Charles Bramesco

Just because you made it doesn’t mean you have to like it — and these ten films and filmmakers prove it.

Home with your family this Thanksgiving? Here’s the best stuff to watch on Netflix.

The 1986 sci-fi/fantasy film about a boy abducted by aliens is getting rebooted by ‘Lucifer’ showrunner Joe Henderson.

The star of ‘Taken’ and ‘The Grey’ has no plans to stop beating up people and animals and the occasional inanimate object any time soon.

Kenya Barris will write, and Eddie Murphy‘s expected to reprise his starring role.

Director Rian Johnson proudly announced on Instagram that the latest chapter of the space opera saga has been edited to completion.

The VES 70 organizes a canon of films that have pushed the boundaries of what is possible.

The ‘Unbreakable’ and ‘Split’ sequel will star Bruce Willis, Samuel L. Jackson, and James McAvoy.

The Internet is a panopticon for cheating. With millions of people in possession of millions of different knowledge bases killing time online, there’s always someone who makes note of even the most minute fast one and publicizes it for all to see. It was not too long ago that an attentive Reddit user noticed that a small snippet of B-roll from Spider-Man 3 had been recycled for the Life trailer. And now, in that proud tradition of eagle-eyed esoterica, the denizens of the Internet have identified Nikolaj Coster-Waldau and Dwayne Johnson as sharing a single body. (Unfortunately, not in a Split-type situation, but still.)

Though Michael B. Jordan was the breakout star of Creed as Apollo Creed’s rip-snorting fighter son Adonis, Sylvester Stallone got the best material (and the Oscar nomination). His arc saw aging boxer Rocky Balboa coping with non-Hodgkin’s lymphoma, mourning the loss of his friends and loved ones, and ultimately confronting his own mortality. It was meaty stuff, ending on a note of hope and rehabilitation as Rocky scaled the famed Philly steps once again, a bit worse for wear but still tough as nails. Stallone recently spoke out about his plans for the character in the impending Creed sequel, and with Rocky’s health back on the upswing, it looks like the Italian Stallion may have some fight left in him.

Just yesterday, we noted the release of a new trailer for the upcoming re-adaptation of Stephen King’s seminal killer-clown novel It. Things seemed pretty normal, at first brush: terrified kids, children’s entertainer straight out of your worst nightmares, eerie red balloon, the whole nine yards. But sharp-eyed viewers have now noted a little Easter egg squirreled away for a split-second in one shot near the end of the trailer. Don’t blink or you’ll miss it, “it” referring in this instance to “IT.”

The Hollywood Reporter recently unearthed a vintage interview with comics giant Stan Lee from back in 1977, and on the occasion of Spider-Man: Homecoming’s release, they’ve decided to share some of its contents with the public. And if I may editorialize for a moment, it’s the single most relatable, humanizing media appearance the famously camera-friendly Lee has ever done. Because the unearthed truth of this Q&A is that Stan Lee did exactly what I would do — what any of us would do, really — if I was the head of Marvel Comics during the ‘70s: mess with DC all the time.

Christopher Nolan doesn’t do small movies — if he’s going to mount a war picture, you can bet it’s gonna be one of the biggest (and priciest!) to date. He’s seemingly spared no expense for his new film Dunkirk, reportedly corralling thousands of extras, destroying vintage planes, and dominating the land, sea, and air all for a grand new vision of combat. And in order to fully convey the enormity of his ambitions, Nolan went all-in and mounted his production on 70 millimeter film. For laymen, that means he used a larger film strip while shooting to capture more brilliant colors, richer sound, and a greater sharpness of detail. For those who don’t give a hoot, it means this film will rattle your bones.

It’s finally July, and more importantly, the month in which Valerian and the City of A Thousand Planets comes out. The most generously-budgeted indie film to ever come out of Europe, with control in the grip of confirmed madman Luc Besson, it’s bound to be a spectacle of one sort or another. (Though it’s all but doomed to be crushed at the box office by Dunkirk, which arrives the same day.) And in an attempt to drum up some more excitement for the upcoming unveiling, distributor STX has set up a preview that audiences can’t help but attend.

If you’ve made use of the internet in the past week, then you may very well be aware of a recent personnel change-up on the set of the gestating Han Solo spinoff film. Original directors Phil Lord and Chris Miller are out, Ron Howard’s in, but as with most showbiz behind-the-scenes drama, the details have been kept under wraps. That is, until The Hollywood Reporter ran an illuminating new item this morning, getting the dish on what really drove the two filmmakers away from this project. The catch-all code word of “creative differences” does not even come close to doing justice to the antipathy between the Lord-Miller brain trust and Lucasfilm.

And now, the story of a big studio movie that lost its creative team, and the one director who had no choice but to keep it all together — it’s Han Solo’s re-hiring process.

After months stretching into years of personnel changes, rewrites, unceremonious departures, rumors, hearsay, and scuttlebutt, World War Z’s long-delayed sequel may finally be good to go. Paramount’s been on the hunt for a director for some time now after the original film’s helmer Marc Forster chucked up the proverbial deuce back in 2013. Industry types have bandied about David Fincher’s name as the most probable replacement, and a big lead feature about newly crowned Paramount head Jim Gianopulos in The Hollywood Reporter confirmed that Fincher’s in, this is real, and it’s all happening. In the parlance of Entourage, “David Fincher’s doing the movie!”

Here’s how thoroughly Batman’s influence has permeated the mainstream: he’s claimed tacit ownership of the very notion of shining a light into the sky. The Bat-Signal, introduced in the comics as Gotham City’s method of summoning the Dark Knight, has been endlessly parodied in the annals of pop-culture — just earlier this month, the poster for Captain Underpants paid homage to the iconic (a word I mean here literally, and not in the ‘a photo of the Kardashians’ sense) design of the skyward spotlight. And all too appropriately, the Bat-Signal will now be used to give one former Batman, the dearly departed Adam West, a proper send-off.

Paul Verhoeven’s Starship Troopers remains one of the truest stealth triumphs of ’90s cinema, an open-palmed slap to the face of the military-industrial complex in the guise of a rough and tumble sci-fi shoot-’em-up. Ever the cultural subversive, Verhoeven mocked the spirit of jingoistic patriotism that motivates American warfare overseas and tricked 121 million dollars’ worth of us into watching him do it. And after twenty years, in a time that has made satire a high-wire balancing act between exaggerated fiction and our insane reality, the film will return to the cultural conversation with a sequel. Which will be a cartoon.

Rick Moranis: the guy Woody Allen calls a nebbish, a nervously tittering lead of family films (he lit up millennial living rooms with his Honey, I... trilogy) and bluer comedic works (Ghostbusters, Little Shop of Horrors, Spaceballs) alike. He was everywhere in the ’80s, but took an eminently understandable hiatus from acting beginning in the ’90s after his wife Ann succumbed to breast cancer. He did a noble and difficult thing by focusing all his energies on dutifully raising his motherless children, turning his back on fame and his public. Though he’s still taken the occasional job — he gave his kids something to love by contributing voice work to Brother Bear — he’s shied away from highly visible gigs. Until now!