Andy Muschietti’s The Flash is a movie with real heart — but every time the conversation comes up, he can’t stop defending the one part everyone knows failed: the visuals. No one doubts his passion or the performances that carried the film, but the CGI was a mess then, and it’s even harder to ignore now. Pride’s one thing. Denial’s another.

OpenAI’s Sora 2 isn’t a creative breakthrough—it’s a calculated flood. By releasing an endless stream of copyright-blurring AI videos, the company isn’t challenging Hollywood’s rules so much as burying them. The strategy is simple: overwhelm the system, exhaust enforcement, and redefine ownership by default.

Hideo Kojima, the man who once warned us about the dangers of algorithmic control, now calls artificial intelligence a “friend.” It’s not a sellout—it’s evolution. In a year when Hollywood’s fear of AI is finally cooling, Kojima’s new stance signals that the conversation has moved beyond panic. He’s not rejecting the future; he’s learning how to shape it.

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Drew Struzan wasn’t just a movie poster artist — he was the brush behind our imagination. From Star Wars to Indiana Jones, Back to the Future, and The Thing, his work captured the heart of adventure and defined what movie magic looked like for generations. His passing marks the end of an era when posters were more than promotion — they were portals to our dreams.

James Gunn has built his brand on being the straight-talking, fan-friendly filmmaker who tells it like it is. But after the Peacemaker finale and his constant attempts to control the DCU narrative, that honesty is starting to look more like ego. He’s overhyping, underdelivering, and arguing with fans when he should be letting the work speak for itself. The best thing James Gunn could do right now? Stop talking.

Hollywood’s latest experiment is an AI “actress” named Tilly Norwood — hyped as the first digital starlet who could rival human talent. But beyond the headlines, her résumé is a two-minute sketch with six words of dialogue. AI has a future in film, especially in VFX, but right now Tilly looks less like a breakthrough and more like a pitch designed to impress investors.

ABC’s decision to pull Jimmy Kimmel Live! indefinitely isn’t about “standards” or “sensitivity.” It’s about power. It’s about Donald Trump’s fragile ego, corporate greed, and a media empire that would rather protect mergers than defend free speech. Jimmy Kimmel didn’t celebrate Charlie Kirk’s death—he did what he’s been doing since 2015: calling out MAGA hypocrisy. For that, he’s been gagged. And ABC, Disney, Nexstar, and Sinclair all rolled over without a fight.

Matt Reeves is busy expanding his Gotham empire with The Batman Part II, The Penguin season two, and more villain spinoffs. James Gunn insists it’ll never touch the DCU, but the math doesn’t add up. Audiences want clarity, executives want streamlining, and Gunn already cracked the multiverse door with Peacemaker. Sooner or later, these worlds are colliding — the only question is whether it happens on Reeves’ and Gunn’s terms, or in a boardroom mandate.

Ryan Coogler’s Sinners is being sold as a horror film, but let’s not kid ourselves — it isn’t. Horror is supposed to terrify, to drip with dread, to make you feel unsafe. Sinners never gets there. The vampires are polite, the finale swerves into a Tarantino-style shootout with the KKK, and along the way the script spends more time joking about oral sex than it does building fear. Domestically, it’s a box office hit with nearly $280 million, but overseas it fizzled. Because here’s the truth: Sinners isn’t horror. It’s a gothic-flavored drama that mistakes style and sex talk for scares.

Hollywood keeps trying to manufacture “event” blockbusters out of every superhero and legacy sequel, and audiences have stopped buying it. Meanwhile, horror and anime—once treated as niche curiosities—are packing theaters with genuine urgency. The Conjuring: Last Rites and Demon Slayer: Infinity Castle prove it: smaller budgets, passionate fans, and cultural moments that feel worth showing up for. Horror has the staying power, anime has the spectacle, and together they might just be the real lifeline for theaters.

Comedy Central pulled South Park’s “Got a Nut” after Charlie Kirk’s assassination, but the move wasn’t about respect. Kirk laughed at the parody. He embraced it. The network killed it anyway—out of fear of Trump, fear of backlash, and fear of jeopardizing a merger. In the end, Kirk could take the joke. Comedy Central couldn’t.

