It’s 2022 and the DC universe isn’t getting any more coherent. After failing to leverage the popularity of Christopher Nolan’s Dark Knight trilogy with two wildly different and equally division Superman movies, Warners launched the first of two 10-year plans to make a Marvel Studios happen. Unfortunately, after last week’s shakeupthat plan is still evolving (read: they’re starting from scratch, again).

However, before Warner Bros. Discovery can continue banishing what’s left of the SnyderVerse to the Phantom Zone, they still have a couple of movies to unload. The first is Black Adam, one of the more confusing additions. Years after Dwayne “The Rock” Johnson announced he would be playing Black Adam before teasing that he would be playing Shazam, he re-announced on Twitter that was Black Adam, Shazam’s nemesis, who has a similar power set

US if. While the ’90s may still be linked with a wide variety of dubious holdovers — including curious slang, questionable fashion choices, and sinister political agendas — many of the decade’s cultural contributions have cast an outsized shadow on the first stretch of the 21st century. Nowhere is that phenomenon more obvious or explicable than it is at the movies.

The ’90s began with a revolution against the kind of bland Hollywood product that people might kill to see in theaters today, creaking open a small window of time in which a more commercially viable American independent cinema began seeing into mainstream fare. Young and exciting directors, many of whom are now major auteurs and perennial IndieWire favorites, were given the resources to

“The Gray Man” has notched a spot in the top five of Netflix’s all-time list of most popular films.

According to Netflix’s Top 10 stats for the week of Aug. 8 through Aug. 14, the film netted 21.16 million viewing hours in its fourth week on the streamer, landing it in the No. 4 spots in the rankings with 245.0 hours viewed.

“The Gray Man” edged the Ryan Reynolds film “The Adam Project,” bumping it into fifth place. “Red Notice,” “Don’t Look Up” and “Bird Box” led the list as the top three.

JJ Perry’s “Day Shift” starring Jamie Foxx and Dave Franco leads the movies for the past week. The vampire comedy was No. 1 on the English Films List with 56.51M hours viewed and was on the Top 10 in 93 countries. “Purple Hearts” continued to give viewers all the feels as the film came in No. 2

Disney and Pixar’s big summer movie Lightyear arrived on the Disney Plus streaming service after grossing around $120 million at the domestic box office. This is, at the moment, the 10th biggest North American gross of 2022, representing more money than a number of hits including The Bad Guys, The Lost City, Screamand The Black Phone. It is also, by Disney and Pixar’s standards, a failure.

In retrospect, it doesn’t make much sense to compare Lightyear‘s finances to the Toy Story series that spawned it. Lightyear positions itself as the “real” movie that made Andy, the main human character in the first three Toy Story movies, obsessed with Buzz Lightyear. But the whole Toy Story deal is predicated on the idea that toys’ owners could imbue them with a rich, imaginative, deeply human inner life far beyond their plastic origins, all of which renders Lightyear

(Photo by Courtesy Everett Collection)

We’re ranking the films of legendary comedy troupe the Marx Brothers!

Groucho (the wisecracker), Chico (the schemer), Harpo (the musical mute), and Zeppo (the straight man) honed their vaudeville comedy and musical routine on stage in the 1910s and 1920s, before singing with Paramount to adapt their act just as the talkies were overtaking silent pictures. The five Paramount films (The Cocoanuts, Animal Crackers, Monkey Business, Horse Feathersand Duck Soup) are their most anarchic films, with Soup still a deft political satire with non-stop jokes.

After Paramount (and with Zeppo gone), the rest of the three brothers signed with MGM and produced two of their biggest box office draws: 1935’s A Night at the Opera (arguably their masterpiece) and A Day at the Races. The Marx Brothers continued making films into the 1940s, ending with Love Happy.

Without enough production budget for reshoots, the director of upcoming action-thriller Fall says the team turned to AI technology to remove over 30 F-bombs to turn its R-rating into a much more box office friendly PG-13, Variety reports.

The problem — which has now turned into a handy little marketing hook — apparently emerged when the indie film was picked up by Lionsgate for a cinematic release, where an R-rating (meaning children under the age of 17 cannot see the film without an adult present) would limit its box office potential when it releases in the US on August 12th.

“When we were filming the movie, we didn’t know if we were R or if we were PG-13, so I said the F-word so many times,” one of the film’s stars Virginia Gardner said. “I think [director Scott Mann] wanted to kill me in post when we were trying