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One of the Best International Films of the Year Might Be Streaming Soon

By Rachel Ulatowski Dec 12th
‘May December’ Is a Tangled Web of Deceit—and It Leaves Some Questions Unanswered

By Julia Glassman Dec 12th
The Most Interesting ‘Dune: Part Two’ Character Has Yet To Be Revealed

By D.R. Medlen Dec 12th
Zachary Levi’s Sean Gunn Comments Don’t Make a Lot of Sense

By Rachel Leishman Dec 12th
You Don’t Get To Be the Number 1 Movie on Netflix Without Causing a Little Controversy

By D.R. Medlen Dec 12th
Silence! There’s a New ‘Dune: Part Two’ Trailer

By Siobhan Ball and The Mary Sue Staff Dec 12th
Bust Out the Marmalade! ‘Paddington: The Musical’ Is on the Way

By Beverly Jenkins Dec 12th
Save the Date: ‘Saw XI’ Is Officially on the Way

By Britt Hayes Dec 12th
Millie Bobby Brown Battles a Dragon in Netflix’s ‘Damsel’

By The Mary Sue Staff and Brooke Pollock Dec 12th
Hayao Miyazaki Finally Gains No. 1 Status at the U.S. Box Office With ‘The Boy and the Heron’

By Laura Pollacco Dec 12th
‘The Iron Claw’s Powerful Performances Bring a True Tragedy to Life

By Lauren Coates Dec 12th
‘Oppenheimer’ Is Not on the Oscars Visual Effects Shortlist, and People Are Big Mad

By Michael Dawson Dec 12th
How ‘Leave The World Behind’ Pays Homage to Some Iconic Masters of Suspense

By Beverly Jenkins Dec 11th
Why Are Modern Movie Musicals Ashamed To Be Musicals?

By Julia Delbel Dec 11th
Matthew Modine Deserves More Praise for His Work in ‘Oppenheimer’

By Rachel Leishman Dec 11th
How Faithful Is ‘Leave the World Behind’ to the Novel and Its Ending?

By Beverly Jenkins Dec 11th
‘The Zone of Interest’ Is a Must-See Study of Evil

By Julia Glassman Dec 11th
Cillian Murphy Hating Talking About Acting Is Relatable

By Rachel Leishman Dec 11th
‘The Boy and the Heron’ Is a Visual Feast With a Deeply Personal Emotional Core

By Lauren Coates Dec 11th
Unpacking ‘The Boy and the Heron’s Ending

By Kate Delany Dec 11th