Netflix is remaking one of the most entertaining action movies of the 1970s. Philip Barantini, the director of “Adolescence,” has been tasked with making a new version of the 1972 Steve McQueen classic “The Getaway.”

Andrey Zvyagintsev has delivered another great film, “Minotaur.” It may not be his finest work — a very high bar has been set — but the icy precision and hypnotic force of his filmmaking remain undeniable.

Julianne Moore has confirmed (via Variety) that she has a small supporting role in “Cry to Heaven,” Tom Ford’s comeback film, which wrapped production in March.

The upcoming sequel is described as a continuation of 1982’s “Conan the Barbarian,” focusing on an older version of the character who has lived as a king but is drawn back into action.

As expected, and with the embargo having now lifted, the reviews for “The Mandalorian and Grogu” are very concerning for Disney.

There’s only so far gorgeous visuals and an incredible score can carry a movie before you realize there’s barely any story to hold onto, and you completely disengage.

This is a film about how extremism feeds extremism. Everybody believes they’re morally right. Everybody becomes trapped inside ideology, fear, and self-righteousness.

Seven months after what French press described as the "the heist of the century" at the Louvre, Gavras has announced a film devoted to this topic.

Tim Burton is expected to head to Cannes this week for meetings with buyers about a closely guarded new film project. No details were revealed about what js being pitched.

“Her Private Hell,” which premieres tonight, is apparently Refn’s most experimental film yet — with barely any conventional story structure and more emphasis on atmosphere than narrative.

Paul Schrader doesn’t give a flying thought to what others think. Exhibit A is his Facebook account, which is clearly managed by him, with no PR firm involved.

László Nemes is at it again, not backing down from anything — now taking aim at the cultural climate surrounding growing ideological pressure within the film industry.

In the first major deal to emerge from the Cannes market, Amazon/MGM has acquired worldwide rights to Mimi Cave’s psychological thriller. The deal is around $20M.

What I’m getting out of this debacle? Disney really seems to need “The Mandalorian and Grogu” to become a hit. The hype for this movie just isn’t there.

Last year, seven films in total had a score of 2 or below on Screen’s Jury Grid; this year, with still 10 films left to screen, we’ve already hit seven.

A24 has finally won the rights to “Club Kid” in a deal said to be worth $17M. Given that A24’s Oscar slate is fairly weak this year, I presume this might become their main priority in the race.

Na Hong-jin decided to make the biggest, loudest sci-fi action monster movie possible and somehow convinced Cannes to screen it in competition.

Eisenberg is coming off the success of “A Real Pain,” released in 2024, which earned widespread acclaim and an Oscar for supporting actor Kieran Culkin.

During a masterclass at the Cannes Film Festival, Cate Blanchett revealed she will star in Brady Corbet’s next film, “The Origin of the World.”

In a Variety op-ed, Vin Diesel reflects on returning to Cannes for the 25th anniversary of “The Fast and the Furious,” framing it as a important moment for popular movies.