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.

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

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 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.

Minority Report (2002)

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’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?

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

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.

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.

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?

The Iron Giant, enough said.

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

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

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

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?

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.

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?

Rating: 8/10

Watched: September 1, 2026

This is my second time watching this movie, and the first time, the experience was pretty terrible. I'd rented it on VHS somewhere in the mid-to-late 80s and all I can honestly remember was that most of it was in total darkness.

The version I watched today is the 50th Anniversary restored edition, and let me tell you: the restoration is quite literally night and day. It's a general peeve of mine when directors choose darkness as 'ambiance' over storytelling, but that was never the case here.

So let's get to the movie itself.

It's a LOT funnier than I was expecting. All five of those teenagers are honest-to-gosh idiots, with Franklin being one of the most ridiculous people I've ever seen in a movie. He's cranky, he's mean-spirited, he's got a weird obsession with knives that his friends are surprisingly okay with and he throws temper tantrums when he's having a bad time.

One of the things I like to wonder about when I'm watching a movie like Texas Chainsaw Massacre is how long I'd put up with weird shit before calling it quits.

In this instance, it's incredibly likely I wouldn't even go on the trip if Franklin was present. There's no way that how he is in the movie is a new thing to anyone else. I'd rather not go if a major buzzkill like Franklin was in the car.

If for some reason Franklin was actually a sweet and reasonable fella before this and it's just the pressures of being handicapped on the road, the very next thing that'd have me quit the trip is the hitchhiker. THAT guy was very obviously completely deranged that he really should've been kicked out of the back of the van while it was still in motion, and that was BEFORE he decided to cut open his hand.

One of the more interesting things about this movie is that the world was smaller back then, so the simple act of walking up to and going inside someone else's crazy old haunted Murder Mansion probably didn't seem like a big deal. It's not the world was any less dangerous, it was that it just didn't seem that way. Need gas? I'm going to go on up and ask for some help. Wall of Mounted, Stuffed Heads and Skulls?

This is the Deep South. Probably just a taxidermy enthusiast.

Even though this really is only my second time seeing it, I've seen a lot of horror movies and I'll say this about Tobe Hooper's Texas Chainsaw Massacre: Obviously made on a small budget, it's clear to see why it inspired so many sequels and reboots AND why it influenced so many other horror movies.

Because it's a bloody good time. By the time Leatherface makes his terrifying appearance and things turn nasty, we're prepped and ready to be terrified and grossed out until the last frame. With Sally as The Final Girl, trapped in Backwater Nowhere, being hunted by Leatherface and trusting the absolute wrong person, we get a full, final look at the inescapability that truly would be a family of hillbilly cannibal crazies living in plain sight.

Like a lot of older horror movies, Texas Chain Saw Massacre walked so other movies could run, and that's saying a lot. Sadly, because I've seen so many horror movies, I didn't find this one terribly scary, but what I DID find it was UNSETTLING. There's a rawness to it that earns it's 8/10 from me.

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

I organized an AMA/Q&A with director and screenwriter Michael Sarnoski. He wrote and directed Pig (starring Nicolas Cage), A Quiet Place: Day One, and most recently The Death of Robin Hood (starring Hugh Jackman and Jodie Comer, out in UK theaters this week).

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/

He will be back at 12 PM ET tomorrow (Wednesday 9/2) to answer questions. He is joined by the The Death of Robin Hood co-star Jodie Comer. I recommend asking in advance. Please ask there, not here. All questions are much appreciated!

Synopsis: Grappling with his violent past, Robin Hood finds himself gravely injured after a battle that he thought would be his last. He soon gets a chance at salvation when he meets a mysterious woman and a young girl.

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

Thank you :)

It’s with the franchise's prequel entries that Insidious: Out of the Further finds its inspiration.  If this movie’s intended as a guide for what the franchise will do moving forward, the sequels will take the form of a “demon of the week” episode.  New faces will encounter demons, venture into the Further and meet Elise, who pops-up like a supernatural Columbo to explain things.  Becoming an anthology would certainly keep things from growing stale, but is risky given that there would be no returning Unkillable Evil Being, as is the case with other horror franchises.