Hollywood just spent $3 million on a Harry Potter fanfic dressed up as an “original” novel, while Warner Bros. is busy rebooting Potter with J.K. Rowling baggage and casting controversies. Alchemised might be a rebranded Dramione fic, but it’s got the hype, the BookTok backing, and now the big-screen deal to prove fandom has officially eaten the industry alive.

Warner Bros. used to be the crown jewel of Hollywood. Now it’s a pawn, up for sale yet again—this time to Paramount Skydance, backed by Larry Ellison’s bottomless fortune. David Zaslav swore he’d turned things around after years of chaos, and 2025 has been one of Warner’s best theatrical years in a decade. But instead of a comeback, it’s just another sales pitch. Warner Bros. isn’t a studio anymore. It’s an asset.

The Fast & Furious saga has pulled off tanks, skyscraper jumps, and billion-dollar heists. But when F9 strapped a Pontiac to a rocket and went to space, the franchise finally hit a wall. Even Universal’s Donna Langley now admits it was a misstep. With Fast X: Part 2 aiming to return to Los Angeles and its street-racing roots, the question is simple: can the finale bring this $7 billion beast back down to Earth?

Piracy was on the verge of extinction until streaming services got greedy. With HBO Max raising prices and deleting shows, audiences are rediscovering the high seas — not out of rebellion, but out of self-defense.

The Wizard of Oz is pulling in $2 million a day at Las Vegas’s Sphere, turning an 86-year-old movie into the year’s most profitable “blockbuster.” With $200 tickets, 16K screens, and 4D effects, it’s less film revival than spectacle—and it may reshape how Hollywood thinks about the big screen.

Critterz isn’t a threat to art — it’s proof that the tools don’t matter as much as the story you tell. Made in nine months with a $30 million budget, this AI-powered animated feature could be the Toy Story moment of our time. Don’t fear AI in film. Embrace it, because when it works, it proves the only thing that matters is whether a story makes you feel something.

David F. Sandberg gave us Lights Out and Annabelle: Creation, proving he’s one of the most inventive horror directors of the last decade. So why is Hollywood sticking him with yet another Amityville Horror remake? With over sixty versions already floating around, the haunted-house brand should’ve been laid to rest years ago. Instead, Sandberg’s stuck in director jail, punished for studio failures he didn’t cause, while Hollywood keeps chasing IP instead of originality.

Superman 2025 made smarter money moves, but Man of Steel still stands taller in the long run. Profit margins may win a battle, but home video, licensing, and timing made Snyder’s film the real financial heavyweight.

The Conjuring universe has raked in billions by selling itself as “based on a true story.” But when a 2017 report exposed disturbing allegations about Ed and Lorraine Warren—the very couple the franchise is built on—Hollywood shrugged and kept the money machine rolling. Twelve years, eight films, and one ugly truth buried under box office receipts.

Greg Cipes claims Warner Bros. fired him on Valentine’s Day 2025 after revealing his Parkinson’s diagnosis, sparking a tidal wave of fan outrage online. But the story doesn’t quite line up. Since then he’s posted about recording Teen Titans Go! Season 10 and even credited Sam Register with being supportive. Between the timeline contradictions, the COVID claims, and the internet’s need for a villain, the truth looks a lot messier than the headlines suggest.

The Wizard of Oz at the Las Vegas Sphere isn’t just a movie—it’s an AI-powered spectacle that’s dividing critics and thrilling audiences. With 16K visuals, 4D effects, and record-breaking ticket sales, this reimagined classic might be the future of cinema—or at least the first messy draft of it.

Physical media is making a comeback, and streaming services have no one to blame but themselves. From Blu-rays to VHS, collectors are embracing the joy of owning a film outright — no licenses, no disappearing titles. And if you know where to look, like the Arrow Video sale, you can build a killer collection without paying scalper prices… assuming you can stop at just one.

John Boyega says he imagined Finn’s Star Wars journey as a Force-sensitive arc that would eventually put him in direct conflict with Rey — an Obi-Wan/Anakin-style rivalry. Instead, the sequels left Finn stranded in narrative limbo, with hints at Force powers but no real payoff. Boyega’s vision could have given the trilogy one of its most compelling storylines.