Just a little random movie trivia, it was kind of tough to think of one off the top of my head tbh. Almost every big movie has some kind of romantic interest or relationship

Puck’s Matt Belloni is shedding new light on the Paul Mescal situation surrounding Ridley Scott’s “The Dog Stars,” which opened to just $7.7M. And the budget, according to Belloni, is — as suspected — much higher than the trades led us to believe: $89M.

Mescal was originally attached to star in “The Dog Stars,” only to be replaced by Jacob Elordi at the last minute. His team blamed “scheduling conflicts” with Sam Mendes’ upcoming Beatles films, but that explanation has been disputed, and Belloni hints that it’s bollocks.

According to people close to “The Dog Stars,” Scott was reportedly unhappy with Mescal following “Gladiator II” and felt the actor wasn’t “masculine enough” for the role in that movie.

I’ve seen plenty of 60,70s,90s movies but not 80s movies for whatever reason. I saw the Thing a few months ago and it was really cool and disgusting lol. What else should I check out?

the drama is honestly one of the best-edited films i’ve seen this year. the editing feels so provocative and does a great job of selling the discomfort, while Daniel Pemberton’s score keeps the movie engaging throughout and the cinematography is just pure eye candy. but after sitting with the movie for a few days, the big reveal made me realize that this isn’t really a two-hander as much as it is Robert Pattinson’s story, especially after that point. at first, i was hesitant about how Borgli and the screenplay handled the reveal because what it deals with is one of the most disturbing things imaginable, and i wanted more care and nuance around it. but i don’t think Borgli was ever trying to make a straight drama about that issue. this is more of a romantic dark cringe comedy about these two people, their messy relationship, and how they continue living their lives after everything comes out. the movie never treats the reveal itself as a joke, and the comedy feels intentional rather than careless. more than anything, the movie seems interested in the idea of second chances, which comes through Emma giving Charlie another chance after he completely fumbles their first meeting, and then again later at the diner. after thinking about it more, the drama feels less interested in dissecting the larger issue and more interested in asking whether we should judge an entire person only by how they behaved during the worst period of their life.

I completely forgot Pratt was in the movie Wanted until I rewatched recently. I remember him from Parks & Rec but even from there, surprised he became into a big action star. McAvoy was a surprise as well but he had been acting for a bit longer by that time.

Minority Report (2002)

The Iron Giant, enough said.

I implore anyone who hasn’t experienced this cinematic masterpiece to do so, it is timeless media.

Genuinely confused at all the hate I’m seeing for this movie. I read non spoiler style reviews before going in opening day and had really low expectations, by the time I left the theater I was extremely thrown off.

The movie was genuinely fun, there was 2-3 plot points you could pick on for not making sense or being too extreme but I had enough fun that I was willing to look past those points. The film definitely was a slow burn for the first 20-30 minutes but I was also ok with that. Every movie cannot have the same tone and vibe. The set design was great, the acting was solid enough, the music fit the film perfectly and the story itself was a nice little fun ride. Maybe the book was incredible and that made it hard for the film to succeed how it should have.

Bottom line. Very shocked at how badly this movie has been received, I think if people give it a fair chance it’s enjoyable. FWIW I’m not a big zombie/end of the world type of movie fan so maybe this film is derivative for fans of those kinds of genres. For me it did its job and did it well.

Nolan's use of time is probably more masterful here than in any of his other films. Dunkirk follows 3 diff timelines from land, sea and air and the way all 3 slowly come together by the end is just truly incredible. pulling something like that off is a real filmmaking achievement. on a rewatch i think this might honestly be nolan's best directed film. its an absolute technical juggernaut. hoyte van hoytema's cinematography is incredibly immersive, the sound design pulls you completely into the movie as the tension is so amazingly soaked in. and the editing is phenomenal, especially in the 3rd act. very few films look and sound this good. every technical element works together so perfectly that it's hard not to be completely absorbed by it. its easily one of the most technically impressive films ive ever seen.

I love all four of the movies above, but my pick would be The Silence of the Lambs.

