onto appear in the director's films.

It was the Mercury Theater's transition into radio that brought them the most acclaim.

Note: This review was originally published as part of our 2024 Venice coverage. Pavements opens in theaters on May 2.

If the Hollywood superhero-industrial complex is perishing, the Rolling Stone and Spin magazine extended universe is hastily being built. What better defines “pre-awareness” for the studios like the data logged by Spotify’s algorithm, where billions of track plays confirm what past popular music has stood the test of time, and also how––in the streaming era––you can gouge ancillary money from it?

But unlike the still-brilliant Walk Hard: The Dewey Cox Story, which stood to excoriate the nostalgia sought by such films, recently reinvigorated by the success of Bohemian Rhapsody, Alex Ross Perry’s Pavements, on the eponymous ’90s slacker idols, justifies that every great band deserves a film portrait helping us to wistfully remember them, and also chuckle as pretty young actors attempt to nail the mannerisms of weathered,...

Some cartoon buffoons may think The Godfather insists upon itself, but the film is widely considered one of the greatest ever, a masterful saga of family, legacy and business that topped the box office for 1972, nabbed three Oscars and is constantly ranked on best-of lists, from the AFI and Sight & Sound to Letterboxd and They Shoot Pictures, Don’t They? And since greatness recognizes greatness, Steven Spielberg has officially declared it as the best American film ever.

Speaking at pal Francis Ford Coppola’s recent AFI Life Achievement Award event (via Variety), Spielberg (who received the honor back in 1995), declared, “The Godfather, for me, is the greatest American film ever made. Many artists can and do take a bow from their work on a page, on a canvas, on a screen, but our applause for you Francis, is from a different kind of audience.” Spielberg has always been a...

Sometimes news about anticipated films comes from the most unexpected of places. One incredibly exciting project that has recently gone into development is a sequel to Quentin Tarantino's 2019 film Once Upon a Time... In Hollywood. In a surprising turn of events, David Fincher signed on to helm the project, and his first-look deal with Netflix means the film will go to the streaming-based studio in another twist of fate. Initial reports suggest that the road to getting this film produced is complicated, but it's still exciting nonetheless to see a Tarantino script in the hands of another accomplished filmmaker. Now, a Deadline Q&a with Sinners star Michael B. Jordan has inadvertently revealed plenty of new details about the project.

In Deadline's exclusive piece, the moderator of the Q&a highlighted the rich mythology of Tarantino films and how the depth of his characters invites potential spinoffs, similar to...

In February 2025, YouTube turned 20. The video site has gone through a lot over the past two decades, including an acquisition, an earnings glow-up, and multiple generations of star creators. In our 20 Years of YouTube series, we’ll examine the uploads, trends, and influencers that have defined the world’s favorite video site — one year at a time. Click here for a full archive of the series.

Over a history that spans more than 100 years, the San Diego Zoo has made numerous media appearances. It served as a filming location for Orson Welles’ Citizen Kane, provided the cover art for the Beach Boys’ album Pet Sounds, and showed up at the climax of the comedy classic Anchorman.

But for all of the San Diego Zoo’s memorable moments, its most significant contribution to pop culture may have been a 19-second video recorded in 2005. The facility’s elephant enclosure served as the...

Days of our Lives early weekly spoilers report that Ej Dimera‘s bullet wound leaves him fighting for dear life the week of April 7-11, 2025. The man has many enemies in Salem. Each one has a different reason to hate the man. But who hates Ej enough to shoot him? Many Salemites have been shown with handguns recently. The Spd has a big task ahead. Who shot Elvis Junior? Elsewhere, Sophia Choi and Tate Black strengthen their bond after Holly Jonas breaks up with him. Do they wind up raising their baby together instead of opting for adoption? Finally, Steve Johnson and Marlena Evans continue searching for John Black. Will the “Rosebud” clue lead them to his location? Time is running out for the superspy on the NBC Peacock exclusive.

Days of our Lives Early Weekly Spoilers: Ej Dimera on Death’s Door

Dool early weekly spoilers see Ej Dimera...

Jada did it. She finally told Rafe about sleeping with Shawn in the Tuesday, April 1 episode of Days of Our Lives. And Rafe reacted — well, not in a way we think Jada thought Rafe would react. Plus, the search for John Black continues.

Rafe Reacts

It was totally understandable that Rafe (Galen Gering) would react badly to the news that Jada (Elia Cantu) slept with Shawn (Brandon Beemer). That kind of news isn’t what you want to hear, especially weeks after it happened.

Having said all of that, however, we thought maybe Rafe would have some empathy for Jada’s experiences. He went through hell, for sure. But he wasn’t the only one whose life tanked.

