“It’s actually really nice to be here because it was another home for me. I had to appear as though I owned it — and I kind of did.” We brought Tim Curry back to the Roxy to chat about THE ROCKY HORROR PICTURE SHOW, now 50. @steveappleford.bsky.social has the story. www.latimes.com/entertainmen...

Spinning off from Thomas Pynchon's "Vineland," Paul Thomas Anderson’s "fun and fizzy adaptation views its Molotov cocktail as half-full," says our @theamynicholson.bsky.social in her review, a beautiful piece of writing. Make time for this one. www.latimes.com/entertainmen...

We strongly condemn the actions taken by Nexstar and Disney-ABC to pull JIMMY KIMMEL LIVE! off the air.

We strongly condemn the actions taken by Nexstar and Disney-ABC to pull JIMMY KIMMEL LIVE! off the air.

Sitting for his first solo interview about his new movie ONE BATTLE AFTER ANOTHER, director Paul Thomas Anderson chats with Glenn Whipp about fathers, daughters and fascism. A deep read on what is unquestionably the American film of the year. www.latimes.com/entertainmen...

Toronto is finally in the rearview and @theamynicholson.bsky.social @indiefocus.bsky.social and I have our favorites from a lineup that kept us guessing. www.latimes.com/entertainmen...

Reserving my thoughts on THE SMASHING MACHINE for a moment, but it is a stroke of absolute brilliance to close on the Alan Parsons Project’s “Limelight,” which is the emotionally overwhelming Moroder song he never wrote. That’s 100% @bowedtie.bsky.social

A dispatch from TIFF where I've been ordering Canadianos -- not Americanos -- while watching a bunch of movies about guys gone wild, including a gasp-inducing local comedy where the director shouted an onstage apology to the mayor of Toronto. (She liked the movie!) www.latimes.com/entertainmen...

I’ve been thinking about SIRÂT for months — it’s a movie that crystallizes my apocalyptic mood. Sitting down with its filmmaker Oliver Laxe was a pure pleasure. He’s a director who doesn’t wait for permission. www.latimes.com/entertainmen...

Lions and tigers and AI — oh my! @theamynicholson.bsky.social headed down to Vegas to catch the Sphere-ified WIZARD OF OZ. Is it the enemy? Or just a fun ride? A little of both. tinyurl.com/5emukwub

The performances of this year's Telluride were marked by a quiet, concentrated intensity — it proved to be a thrilling showcase for acting. We picked our favorites. www.latimes.com/entertainmen...

Chloé Zhao has the triumph of Telluride in HAMNET. Getting there was not easy. In a beautiful, intimate interview, Josh Rottenberg sat down with her and they talked about the last four years. She also told us what Ryan Coogler thinks of the new movie. www.latimes.com/entertainmen...

“People are angry. That’s what seems to define our country right now. Anger. And it doesn’t seem to be going away.” In our exclusive #Telluride sit-down with Jeremy Allen White, the actor goes deep into his process and his own connection to Springsteen’s “Nebraska.” www.latimes.com/entertainmen...

Our annual fall preview is live and I'm proud of the breadth of tastes of all who contributed. A brief 🧵: @carlosfilm.bsky.social sat down at El Mercadito with Tonatiuh, born in L.A. to immigrant parents and commanding in the new KISS OF THE SPIDER WOMAN. www.latimes.com/entertainmen...

There are days on which TOBY DAMMIT is my favorite Fellini and that’s largely due to Terence Stamp, splitting the difference between LA DOLCE VITA and something much darker. One of a kind. images.squarespace-cdn.com/content/v1/5...

Working in media these days is getting the chance to build something beautiful with colleagues you love, and then watching it get destroyed for basically no reason.

Besides being terrifying, AI is the most consequential issue facing Hollywood today. I know this series is for subscribers only, but it's a reason to become one: a definitive four-part deep dive by our Josh Rottenberg on the impact to jobs (see 🧵 for a taste): www.latimes.com/entertainmen...