Many of Shane Black’s scripts have become cult classics, including The Monster Squad (1987), The Last Boy Scout (1991), Last Action Hero (1993), his 2005 neo-noir classic Kiss Kiss Bang Bang (also his directorial debut), and my favorite Shane Black film to date, The Nice Guys (2016). It’s largely because his films have a distinctive personality, combining dysfunctional characters, sharp dialogue, irreverent humor, genre-blending plots, memorable buddy dynamics, and tremendous rewatchability—qualities that have helped many of them develop devoted cult followings over time.

Check out the full review here

I started watching it in such a bad situation. My mental health was fucked, honestly, my overall health was fucked.
I cried and laughed so much with it and it kind hurt/comforted me.
It’s the first movie featuring Ryan Gosling that I liked. Aka Loved.

Tommy in Goodfellas or Nicky in Casino, some may say it’s a similar role, you can only choose one, go!

I SAID, I'M GONNA BE SOMEBODY! I'M GONNA MAKE MY STAND!

You know the song, the iconic end credits song of Police Academy.

Police Academy did exactly what my thread title said despite being among the lowest rated movies in history (by critics) and it went on to spawn over half a dozen sequels, becoming one of the longest movie franchises ever, spanning multiple decades. The sequels were hit or miss but they also have many fans that have given them a bit of a cult following. Mahoney, Hightower, and Michael Winslow created iconic beloved characters, making the most of a thin script and likely improvising the best parts. The whole cast of especially the first one was great, I even liked the police chief because he would always call everyone dirtbags and his delivery was great. The hot blonde police lady was also a badass who put all the weak dudes in their place. This movie legitimately was epic, I don't want to spoil what happens in the end for those who haven't seen it, but it goes in a direction I didn't expect, expanding its scope and scale for one of the most unforgettable and satisfying finales I've ever seen to a comedy, with a bit of social commentary thrown in for good measure, as well as plenty of action. This movie shows that critics aren't the final or leading voice on what movies become classics. Look at The Shining and 2001: A Space Odyssey, two of the greatest movies of all time, panned by critics on release. A Clockwork Orange, cmon, the list just goes on. I watched them all because I love these actors and the characters they portray, the feel like family even if you only see the first one. This is movie magic, baby, no critic can tell me what I can and cannot like. Police Academy 4 life!

Iconic theme song too, absolute classic.

Watched it randomly and didn’t know much about the actors, but they all did a great job. I really loved the motorbike journey.

I organized an AMA/Q&A with actress Jodie Comer. You may know her from fantastic roles in things like Killing Eve, The Last Duel, 28 Years Later, The Bikeriders, Free Guy.

It's live here now in r/movies for anyone interested in asking a question:

https://www.reddit.com/r/movies/comments/1w4bbu1/hi_rmovies_jodie_comer_here_with_michael_sarnoski/

She will be back at 12 PM ET tomorrow (Wednesday 9/2) to answer questions. I recommend asking in advance. Please ask there, not here. All questions are much appreciated!

Thank you :)

Her newest film, The Death of Robin Hood, is out in UK theaters on September 2. It co-stars Hugh Jackman and is directed by Michael Sarnoski (Pig).

Trailer: https://www.youtube.com/watch?v=tlSDDuWxO_0&themeRefresh=1

Recently, I saw a clip from Eden Lake after so many years and realized Jack O’Connell was in it. He played that vicious character brilliantly. Then I remembered that he was the main villain in Sinners too. What a great journey for him, and he’s truly earned it.

Which of his performances first caught your attention?

Again I truly loved it, seeing it go from retro to CGI was impeccable. The Return of Flynn and his son trying to escape the Grid!

And Lets not forget... DAFT PUNK MADE THE SCORE 1000/10 on just the score

I launched my browser game Movie Game a couple of weeks now and just wanted to share it with fellow movie enthusiasts for feedback!

Its not trivia or a guessing game, you simply have to make three fictional movies by casting real actors from real films which are randomly rolled. You work with what you get basically, and then you have to try and beat the critic score and box office targets!

No ads or accounts or anything like that.

All comments welcome, I hope you enjoy it!

Enjoying him in Runaway Bride. Larry Miller.

I loved GoNY. It lost it’s major categories to The Pianist and Chicago that year. Seems like a shame to me. What’s your best example of tragedy at the Academy?

For me it was Mike Myers and Beyonce. They had zero chemistry in this movie. What’s yours?

