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I’ve been seeing variations on the question above on comment boards and social media, and the answer is inevitably a resounding “No. Fucking. Way.” But let’s be clear about what the question really is, since it’s actually two questions at once. The fundamental thing that’s being asked is: Could “Babygirl,” an enthralling high-kink corporate drama, in which Nicole Kidman plays a girlboss who secretly yearns to be dominated and debased, and plays this all out with one of her young male interns…could a male director have gotten away with making that movie today? The answer everyone seems to agree on, with an underlying note of look-how-far-we’ve-come cultural pride, is no. I don’t necessarily disagree — though actually, in a way, I sort of do.

“Babygirl,” written and directed by the volcanically talented Dutch filmmaker Halina Reijn, is a gripping movie about a woman who...

Editor’s Note: This review was originally published during the 2024 Venice Film Festival. A24 releases “Babygirl” in theaters December 25.

The worst thing your partner could possibly say to you after sex, after you’ve said “I love you,” is the dreaded “love you.” No “I.” And that’s not the most demoralizing response Romy (Nicole Kidman) has for an amorous confession by her husband Jacob (Antonio Banderas) in “Babygirl,” writer/director Halina Reijn’s provocative erotic dramedy that begins and ends with an orgasm. One of them is faked, but in between, this perversely funny and absorbing new film explores the pleasure gap between men and women, and how our inability to talk about sex limits our ability to just do it.

And there’s lots of sex here, with Kidman going raw inside and out for one of her top performances in a career built on risk-taking. That’s...

Movies have been absolutely peerless when it comes to giving the world a chance to gaze at desirable females. What the seventh art has been notoriously bad at is exploring the concept of female desire, in all of its complexities and clandestine, dark-corner complications. This is where Babygirl comes in. An exploration of a charged sexual relationship between a female CEO and her young, male intern that ends up finding freedom in sub-dom dynamics, this drama from Dutch filmmaker Halina Reijns leans heavily into the power structures inherent in such December-May affairs.

Glen Powell seems to be at the height of his Hollywood career. It all started last December when he became a hit star after featuring in the sensational rom-com Anyone But You alongside Sydney Sweeney.

He followed that star power with his next romantic thriller, Hit Man, which he co-wrote and produced. The movie has now earned him his first Golden Globes nomination.

Glen Powell in Hit Man | Credits: Netflix

After Hit Man, the actor went ahead to star in Twisters, a reboot of the 1970s tornado adventure flick, which garnered not only great box office numbers but also met with critical acclaim.

Now, Powell is one of the top leading actors in Hollywood and has a string of upcoming films in his pipeline along with Homewreckers. In this article, we will discuss all that we need to know about the movie.

Glen Powell’s Homewreckers: Release date, cast, plot,...

In a big milestone for Hollywood, Glen Powell has signed a large studio deal for “Homewreckers,” an erotic sci-fi thriller that has swiftly become one of the most anticipated film packages of 2024.

Legendary Studios won a bidding war against major studios such as Lionsgate, New Regency, Sony, and Warner Bros. According to reports, the studio paid a seven-figure payment for the tale rights, followed by another seven-figure deal for screenwriter Neil M. Paik to create and produce the script.

The film is based on Paik’s unpublished three-chapter novella. Powell is expected to star in and produce the project. According to sources, the film would be inspired by well-known sexual thriller directors like Adrian Lyne and modern sci-fi innovators like Alex Garland. This combination provides a distinctive viewing experience.

This acquisition wraps up a successful year for Powell, who is cementing his status as a rising star in Hollywood. His...

Legendary has come out on top of a bidding war for Homewreckers, the erotic thriller with a sci-fi twist that has Glen Powell attached to star and produce.

The package includes an unpublished three-chapter story by Neil M. Paik, who will also write the script.

The deal marks the last major acquisition of the year, occurring just a day or two before Hollywood closes its doors for the holidays. And it’s a doozy, right out of Santa’s workshop. According to sources, the deal involves a seven-figure outright purchase price for the rights to the story as well a seven-figure arrangement for Paik to write the screenplay. He would also serve as a producer.

Legendary, known for its Godzilla x Kong movies as well as the Enola Holmes franchise, beat out Lionsgate, New Regency, Sony and Warner Bros. in chasing Homewreckers. The package hit the town last week, with...

Glen Powell is one hot commodity.

The 36-year-old actor is attached to star and produce Homewreckers, an erotic thriller with a sci-fi twist, and several studios and companies are in a bidding war for the rights, via THR.

Legendary, Lionsgate, New Regency, Sony and Warner Bros. are among the companies making offers for the project, according to the report.

Keep reading to find out more…

The unpublished three-chapter story is by Neil M. Paik, who will also write the script.

Details are being kept under wraps, but sources say that the source material recalls Adrian Lyne, who made 9½ Weeks and Fatal Attraction, and Alex Garland, of Ex Machina and Civil War.

