Joel Potrykus's Buzzard follows a small-time scammer whose anti-corporate rage only ever expresses itself as more scamming. Streaming on the Criterion Channel, this micro-budget character study turns its rough edges into part of the point.

Zach Cregger's Resident Evil reboot skipped Leon, Claire, and Jill entirely, and still opened at #1 with a 96% Tomatometer. A look at why treating the games as a sandbox instead of a script finally cracked the video game movie curse, and why Cregger says he's done doing this again.

Companion just hit Netflix with a strong premise about a robot reclaiming her autonomy, and a lead performance from Sophie Thatcher that deserves a more confident movie around it. Here's why the tonal whiplash keeps it from landing, and how it stacks up against the one film in this current wave that actually commits.

Venice promised gender parity in 2016. In 2026, exactly one of twenty competition films was directed by a woman, and it just won the Golden Lion. A look at "Woman Unknown," May el-Toukhy's post-WWII drama, plus the rest of this year's Venice winners.

Venice spent this week insisting it isn't political, right after briefly canceling its own jury press conference and putting a Gaza documentary from the No Other Land team in competition for the Golden Lion. Here's what actually happened, and why the festival can't have it both ways.

Venice's 2026 lineup has a theme: movie stars want to direct. Casey Affleck, Robert Pattinson, and a Golden Lion for George Clooney headline a stacked Lido slate, but the festival still can't crack its own gender-parity promise.

VIFF just revealed its 2026 lineup, and the throughline is impossible to miss: international co-production isn't a trend anymore, it's how films survive. From opening night's The Debut to a record slate of Indigenous films, here's what stood out from today's media event.

Amazon MGM's search for the next James Bond is in its final audition round, and one name reportedly in the mix, Patrick Gibson, already voices 007 in a video game. That detail says something new about how studios are casting franchise leads.

Spider-Man: Brand New Day just became the tenth all-time highest-grossing film. But its 60% second-weekend drop, compared to The Odyssey's 38%, says something more interesting about which movie audiences are actually still choosing to see.