Neo Sora’s Japanese Film Finds a U.S. Home
“Happyend,” Neo Sora‘s sophisticated Japanese drama about teenagers fighting against techno-fascism in a not-too-far-from-our-own dystopian world, has found…
An alarming amount of us have tried to access weight loss drugs
New polling shows that demand for weight loss drugs is skyrocketing among under-35s, sparking concern among experts that…
Ethan Hawke, Richard Linklater Reunite
Richard Linklater and Ethan Hawke are up there with Martin Scorsese and De Niro, even Alfred Hitchcock and…
Jacob Elordi Transforms into ‘Gangly’ Monster
Guillermo del Toro’s highly-anticipated “Frankenstein” is being further hinted at with new images from the production, and this…
SDCC 2025: the best trailers and biggest announcements
Another San Diego Comic-Con has come and gone, and while there were no explosive reveals like last year’s…
Ann-Margret Tells Us She Endorses Lindsay Lohan to Play Her
In an interview on “Good Morning America” July 28, Jamie Lee Curtis — who has made many a-headline herself…
Warner Bros. Discovery is becoming Warner Bros. and Discovery again
Today, Warner Bros. Discovery announced that “Warner Bros.” and “Discovery Global” are the names of the two new…
Fans ‘Hounded’ Studio Until I Was Cast in ‘Hunger Games’
Sometimes studios just can’t fight the power of fan casting. In-demand star Elle Fanning recently confirmed that she…
Adam Sandler’s ‘Happy Gilmore 2′ pays tribute to Cameron Boyce
On Friday, Netflix released “Happy Gilmore 2,″ the highly anticipated sequel to the 1996 golf comedy “Happy Gilmore”…
Midnight Movie ‘Honeycomb’ (2022) Was Made for Summers — After Dark
On Friday nights, IndieWire After Dark honors fringe cinema in the streaming age with midnight movies from any moment in film history. First, the BAIT:…
Tea: Inside the new app where women anonymously review men
Modern dating is a minefield. In recent years, many straight women have sounded the alarm about the terrible…
Mike Figgis on Coppola’s Making of ‘Megalopolis’
‘Megadoc’ First Look: Mike Figgis on Coppola’s Making of ‘Megalopolis’
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