I've realized that I don't necessarily have a problem with long movie. Some can hold my attention for hours, while others feel too long even when their runtime is much shorter. For me, the difference seems to be whether every scene adds something meaningful to the story, characters, or atmosphere. What makes a movie feel unnecessarily long to you? Is it pacing, editing, unnecessary scenes, or something else?

I've never seen an episode of Anthony Bourdain's series or read his book, but lack of familiarity with the subject proved no detriment to enjoying "Tony," which is another excellent movie in what has turned into a rather remarkable year for cinema. Dominc Sessa, Emilia Jones, Leo Woodall and Antonio Banderas all deliver strong performances in what could have been a very familiar sort of biopic but instead turns into a sort of meditation on how we discover our lives. In a strong year, I think it's among the best of 2026.

My rating: ***** of *****

What about you? Did you find "Tony" a rich and rewarding cinematic meal, or did you want to send it back to the kitchen?

You can read my FULL review after the poster image below or, if you'd like, on my blog at: https://thereinthedark.blogspot.com/2026/09/tony.html

An unusually strong year for movies continues with Tony, a highly fictionalized account of Anthony Bourdain's formative years before he dropped out of Vassar to attend the Culinary Institute of America. Tony could easily have turned into hagiography or, worse, perhaps, into a boring recitation of facts, but instead manages to become one of the most surprising and best movies of 2026.

Tony begins with a telling quote from Bourdain's own Kitchen Confidential: "I was — to be frank — a spoiled, miserable, narcissistic, self-destructive and thoughtless young lout, and badly in need of a good ass-kicking."

The promise of that title card may seem a big promise to fulfill, and a challenging one. The movie, directed by Matt Johnson, rises to that challenge by presenting us with teenaged Tony Bourdain played by Dominic Sessa (The Holdovers) as every bit as narcissistic and thoughtless as the real Bourdain suggested. 

He's remarkably confident, as maybe a lot of intelligent 19-year-olds are, and despite all evidence to the contrary, he is certain he is going to be the recipient of a novel-writing fellowship. When he doesn't, he steals from his parents and runs off to Provincetown, where he plans to find and woo a girl who wants nothing to do with him.

But crude, loud-mouthed Tony doesn't get much of a welcome in Cape Cod, and it's not long before he's sporting a black eye, broke and stuck. It's here that the unexpected theme of Tony kicks in, and it's got nothing to do with believing in yourself, or making your own way, or having courage — there's something deeper and richer at play.

On one level, Tony watches a young man discover who he is going to become, through a series of incidents that seems both natural and implausible — much like life is for many of us. Tony winds up a dishwasher in a local seafood joint that most people write off as a kind of fast food. It's run by a chef (Antonio Banderas), who would not like Tony much if he thought about him at all, which he doesn't. One of Tony's co-workers is Sal (Leo Woodall), who's no good for anyone, but he's magnetic and cheerful and impossible to resist. And slowly, that girl, Nancy (Emilia Jones) takes notice of Tony.

Little by little, life begins to happen to Tony, and the movie embraces — openly and sweetly — its central thesis: that "providence" is real, that if you look closely, what's happening to you isn't just what's happening to you, but is your life taking shape.

As someone who has never seen an episode of Bourdain's shows or read Kitchen Confidential, I walked into Tony with no awareness at all of its subject, intrigued only by a confident trailer. Though it could so easily have been, this isn't a move made only for Bourdain's fans. It is, in the best possible way, the "buildings-roman," as over-confident Tony repeatedly mispronounces bildungsroman. It's a coming-of-age story that happens to be about someone who became famous and wealthy — but the film, to its credit, never once mentions that.

It succeeds on the strength of its four remarkable central performances — Sessa, Woodall, Jones and Banderas, each of whom creates a rich and vibrant character, the kind of people you can imagine having full and interesting lives when they aren't on camera. Director Johnson, working from a screenplay he wrote with Matthew Miller, Todd Bartels and Lou Howe, finds real joy in his storytelling, even in its darker moments.

In Tony, he's taken the ingredients of a movie that could have been obvious, rote and endlessly reverential to its subject and instead created a rich and varied repast that's unexpectedly warm, satisfying and nourishing.

The End of Oak Street was pure 1982 Spielberg. Disclosure Day was pure 2026 dreck.