Hollywood isn’t all glamour. It’s thousands of line workers. A Paramount takeover of Warner will make their lives more precarious. Billionaires usually get what they want. They get the government they want, so long as they make the right donations.
Two indie horror movies with YouTube origins, Obsession and Backrooms, crushed big-budget Star Wars and He-Man movies at the box office. But claims that these films represent a revival of cinematic creativity à la the New Hollywood era are overblown.
Criterion Channel is hosting a retrospective on Hollywood’s “corporate thrillers” from the 1980s through the early 2000s. If anything, their message about the capitalist rot in America’s institutions looks far too tame for how the last couple of deca
Paramount’s purchase of Warner Bros. would be a huge blow to filmmakers and film lovers alike.
Jonah Hill’s new Apple TV Hollywood satire, Outcome, wants to skewer celebrity culture. But even with the likable Keanu Reeves, its muddled script and self‑pitying subtext reveal more about the industry’s narcissism than the film ever intended.
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Noah Baumbach and George Clooney’s Jay Kelly is a Netflix dramedy about the death of Hollywood stardom and the theatrical experience. Ironically, with Netflix’s acquisition of Warner Bros., the call is definitely coming from inside the house.
A combination of the breakdown of the Hollywood studio system, the decline of censorship, and the rise of wildly — and luridly — creative filmmakers across the world looking to cash in on sex and violence made 1960 the year of the modern horror film.
On Wednesday, over 550 celebrities relaunched a group first organized during the post-World War II Red Scare: the Committee for the First Amendment. Their intent is to stand up in what they call a "defense of our constitutional rights,"
The announcement comes almost two years after the fund was touted as a major win in the 2023 strike-ending contract and includes provisions for background actors, stunt riggers and stand-ins.
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