You might compare Red One's oversized budget to its opening weekend box office haul and assume the film is a huge flop, but the truth is more complicated.
Sean Baker, the writer/director of Anora, has some advice for Hollywood about how to create authentic representation for marginalized groups on screen.
Tom Cruise reportedly wants to make a follow-up to 1990's Days of Thunder, but the novelty of NASCAR driving on the big screen has long since disappeared.
Jac Schaeffer, the showrunner of Marvel's Agatha All Along, shares how a Christopher Nolan movie rewired her brain and changed her trajectory as an artist.
Star Wars Outlaws provides a template for Lucasfilm to potentially recapture the casual fans who have been turned off by the recent lore-obsessed TV shows.
On this episode of /Film Daily, we spoke with A Nightmare on Elm Street's Robert Englund & Heather Langenkamp about Wes Craven's vision for the horror classic.
Todd Phillips' Joker: Folie a Deux had a downright calamitous second weekend at the box office, dropping nearly 82% and breaking a record in the process.
Saturday Night director Jason Reitman and co-writer Gil Kenan are definitely keen on doing some kind of SNL sequel, maybe even several across different eras.
An emotionally devastating closing moment of Slow Horses season 4 wouldn't have happened without a season 3 scene where two actors overdelivered in a big way.
Joker 2 is not a DC Studios movie, which should help James Gunn and Peter Safran's plan to launch a fresh DC Universe without the baggage of this massive flop.
The director of Netflix's It's What's Inside once made a promo for the live-action Cowboy Bebop show, and it's bursting with the same creativity as the film.
Arguably the best horror movie of the past 25 years can be found lurking within another film. If you're familiar with Safe Haven, you know what we mean.
Acclaimed former stuntman Vic Armstrong tells us about his experience directing the opening future war sequence of Terminator 2 and fighting with James Cameron.
Alex Gibney tells us about directing HBO's two-part doc Wise Guy: David Chase and The Sopranos, including its fascinating recreation of the opening credits.
Beetlejuice has a twist that hasn't been revealed in marketing, and it makes for a surprising turn in the sequel's story that takes the movie to another level.