So, hopefully, after he processes the news, he will be able to see the light, so to speak. Cheating on Rafe wasn’t something she would have done had it not been...

This week on the Film Stories Podcast Network: Citizen Kane, vampires, John Barry scores and more. Here’s what we’ve been up to…

Frame to Frame

This week Andy Williams and Sean Wilson are leaning… leaning… on a pair of classics as they tackle two directorial debuts by actors in Orson Welles’ Citizen Kane and Charles Laughton’s The Night of the Hunter…

Podcast-616

It’s all getting quite political in the murky world of Matt Murdock as Hugh McStay is joined by Baz Greenland to discuss 1×05 and 1×06 of Daredevil: Born Again, plus they have a chinwag about all this Avengers: Doomsday casting business…

MovieVersaries

Get your Streep on with Bo Nicholson and Andy Williams as they celebrate 40 years of Sydney Pollack’s romantic adventure, Out of Africa…

Vampire Videos

You know the man but how well do you know his daughter? A question Dan Owen and Hugh McStay,...

Few directors have a penchant for precision, like David Fincher. He is a master of mood, method, and mischief, and there is something inherently hypnotic about his style of cinema. While films like Fight Club, The Social Network, and Se7en have come to define the filmmaker’s legacy and filmography, another side of his work often gets relegated to the B side.

A still from David Fincher’s Se7en | Credits: New Line Cinema

Here, we’re ranking ten of his most underrated projects and discussing why they deserve your attention.

10. Mank (2020)

David Fincher rarely gets credit for his playfulness as much as he does for his precision. Mank is a homage to 1930s and ’40s Hollywood that isn’t a love letter to its Golden Age but a look at its hypocrisies and ambitions.

Gary Oldman (who was nominated for an Academy for his role) stars as Herman J. Mankiewicz,...

Sometimes, the tales that unfold off-screen are much more dramatic than the ones captured in the film, and this holds for Blade: Trinity. The infamous third installment in the Blade franchise was plagued by chaos during its production, and a lot of it was allegedly due to Wesley Snipes.

Ryan Reynolds in Blade: Trinity | Marvel Enterprises

His supposed clashes with Ryan Reynolds are only one piece of the puzzle. So, what really happened behind the scenes of this Marvel disaster? Let’s find out through what the actors have said in the past.

Patton Oswalt’s hilarious yet shocking account of Wesley Snipes’ antics during Blade: Trinity Wesley Snipes in Blade: Trinity | Marvel Enterprises

Patton Oswalt is the only artist who recounted the events of Blade: Trinity’s filming in the most hilarious way possible. The actor-comedian had a small role in the film, but he became the most vocal...

Spoilers for "Daredevil: Born Again" to follow.

"Daredevil: Born Again" has introduced Michael Gandolfini as Daniel Blake, communications aide and fanboy to the now Mayor Wilson Fisk (Vincent D'Onofrio). He's one reason that watching "Born Again" might make you think of "The Sopranos" — Michael is, of course, the son of the late James. Gandolfini Jr.'s breakout part was playing a young Tony Soprano in "The Many Saints of Newark," literally stepping into his father's shoes.

Fisk himself is a Tony Soprano-ish character; a tall, overweight but imposing mob boss with some parental issues. Granted, Fisk's are about his abusive father who he murdered, while Tony is haunted most by his mother Livia. Tony also never had a masked vigilante like Matt Murdock aka Daredevil (Charlie Cox) to deal with. (But can you imagine?)

Tony can be all smiles and jokes, while Fisk is more awkward; what they do share is a scary temper.

Few living filmmakers have a list of collaborators longer or stranger than Errol Morris: Donald Trump (in perhaps his single most revealing interview), Donald Rumsfeld, Steve Bannon, Stephen Hawking. One wonders what might’ve been learned had he had the opportunity to sit down with Charles Manson, but Morris thinks that, with “Chaos: The Manson Murders,” he’s effectively managed to communicate with the beyond-notorious cult leader across decades and mortality itself.

His film is ostensibly an adaptation of Tom O’Neill’s sensation-stirring 2019 book, but is perhaps closer to a spin or response or what resulted from jumping off one text’s ideas to form another. He tells me this over drinks at MoMA’s restaurant — he had a Campari soda; I got the house red — while “Chaos: The Manson Murders” played downstairs as the closing-night title of this year’s Doc Fortnight.

Though Morris turned 75 last month, his...