How about some movies coverage? We attached a god-like status to cinematographer Darius Khondji back in film school; movies like SEVEN and DELICATESSEN were studied repeatedly. I can't believe we got him for the paper. @carlosfilm.bsky.social has Khondji on EDDINGTON. www.latimes.com/entertainmen...

Ari Aster’s EDDINGTON is such a superb social satire about contemporary America that I want to bury it in the desert for 20 years. More distance will make it easier to laugh. www.latimes.com/entertainmen...

Here's @theamynicholson.bsky.social with a complex, personal reaction to SUPERMAN, a wonderfully winding (and spoiler-free) read. www.latimes.com/entertainmen...

Visiting Embeth Davidtz (and her two rescue dogs) at home in Brentwood Park, @timgrierson.bsky.social wrote this beautiful profile about her reckoning with a South African childhood — and making her directorial debut count. www.latimes.com/entertainmen...

"He drew a line and we just have to be brave and strong enough to try and challenge this line. With humility, but with desire." @tgreiving.bsky.social spoke with composer Alexandre Desplat about his idol, John Williams, and scoring JURASSIC WORLD REBIRTH. www.latimes.com/entertainmen...

How about some movies this weekend? LAT staffers and contributors have you covered: First, @indiefocus.bsky.social sat down with Eva Victor to discuss SORRY, BABY, a debut of rare poise and sensitivity. How the director made it is inspiring. www.latimes.com/entertainmen...

Our @theamynicholson.bsky.social finds 28 YEARS LATER "beefed up by unusual ambition, quirky side characters and maniacal editing." It "dares us to devolve." A fun review that gets medieval. www.latimes.com/entertainmen...

The trio of director Danny Boyle, writer Alex Garland and DP Anthony Dod Mantle reinvented zombies with 2002's supercharged 28 DAYS LATER. @indiefocus.bsky.social got the band back together (Garland: "It’s not the Beatles") to discuss 28 YEARS LATER, just as timely. www.latimes.com/entertainmen...

Gorgeous review by @robertabele.bsky.social of A PHOTOGRAPHIC MEMORY, a notable documentary that breathes life into a lost parent's legacy — arriving at multiple Laemmles this weekend! www.latimes.com/entertainmen...

Our @theamynicholson.bsky.social wants to take MATERIALISTS to couple’s therapy for its own commitment issues — the movie cheats. www.latimes.com/entertainmen...

“I think a lot of what I read these days is void of soul and heart. And Celine is all soul and heart.” Dakota Johnson spoke to @indiefocus.bsky.social along with writer-director Celine Song about their new MATERIALISTS and how they rethought the rom-com. www.latimes.com/entertainmen...

Brian Wilson articulated a California that's just as vivid and long-lasting as any by the great film directors: Lynch, Wilder, Paul Thomas Anderson. Here's our @mikaelwood.bsky.social on the creative legacy (and a taste of his 2010 interview with Wilson at home). www.latimes.com/entertainmen...

Tough moment for the city and I'm needing this pure piece of pop gorgeousness. He was more important to me than I realize. www.youtube.com/watch?v=qFAp...

Nothing delights me more than @jasonzinoman.bsky.social on a subject he knows best. Why can’t this be a reality TV series? www.nytimes.com/2025/06/05/m...

JIMMY AND STIGGS is pure exhilaration, fueled by the crazy faith of true believers. One apartment. Some power tools. Lots of neon goop. Four years. Joe Begos and the L.A. indie horror community made this thing out of dreams and sweat. It fucking rules.

“I think a lot of what I read these days is void of soul and heart. And Celine is all soul and heart.” Dakota Johnson spoke to @indiefocus.bsky.social along with writer-director Celine Song about their new MATERIALISTS and how they rethought the rom-com. www.latimes.com/entertainmen...

