The film was widely panned on release (18 on Rotten Tomatoes, The 34 on Metacritic). Seriously—has anyone ever met a person who recommended “The Last Witch Hunter” to them?

Fresh off the rousing Venice world premiere of “The Smashing Machine,” Benny Safdie and Dwayne Johnson are already lining up their next collaboration.

We’ll see if the film gains more traction, but it’s definitely had people buzzing here at TIFF.

In an interview, published today, Kaufman is asked about my report, which has yet to be tackled by any of the trades, and if he had any comment about the situation.

Birch, best known for penning “Lady Macbeth” as well as adapting “Normal People,” and apparently, ghost writing Taylor Swift’s directorial debut.

Rian Johnson’s “Wake Up Dead Man: A Knives Out Mystery” is another glossy puzzle box, 144 minutes of clockwork contraption that mostly clicks until it doesn’t.

“The Christophers” is only mildly enjoyable, yes, and McKellen’s dazzle keeps it from sinking, but it’s also Soderbergh holding back, a trivial canvas stretched too tight.

“Superman” leads the pack with an estimated $125M in theatrical profits, followed by “Final Destination: Bloodlines” ($75M), “Weapons” ($65M and climbing), and “Sinners” ($60M).

Paul Thomas Anderson’s “One Battle After Another” had a DGA screening last night in. Los Angeles moderated by Steven Spielberg, and reactions are ecstatic.

Gad describes the film as a “period piece” with production costs still being finalized. He’s currently in the midst of “going through the script right now with the studio,” and anticipating a shoot in early 2026,

Don’t let the pedestrian “Roofman” trailer mislead you — this is a smartly crafted, and acted film that’s as entertaining as it is soulful. 

The best horror film I’ve seen so far at TIFF is “Obsession,” Curry Barker’s feature debut, which just premiered at Midnight Madness on Friday night. No surprise, it sparked a bidding war.

These numbers are ridiculous. Last week, projections had “The Conjuring: Last Rites” opening in the $50M+ range, but thise numbers turned out to be way off.

Brendan Fraser is back, of course, aiming for another Oscar, and Searchlight has chosen the Toronto International Film Festival for the premiere of his latest: “Rental Family.”

Now, with “Wake Up Dead Man,” Rian Johnson’s built the most ambitious but weakest of the three—a still entertaining, and for the most part, engrossing puzzle box that only falls apart in its last stretch.

Sam Worthington, who had a major role in the project, revealed this week that the continuation of the saga may rest entirely on whether “Chapter 1” finds a large enough audience on streaming.

Who steps in now? Noah Hawley already has the well-received “Alien: Earth” series on his plate — could he slide over? Or does Ridley Scott actually want to take the reins himself?

Jury president Alexander Payne is getting flamed online for simply admitting, during the post-awards press conference, that “No Other Choice” didn’t even make his jury’s top eight.

It’s official, Jim Jarmusch has won the Golden Lion for “Father Mother Sister Brother.” A shocking turn of events, but a lovely little film has won. Still, a truly surprising pick.

For fans, Big Kahuna Burger is one of those deep cuts that’s been floating around the QT-verse for decades: it first showed up in “Reservoir Dogs,” and was immortalized in “Pulp Fiction.”