Did I just catch a Citizen Kane reference in the latest episode of Severance season 2? The way Harmony Cobel returns to her hometown, Salt’s Neck, and tells her childhood chum to “Flip my toboggan,” it reminded me of Orson Welles’ Rosebud. [Spoiler Alert] And why not? Just like Kane, Cobel’s own childhood was taken away from her by Lumon’s oligarch, Jame Eagan. Cobel was once an innocent, small-town girl who found her happiness by her mother’s side, but after she was imprisoned in Lumon’s Myrtle Eagan School for Girls, she lost everything she held dear. I always find it really interesting how these cult leaders brainwash their disciples and program them to blindly execute their agenda. The devils sow the seeds of fanaticism at such an early age that even if a blind loyalist wants to escape the prison, they can’t. Even when they are ill-treated or exploited,...

Whenever Roger Ebert saw a limp Hollywood remake of a classic movie, the esteemed film critic used to lament that studios had it all wrong. They shouldn't be redoing movies that were already brilliant, but, rather, revisiting films with promising premises that, for whatever reason, didn't work the first time out. While this may sound like perfectly reasonable advice, studios typically aren't keen to throw money at projects that already failed once. That's how executives get fired.

This is how we get unwanted, undercooked remakes like 2006's "The Omen," 2012's "Total Recall," and 2014's "RoboCop." The originals were smart, zeitgeisty genre flicks from top-notch directors, while the second go-rounds were sweaty retreads with no point of view and, thus, no reason for being -- but at least the execs who greenlit these movies could defend them on the grounds of brand recognition. Had they gone down in flames with a remake of,...

The Oscars ostensibly exist to celebrate movies, but whether or not they succeed in that mission each year is debatable. Usually, the host is someone who, if I'm being honest, doesn't even seem like they like movies all that much! I've been watching this awards ceremony for years (for better and for worse), and even I can admit that it's usually sort of a slog; I tend to force my friends to sit through the whole ordeal. This year, though? One of the friends I bribed with pizza to keep me company said, unprompted, "This is one of the best awards shows I've seen in a while." The people have spoken.

The reason for this is sort of obvious: this year, the Academy Awards made a brave choice to actually care about movies. Yes, the awards show dedicated to movies should ostensibly care about movies every year, but typically, cinephiles...

While film fans will have to wait until Sunday to find out the winners of the 2025 Oscars, the worst in film this year, the winners of the 2025 Razzies, have been revealed.

Topping this year’s awards with three wins, including worst picture, is Sony’s critically panned box office bust Madame Web.

Madame Web also won worst actress for star Dakota Johnson and worst screenplay.

Johnson previously spoke out about her experience with Madame Web, saying the script radically changed from what she initially read and that she was unlikely to “do anything like it again.”

“It was definitely an experience for me to make that movie,” Johnson told Bustle in an interview that was published a few weeks after the film was released. “I had never done anything like it before. I probably will never do anything like it again, because I don’t make sense in that world.

With its awe-inspiring images and ideas and fantastic performances by Adrien Brody and Guy Pearce, the three hours-plus runtime starts to look stingy

Ok, let’s get this out of the way: yes, The Brutalist is long. Very long. Backside-numbingly long. Which is as you might expect of a decades-spanning tale of a Holocaust survivor architect’s bruising encounter with the American dream. Still, that three-and-a-half hour run time seems to have been presented as Exhibit A in the case against Brady Corbet’s film; that it’s too grand, too ambitious, too full of itself. It’s got a bloody interval, for Christ’s sake! Who does this Corbet fella think he is?

Which seems strange, because a lot of what the film has been criticised for is usually seen as an asset. For good or ill, American cinema’s high-water marks, from Citizen Kane to The Godfather and beyond,...

Not every movie needs to be Citizen Kane. Sometimes audiences need something light and fluffy so they can forget their worries and just come out of the theater with a smile. That's the statement Kate Hudson has made in defense of her romantic comedy run, which may have generated solid box office but was met with less than favorable reactions from critics. In defending her rom-com run, Hudson wants to remind critics that they weren't trying to win awards.

During a chat with Entertainment Weekly, Hudson spoke about the negative reviews some of her romantic comedies endured despite them being more warmly received by moviegoers. Films such as How to Lose a Guy in 10 Days (42 percent on Rotten Tomatoes) and the trifecta of Fools Gold, Bride Wars and Something Borrowed (15 percent on Rotten Tomatoes) became a staple of Hudson's career...despite the displeasure some critics had watching them. Coming...

The most Oscar-nominated film this season is Emilia Pérez, which is entirely in Spanish. It landed 13 noms — smashing the record for a non-English-language film (Crouching Tiger, Hidden Dragon and Roma had 10 each) and just one shy of the record for any film — including best picture. And it’s not the only non-English-language film up for the top Oscar; so, too, is the Portuguese-language I’m Still Here. Until recently, such a scenario would have been unimaginable. Then came Bong Joon Ho’s Parasite. This is the inside story of how that off-the-wall Korean film made history at the Oscars five years ago.