Our Josh Rottenberg caught @markhamillofficial.bsky.social in a reflective mood, on age, loss and what keeps him motivated. He seems to entering a new moment of dramatic onscreen work. www.latimes.com/entertainmen...

I can’t not throw to this: an epic, annual undertaking by @justincchang.bsky.social with deep insights into all 22 Cannes competition titles. (And he is correct about No. 1.) www.newyorker.com/culture/the-...

We came, we saw, we Cannes-quered. @theamynicholson.bsky.social and I share our 10 favorites. www.latimes.com/entertainmen...

Did you watch the new MISSION: IMPOSSIBLE and say: "Hey, that guy from the white room is back." His name is Rolf Saxon and here's how he made the most out of a stone-cold piece of action history. @indiefocus.bsky.social has the story. www.latimes.com/entertainmen...

“So I’m running back to the bloody actors and I’m going, ‘Right, OK, we’re changing the whole scene, taking all the dialogue out. And you’re both cats!’” Sat down with Lynne Ramsay to discuss how she directed J-Law and R-Patz in DIE, MY LOVE. www.latimes.com/entertainmen...

Jafar Panahi strode into the Grand Lumière in shades like an action hero and I am here for it. IT WAS JUST AN ACCIDENT reminded me of DEATH AND THE MAIDEN (the play and the film) in its exploration of lingering fury and corrosive injustice. A dark farce, too. The guy has stamina.

It would have been disappointing if Ari Aster's EDDINGTON didn't spur intense reactions. (Consider me on the "extraordinary" side.) I sat down with him to discuss the Cannes reaction and why he made the movie. www.latimes.com/entertainmen...

Here's @theamynicholson.bsky.social with her first thoughts on this year's Cannes crop, including EDDINGTON, URCHIN, SIRÂT, TWO PROSECUTORS, DOSSIER 137 and some choice cafe chat. www.latimes.com/entertainmen...

Raoul Peck’s ORWELL: 2+2=5 has sequences that get spontaneous waves of applause, just because you’ve never heard the points made this clearly. The footage, especially of politicians, is the most revealing I’ve ever seen. The guy digged for this.

There will be no more angering film at Cannes than ORWELL: 2+2=5, which combines footage from fiction films (hello, M3GAN) with today’s nightmarish news footage. You see the demolishment of truth in real time. Raoul Peck’s clarity is only matched by his film’s necessity. Floored.

Harris Dickinson shows sharp instincts by refusing to “solve” or sanctify the main character of his directorial debut URCHIN — a title that’s ironic. This guy is suffering but he’s also a jerk and incapable of guilt or self-reflection. Towering turn by Frank Dillane. #Cannes2025

Here's our undoubtedly essential and correct list of the 18 films you need to brace for this summer. www.latimes.com/entertainmen...

Nothing will keep me from watching HARD BOILED tonight. The fact that I'll be wearing a tuxedo only adds.

Cannes is happening! Lots more to come but first: @theamynicholson.bsky.social captured the scene onscreen and off at the big MISSION: IMPOSSIBLE gala. Her review and some wild color from the Croisette are here. www.latimes.com/entertainmen...

On the premiere of MISSION: IMPOSSIBLE 8 which hang-glided into Cannes. "The whole film is a panegyric: big speeches and weighty moments with very little sense of play. Tonally, it starts with an ending and keeps on ending for the next two hours and 49 minutes." www.latimes.com/entertainmen...

A happy birthday and feliz cumpleaños to @carlosfilm.bsky.social, who may not be at Cannes but has the biggest story of Cannes today: a sit-down with Benicio del Toro about Wes Anderson's wonderful, unusually timely THE PHOENICIAN SCHEME, an extraordinary showcase. www.latimes.com/entertainmen...

Swiveling away from Cannes for a sec: I went to a secret lab in Valencia to learn how they make a M3GAN. The new film doubles down on the comedy and rocks. Very proud of this piece. www.latimes.com/entertainmen...