In terms of the movie itself, it liberally applies the earmarks of Insidious franchise, namely grotesque demons providing the jump-scares, spooky scenes set within the Further and Elise coming to the rescue. Even though those things have grown increasingly familiar, they still work on me.  I’m in the same category as those hardcore Friday the 13th or Saw fans who know exactly what’s coming and still look forward to it.

While this franchise has gone on autopilot before (see the third and fourth entries), Out of the Further avoids that trap and instead tweaks the recipe.  Unlike the previous entries, which all involved a demon using a person as a host, this demon’s plan is much bigger in scope.  What a traveler can do within the Further also gets a makeover.  Additionally, the plot wisely withholds several key pieces of information until the last act, which resulted in several surprising twists I didn’t see coming.  For the sixth go-around in this franchise, extending the lore was the right call.

Amelia Eve is an effective scream queen, but she shines in the non-scary moments.  As Gemma, she evokes Naomi Watts’ wounded soulfulness and Leslie Mann’s slyness, with a hint of Kate McKinnon’s quirky delivery.  Her dramatic acting skills made the little moments between Gemma and her daughter unexpectedly touching, and I sympathized with Gemma while witnessing her downward spiral.  Actresses are often hailed for their big performances in horror movies, but Eve’s stands out for its emphasis on texture and personality.

Incredibly, Lin Shaye’s Elise has become the hero and face of this franchise.  James Wan hit on something special when he created this shawl-wearing grandmother who takes on demons.  As far as horror movies go, Elise is both incongruous and slightly ridiculous, but Shaye sells her character with the right amount of seriousness and sincerity that I totally believe in her.  The rest of the cast is fine, but the standout is Sam Spruell’s demonic cult leader Cyrus Lam.  Marilyn Manson should sue him for copyright infringement.

I’ve been praising writer-director Jacob Chase’s underrated previous feature film Come Play for years, and it’s nice to see him get another crack at theatrical horror.  While his use of the typical ghost story elements–ominous shadows and creaky noises–is effective, what he does with the Insidious formula impressed me.  He’s not a visual stylist at James Wan’s level, but he knows how to stage a scary scene and has several in here that had me on edge.  (Couch cushion fort, anyone?)  He’s also very comfortable turning up the “ick factor”, to a point where I wouldn't recommend eating during the movie.

The creepy beat goes on with Insidious: Out of the Further, the latest entry in the franchise that takes things in a new, episodic direction.  The movie plays the hits while tweaking them in ways that held my interest, and Amelia Eve’s performance is quite good.  Recommended.

More here: https://detroitcineaste.net/2026/09/01/insidious-out-of-the-further-movie-review-analysis-alicia-eve-lin-shaye/

I organized an AMA/Q&A with actor Andrew Scott. He is known for countless memorable roles in films, TV, and on the stage, including: WAKE UP DEAD MAN, FLEABAG, RIPLEY, ALL OF US STRANGERS, SPECTRE, DENIAL, 1917, and BLUE MOON.

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

https://www.reddit.com/r/movies/comments/1w492dn/hello_reddit_im_andrew_scott_ama/

He will be back at around 2 PM ET today to answer questions. I recommend asking in advance. Please ask there, not here. All questions are much appreciated!

Thank you :)

His new film, a WW2 drama based on a true story, Pressure, was out in US theaters earlier this year and is hitting UK cinemas next week. It also stars Brandon Fraser, Kerry Condon, Damian Lewis, and Chris Messina.

Trailer: https://www.youtube.com/watch?v=eYa8N3R2cZw

Synopsis: The fate of the free world hangs in the balance as Gen. Dwight D. Eisenhower and Capt. James Stagg face an impossible choice -- launch the D-Day invasion or risk losing World War II altogether.

This film follows a left-leaning family that slowly comes apart as an authoritarian movement takes hold across the US. The catalyst is Liz, the son's girlfriend, a radical who's anti-democracy and becomes one of the architects of the new regime.

What makes it work is how intelligently it shows true colours of people and relationships. Some quietly shift their beliefs because it's convenient for their career, others martyr themselves for what they believe, and most just try to keep the peace at family gatherings until keeping the peace is the thing that lets everything fall apart.

Given what's happening across the world right now, this doesn't feel like speculative fiction. It feels like a mirror. Everyone should watch this not just for the politics, but as a warning about how much damage "let's not talk about it at dinner" can quietly do.