Hello, World

The Academy of Motion Picture Arts and Sciences, founded in 1927, was originally called the International Academy of Motion Picture Arts and Sciences. But for most of its history, it wasn’t very worldly — the vast majority of its members were based in L.A., New York or London,...

The following contains spoilers for Paddington in Peru.

He might be locked up, but Paddington in Peru couldn't resist a surprise appearance from an old foe. Following the movie's release, director Dougal Wilson explained how its mid-credits scene came together, briefly reuniting Paddington Bear with Paddington 2 villain Phoenix Buchanan (Hugh Grant) after his latest adventure concluded.

While Buchanan's incarceration made linking him to Paddington in Peru tricky, the screenwriters found a way through the film's ending where Paddington introduces the bears he met in Peru to London's sights, creating an opening to see him again in prison. "I thought it was a very Paddington reconciliatory thing to do to go. Meet his nemesis from the second film," Wilson told Entertainment Weekly. "Wouldn't it be fun if Paddington was the one visiting with his bear tribe, and they were visiting Phoenix because Paddington's forgiven Phoenix?"

RelatedPaddington in Peru Review: The...

The Academy Award for Best Original Screenplay has recognized some of the most daring and important written works in cinematic history. Previous winners include undeniable classics like Citizen Kane, fan-favorite rom-coms like Moonstruck, game-changing modern classics like Eternal Sunshine of the Spotless Mind, and subversive genre masterpieces like Get Out. Some of cinema's greatest writers have been anointed by the Academy here, making the category one of the most anticipated in every ceremony.

The “opening” was a disaster. The creators were bitterly feuding. Half the funding pulled out with much of the rest lost in a poker game.

It was all very cinematic, but at stake was the future of a great magazine, not a movie. The opening marked the debut of The New Yorker, which celebrates its 100th anniversary this week at a moment that is not propitious for either magazines or movies.

Magazines have been folding at an alarming rate. Support for once-revered titles like Newsweek or Time or for corporate parents like Condé Nast teeters ominously. Even Donald Trump last week asked “is Time still in business?” after Elon Musk hovered on its Trump cover.

Despite layoffs, The New Yorker with its 1.23 million subscribers is itself a study in survival, as a forthcoming Netflix documentary will testify. The resilience of the magazine mirrors that of a Hollywood studio — a periodic “blockbuster” has fortified support.

Looking through a ranking of the best movies of all time is inevitably going to result in the rounding up of some usual suspects. You can probably rest easy that you’ve seen most, if not all, of these, or if not, then you’ve surely heard of them; they might well be on your watchlist. Think of things along the lines of Citizen Kane, The Godfather, The Shawshank Redemption, and The Lord of the Rings… nothing surprising, but nothing controversial, either.

Exclusive: Production designer Donald Graham Burt has signed with Gersh for representation.

Burt is a two-time Academy Award and BAFTA winner for his work on Mank and The Curious Case of Benjamin Button, a pair of acclaimed films from David Fincher. The former drama, starring Gary Oldman, which also brought Burt the award for Best Production Design at the Critics Choice Awards, focused on screenwriter Herman J. Mankiewicz and his turbulent journey in writing the screenplay for the iconic 1941 film Citizen Kane. The latter stars Brad Pitt as a man born with the physical appearance and ailments of an elderly person, who ages in reverse.

These projects mark just two of Burt’s collaboration with Fincher. Over the years, he’s also worked with the director on titles including Zodiac, Gone Girl, The Girl with the Dragon Tattoo, and The Killer, as well as Netflix’s House of Cards.

Burt...

“It’s been a wild ride,” Sean Baker said with a grin. It, in this case, is “Anora,” Baker’s uproarious and affecting dramedy about a Brooklyn sex worker, Ani (Mikey Madison), who impulsively marries the son of a Russian oligarch (Mark Eydelshteyn) and winds up battling Russian and Armenian henchmen and her spoiled man-child of a husband.

The $6 million production moved the director of gritty indie films like “Tangerine,” “The Florida Project” and “Red Rocket” to a different level of recognition: He won the Palme d’Or at last year’s Cannes Film Festival, and “Anora” received six Oscar nominations, including four that went to Baker: Best Picture, Best Director, Best Original Screenplay and Best Film Editing.

That total tied the record for the most nominations anyone has received for a single movie, which Baker shares with “Emilia Pérez” director-producer-writer-songwriter Jacques Audiard this year and with a small and...

It’s only been 7 years since we last saw the undeniably lovable Paddington (voiced by Ben Whishaw) in 2018’s Paddington 2, but the film has had a wild life since its initial release. For a film that only made about $40 million at the U.S. box office (and $227 million worldwide), this film's impact was immense. Paddington 2 has been called one of the greatest sequels ever made, it was the highest-ranked film on Rotten Tomatoes for years, and was integral in the Hugh Grant renaissance that we now find ourselves in. Paddington 2 has become so appreciated as a modern classic, its greatness was even the focus of one of the best scenes in The Unbearable Weight of Massive Talent. 2015’s Paddington might’ve been good, but Paddington 2 is already considered a potential masterpiece.

Hollywood is a pressure cooker of talent, ambition, and, of course, drama. With fame comes competition, and with competition comes some of the biggest celebrity feuds. Whether it’s actors clashing over roles, musicians battling for the top spot on the charts, or directors and stars butting heads over creative differences, the entertainment world is never short of rivalries.

Sometimes it’s a friendly tension, other times it spirals into a full-blown war, especially when egos, relationships, and big money are involved. Some stars simply can’t stand each other, and when their disagreements spill into the public eye, it’s impossible to look away. Fans take sides, social media erupts, and what starts as a private spat often turns into a headline-grabbing saga.

From career battles to personal vendettas, here are the celebrity feuds of all time that had everyone talking!

30. Sean Young and James Woods

The feud between...

The Academy has issued a list of eligible producers in the Animated Feature, Documentary Feature and Best Picture categories, with the list making “Emilia Pérez” director Jacques Audiard a rare four-time nominee this year and increasing the tally for “The Substance” director Coralie Fargeat and “The Brutalist” director Brady Corbet from two nominations to three.

Audiard is now nominated for Best Picture, Best Director, Best Adapted Screenplay and Best Original Song. He joins a short list of quadruple nominees for the same film, which also includes Orson Welles for “Citizen Kane” (with the Best Picture nom officially going to his company), Warren Beatty for “Heaven Can Wait” and “Reds,” the Coen brothers for “No Country for Old Men” (the editing nod under a pseudonym), Alfonso Cuarón for “Roma” and Chloé Zhao for “Nomadland.”

Farget and Corbet also have nominations for Best Director and Best Original Screenplay, with the Best Picture nominations adding to their totals.

The 1943 short Meshes of the Afternoon may not be a film the casual moviegoer is familiar with, but in terms of its impact on American cinema, it is right up there with D. W. Griffith's The Birth of a Nation and Orson Welles' Citizen Kane. Maya Deren and Alexandr Hackenshmied's unapologetic experimentalism and striking visuals marked it out as a pioneering piece of filmmaking long before it was added to the National Film Registry for having made a significant contribution to American cinema, and has been cited as a precursor to the experimentalism of David Lynch's Inland Empire. But what makes it worth the watch?...

Movies really do seem like magic sometimes. They bring fantasy worlds to life, there are people who look like Ana de Armas, and they occasionally accomplish feats of cinematography that seem to defy physics. But like everything else in movies, including Ana de Armas, it’s just the result of clever trickery.

5 Dawson’s Creek

In 2023, a scene from an episode of Dawson’s Creek of James van der Beek throwing a basketball in Joshua Jackson’s face went viral after a Twitter user realized the ball appears to bounce from Jackson’s face into the camera and away into the distance. How did they do it? How could they get the angle just right and not damage the camera? Was it CGI? Two shots cut together? According to Jackson, it was sheer luck. It was also a painted beach ball, so that’s how the camera held up. As Jackson further pointed out,...

Tony Roberts, the urbane supporting actor known for his collaborations with Woody Allen in six films — including the Oscar best picture winner Annie Hall — and two Broadway plays, died Friday. He was 85.

Roberts died of complications from lung cancer at his home in Manhattan, his daughter, Nicole Burley, told The New York Times.

From Take Her, She’s Mine in 1961 to The Royal Family in 2009, Roberts appeared on Broadway 23 times. In between, he stepped in for Robert Redford in the original production of Neil Simon‘s Barefoot in the Park, directed by Mike Nichols.

In the long-running 1969-70 Broadway hit Play It Again, Sam, written by and starring Allen, Roberts portrayed Dick Christie, whose wife has an affair with his best friend, the magazine writer Allan Felix (Allen).

After Roberts received a best actor Tony nom for his performance, he and Allen reprised their roles for the 1972 movie version at Paramount...

Ask Ed Lachman about the use of color and the cinematographer provides a perfect layman’s primer in art education.

“Why are hospitals blue and green? Those are restful, peaceful colors. Why are fast food restaurants red and orange? Because those activate our passion and our appetite,” Lachman said in his laid-back, easygoing voice. “Theoreticians on painting, like Goethe in his book in 1810 or Josef Albers in the 1960s, have talked a lot about how color affects the viewer. It’s all very primitive and emotional and I love to play around with that.”

Lachman, for sure, plays with color, as well as four different film formats, in Pablo Larraín’ “Maria,” which depicts the final days of opera star Maria Callas (Angelina Jolie). The work has earned Lachman his fourth Oscar nomination, following nods for “Far From Heaven,” “Carol” and “El Conde.”

Renowned for his artful, adventurous lensing, Lachman recently...

Rumors of a "Metroid" movie have circulated in Hollywood for decades, but they never got closer to actually happening than the John Woo film first announced in 2004. At the time, Nintendo's sci-fi video game series was at the peak of its popularity. That height has sadly not been reached since by subsequent entries, though there has been a rising "Metroid" tide again in recent years with the critical and commercial success of 2021's "Metroid Dread" and excitement around the upcoming "Metroid Prime 4: Beyond."

In 2004, though, "Metroid" was one of the biggest names in gaming thanks entirely to 2001's "Metroid Prime." In an era when Nintendo was being overshadowed a bit by more adult-oriented games like "Grand Theft Auto III" and "Halo," "Prime" gave the company a massive critical hit. It was a technical marvel, highly sophisticated, and has often been thrown into the (somewhat bizarre) conversation around what...

Carl Reiner's 1961 sitcom "The Dick Van Dyke Show" was immensely popular over its five seasons, and won 15 Emmys in its lifetime. Like several sitcoms of its ilk, "The Dick Van Dyke Show" was a metanarrative autobiography about a character named Rob Petrie (Van Dyke) who was a comedy writer for an in-universe variety show called "The Alan Brady Show." Petrie, from appearances, is an amalgam of Van Dyke and Reiner. Indeed, in the show's original pilot -- back when it was going to be called "Head of the Family" -- Reiner played Rob Petrie himself. The show was more or less a common domestic drama beyond that, with many stories springing from Rob's relationship with his wife Laura (Mary Tyler Moore), or their son Richard Robert Oscar Sam Edward Benjamin Ulysses David "Ritchie" Petrie (Larry Mathews). The show featured wacky buddies, obsequious bosses, and other broad character types that,...

It’s an inevitable fact that, when you’re an award show honoring the best of film, people will often focus just as much as what you left out than what you invited into the pantheon. As long as the Oscars have existed, people have griped over bad calls for Best Picture or acting winners that don’t hold up to the ravages of time. But for every movie like “Citizen Kane” that gets nominated but doesn’t quite manage to take home the trophy, there’s the films that get a big fat goose egg in terms of nominations all together.

There are plenty of those this Oscars season, which saw a lot of the top films dominate nominations (“Emilia Perez” leads with an impressive 13 nods) and left a lot of hopefuls out in the cold. It doesn’t help that this year, deemed a “weaker” one months before awards season really started,...

This article contains mention of suicide.

Mulholland Drive is often cited as the best film the late David Lynch ever made, and while there are several other good choices, it certainly ranks at the top of his canon. In its once-a-decade survey of the greatest movies of all time, Sight & Sound ranked the film at number eight, alongside such cinematic luminaries like Citizen Kane, 2001: A Space Odyssey, and The Godfather. Lynch's passing on Jan. 15, 2025 has sparked a new round of interest in Mulholland Drive, as well as its lingering enigmas which were the calling card of its one-of-a-kind director.

True to its creator's form, Mulholland Drive can be a baffling experience, particularly its third-act shift into what appears to be an entirely different narrative. In truth, the movie follows dream logic to construct a dark and terrifying story about the mirage-like nature of Hollywood. Lynch's work requires...

You’ve had a bad day. You’ve had a bad week. You’ve had a bad year. And sometimes, you’re not in the mood to watch “the best” films. There’s nothing wrong with Citizen Kane, Vertigo, or 2001: A Space Odyssey, but if you’re feeling like garbage, it’s probably not the film you want to watch while you’re down in the dumps. You need feel-good movies. You need uplifting movies. You want the best feel-good movies.

Family Guy took potshots at countless films, but Peter Griffin's scathing confession about The Godfather is iconic. Seth MacFarlane revealed that bit's backstory and admitted he's still figuring out what it meant.

Seth MacFarlane took to X to provide context on one of Family Guy's most-clipped bits. The "it insists upon itself" joke from Season 4's "The Griffin Family History" has (again) gone viral, prompting a deluge of hot takes. "Since this has been trending, here's a fun fact: 'It insists upon itself' was a criticism my college film history professor used to explain why he didn't think The Sound of Music was a great film," MacFarlane wrote. "First-rate teacher, but I never quite followed that one." The comments section weighed in with more examples of "overrated" classics, including Citizen Kane, Goodfellas, and The Lord of the Rings.

Related This 14-Year-Old Family Guy Episode Was Banned in the...

The 97th annual Oscar nominations were revealed Thursday morning in Los Angeles. And the newest lineup featured a number of historic milestones. Among them this year:

Best Picture With 13 nominations, “Emilia Perez” is the most nominated non-English-language film of all time, beating the record of 10 nominations held by “Roma” and “Crouching Tiger, Hidden Dragon.” “Emilia Pérez” and “I’m Still Here” are also the 18th and 19th films predominantly not in the English language to be nominated for Best Picture. Both are nominated for Best International Feature – the first time ever that two nominees from that category have also been nominated for Best Picture. At 3:35, “The Brutalist” is the sixth-longest Best Picture nominee, a few minutes longer than two recent Martin Scorsese movies, “The Irishman” (3:29) and “Killers of the Flower Moon” (3:26). “Cleopatra,” from 1963, is the all-time longest Best Picture nominee at 4:11. Acting categories Seven acting nominees are...

Joker: Folie à Deux leads the Razzie Awards noms, which recognize the worst movies and performances of the year, with a total of seven mentions.

Borderlands, Madame Web, Megalopolis and Reagan followed with six noms apiece, it was announced Tuesday. Unfrosted landed with four noms, while The Crow nabbed two noms.

Among the actors receiving mentions were Joaquin Phoenix, Cate Blanchett, Lady Gaga and Jon Voight, one of President Donald Trump’s newly appointed “Ambassadors to Hollywood,” who was nominated for his performances in a “near record” four films in one year.

Organizers joked that the worst picture nominees will compete for a “$4.97 gold spray-painted” statuette and shared their thoughts on each of the films in contention (see below).

Nominees were chosen via emailed ballots to 1,202 Razzie members (movie buffs, film critics and journalists) from 49 states and about two dozen foreign countries who chose five top contenders in each of nine categories.

A few fun facts about Oscar statuettes: 

The award is 13-and-a-half inches tall, and the award, overall, weighs about eight-and-a-half pounds. The statues are made of solid bronze and are plated in real gold. During metal shortages during World War II, the Oscars were made out of painted plaster, although winners were permitted to swap them for bronze ones once the materials were plentiful again. 

It's been said that handing an Oscar too much can make the gold tarnish, so Oscar winners have to be careful with them. The statuettes are made by an art foundry in Chicago called Polich Tallix, the same firm that handled the work of Roy Lichtenstein, and the Korean War Memorial in Washington, D.C. 

The statuettes also, technically, don't belong to the voters or to the people who win them. Indeed, starting in 1951, the Motion Picture Academy introduced a new rule forbidding recipients from...

Citizen Kane. The Godfather. Once Upon A Time In America. There Will Be Blood. Towering monuments of moviemaking, all — and all namechecked in notices when Brady Corbet’s third picture, The Brutalist, won the Silver Lion for Best Direction at the Venice Film Festival. Is it possible for any modern movie, even an American epic of these proportions (and we don’t just mean the 215-minute running time), to stand firm in the shadows of such superstructures?

The Brutalist gives it a damn good go. An austere, novelistic, self-consciously important film that unfurls in a measured sprawl, it nonetheless exerts an iron grip. Yes, it’s shot in luxurious VistaVision and divided into chapters and features a 15-minute intermission. And sure, it mulls on the weighty themes of Jewish identity, immigration, privilege, culture-versus-commerce and the thin lines between inspiration and insanity, ambition and crushing egotism. But homework it ain’t.

A bunch of good films have already left Netflix in January. This makes sense as the streamer believes it's just good business to have a month start mostly anew. The turn of the month means new stuff to view, and room needs to be made.

Still, there are several movies that will be leaving Netflix in January, but we have until January 31 to watch the six films below. Or, you know, skip two of them. The decision is yours but just be forewarned that some of the films are good, and the others, not so much.

So what to watch and what to skip? We have some ideas. Just don't hate us if you disagree. (Please.)

Movies leaving Netflix in January that you should see (and two you shouldn't)Mr. & Mrs. Smith

Watch! Sure, this movie is not exactly original, and it relies on its stars too much, but...

The Oscars are considered one of the biggest award ceremonies in Hollywood, and the movie that wins Best Picture goes down in history as a highlight of that year of film. However, this isn't to say that the nominees aren't just as important, especially when the race during awards season is a nail-biter. While there are many factors that go into predicting what movie will emerge with the top prize after a stellar year of filmmaking, it's always thrilling to wait and see what name will be read off the prized envelope that holds the winner.

There are Oscars Best Picture winners that flopped at the box office, but critical reception and popularity with audiences don't necessarily guarantee a win or a loss. Opinions about what movie should win the award for Best Picture are notoriously polarizing, as the Oscars have a long history of overlooking or snubbing fantastic films that have developed illustrious legacies.

Michael Schlesinger, a renowned repertory executive who worked at United Artists Classics, Paramount and Sony Repertory, died Jan. 9. He was 74.

Schlesinger died at Cedars-Sinai Hospital in Los Angeles, where he was being treated for a rare form of cancer.

Schlesinger was known for being instrumental in restoring and releasing classic films over multiple decades. While working at Sony Repertory as vice president, he oversaw the 70mm restoration of “Lawrence of Arabia.” When he was at Paramount Pictures Distribution, he worked on the 50th anniversary release of “Citizen Kane,” which included Orson Welles’ famously incomplete “It’s All True.”

Joseph McBride, an author and film historian and friend of Schlesinger’s, wrote in his tribute that “Mike was a true mensch. Every cinephile had a friend in Mike Schlesinger. He was passionate about preserving and distributing classic films. He stuck his neck out for film history while working for major studios...

Michael Schlesinger, who for more than 25 years worked as a studio repertory executive for divisions at United Artists, Paramount and Sony as a champion of film classics and forgotten B-movies alike, has died. He was 74.

Schlesinger died Thursday at Cedars-Sinai Medical Center in Los Angeles after a bout with cancer.

The popular Schlesinger was a fixture at screenings, lectures and events like the TCM Classic Film Festival and Cinecon in Los Angeles, where he conducted interviews. He also offered commentary for DVD releases of movies like Stanley Kramer’s It’s a Mad, Mad, Mad, Mad World (1963), perhaps his favorite film, and for the website Trailers From Hell.

“People think I live in the past. No, I live in the present. I just vacation in the past,” he often said.

The Ohio native came to L.A., found a job with United Artists Classics and was involved in the 1988 theatrical reissue...

Friends will tell you Michael Schlesinger’s biggest passion among his many movie loves was for Stanley Kramer’s “It’s a Mad, Mad, Mad, Mad World,” or as he called it, “The Greatest Movie Ever Made.” But fortunately for cinephiles, his efforts elevated or brought about many important films during his career at United Artists Classics, Paramount, and Sony Repertory.

He died January 9, 2025 in Los Angeles at Cedars-Sinai Hospital, where he was being treated for a rare and aggressive form of cancer only recently diagnosed. Though he was a behind-the-scenes executive little known by the public, he made a big impact professionally before he retired in 2012. He then began another career as a director, initially of comedy shorts, then last year with his feature debut “Rock and Doris (Try to) Write a Movie,” which premiered at the Palm Springs International Comedy Festival.

His passing has brought out an outpouring of grief and remembrances,...

What to do with The Magnificent Ambersons, director Orson Welles’ follow-up to Citizen Kane? More than seven decades after the movie hit cinemas, it remains a flashpoint of discussion and debate among cinephiles. Some proclaim it as one of the Greatest Movies Ever Made, a worthy successor in style and substance to Citizen Kane. Others, including Welles himself, decry the studio interference that diluted the directorial vision, deeming the film a bastardized mishmash of tone and style.

But in a vacuum, unencumbered by the movie’s considerable baggage, how does The Magnificent Ambersons play today? The story of an American family at the turn of the 20th century living on the brink of Industrial Revolution, Welles’ film has no shortage of stunning imagery, innovation, or human drama. Even if the movie didn’t fulfill Welles’ original vision, the final product does deserve mention as an American classic: one that offers...

David Fincher has worked with the Netflix streaming service on three separate projects so far – the crime thriller TV series Mindhunter, which ran for two seasons; the 2020 biopic Mank, which was nominated for multiple Academy Awards and took home two Oscars (for Best Production Design and Best Cinematography); and the 2023 action thriller The Killer. These movies and the TV show are still available to watch on Netflix, but a lot of fans have been wondering if they’ll ever receive a physical media release… and Fincher doubts that will ever happen.

While discussing the 4K release of his film Se7en with Collider, Fincher was asked if his Netflix projects will ever get a physical release, as “the appetite for that is through the roof.” He answered, “That’s very sweet, but I don’t know. I like physical media, but I really like on-demand. I mean, I love liner notes,...