Glen had a big year with Anyone But You, Hit Man, and Twisters, among his latest projects. Find out where he landed on IMDb’s 2024 list!

It’s shaping up to be the last big bidding war of 2024. And it features Glen Powell.

The actor is attached to star and produce Homewreckers, an erotic thriller with a sci-fi twist. It’s a short story package that has several studios and companies hot and bothered.

Legendary, Lionsgate, New Regency, Sony and Warner Bros. are among the companies making offers and in the mix for the project, which was unveiled to the town early in the week.

The unpublished three-chapter story is by Neil M. Paik, who will also write the script. Details are being kept between the sheets, but sources say that the tones are Adrian Lyne, who made steamy thriller 9½ Weeks and Fatal Attraction, and Alex Garland, whose movies such as Ex Machina and Civil War tap into modern anxieties.

This year, hot new projects hitting the Hollywood market in the post-Thanksgiving period has been on the bare side,...

Nicole Kidman was going about her morning routine, focusing on getting her daughter off to school on Monday, when another, surprisingly, routine moment happened — she learned, for the 17th time, that she’d been nominated for a Golden Globe for acting.

This year, the nod is for her performance in Babygirl, the A24 sexual thriller that has Kidman as a high-powered CEO who risks her career and family when she begins an affair with a much younger intern, played by Harris Dickinson. Her vulnerable performance has already been awarded at this year’s Venice Film Festival and by the National Board of Review.

“To be still relevant in this world and this industry, working on the films that I love, feels wonderful,” Kidman told The Hollywood Reporter just after the Globes nomination was announced. “And to be in such an unusual film that still hasn’t been released [Babygirl is...

Well, that could have been a real train “Crash.” David Cronenberg recently revealed he was offered the directing gig on “Flashdance.”

Cronenberg (“The Shrouds”) said during the Marrakech Film Festival that he turned down directing the 1983 feature, which starred Jennifer Beals as a welder with dreams of becoming a ballerina. “Flashdance” was directed by Adrian Lyne.

Master of body horror Cronenberg may seem like an odd pick to direct the quasi sports film-slash-love story. Producers Don Simpson and Jerry Bruckheimer didn’t seem to think so.

“You might be amazed [that producers Don Simpson and Jerry Bruckheimer] were totally convinced that I was the right one to direct,” Croneberg said via Variety. “Really, I don’t know why [they] thought I should do it, and finally I had to say no.”

He added, “I said to them, ‘I will destroy your movie if I direct it!’”

Cronenberg instead went on to direct “Videodrome” and “The Dead Zone,” which...

It's easy to imagine David Cronenberg's Flashdance. The story of an 18-year-old exotic dancer with a welding nozzle grafted to her arm who competes for entry into a secret society attempting to force evolution through erotic "flash dances" wasn't meant for this world. Still, we could spend all day...

Reflecting on his trailblazing career, Canadian icon David Cronenberg felt particular pride for the one project that got away – or, more to the point, that he pushed away with full force: “Flashdance.”

“You might be amazed [that producers Don Simpson and Jerry Bruckheimer] were totally convinced that I was the right one to direct,” Croneberg said at the Marrakech Film Festival on Sunday. “Really, I don’t know why [they] thought I should do it, and finally I had to say no – I said to them, ‘I will destroy your movie if I direct it!’”

David Cronenberg attends the opening ceremony and screening of “The Order” during the 21st Marrakech Film Festival on Nov. 29 in Marrakech, Morocco.

While “Flashdance” honors eventually went to Adrian Lyne – resulting in 1983’s third top grossing film – Cronenberg instead delivered the one-two punch of “The Dead Zone” and “Videodrome” that same year. In doing so, he cemented a...

NYC Weekend Watch is our weekly round-up of repertory offerings.

Film Forum

The Wages of Fear plays in a 4K restoration, while Labyrinth screens on Sunday.

IFC Center

A 4K restoration of Carrie plays daily; Bram Stoker’s Dracula, Ichi the Killer, Threads, and Alien show late.

Roxy Cinema

Friday brings Bob Saget and Norm MacDonald’s seminal Dirty Work on 35mm, while City Dudes returns on Saturday; Adrian Lyne’s Unfaithful shows on a print Sunday.

Museum of Modern Art

A celebration of Robert Frank’s centennial continues.

Museum of the Moving Image

The Frank Oz series has its final weekend.

Metrograph

Three… Extremes, F for Fake, Practical Magic, Man on Wire, A Terra-Cotta Warrior, and Ozu’s Good Morning show on 35mm; Story By Lillian Lee and Absconded Art begin while The World Is a Stage, My Crazy Uncle (or Aunt), Insomnia, and Crush the Strong, Help the Weak continue.

The early 1990s were a good time for the now-moribund genre of the erotic thriller. Mainstream Hollywood was pushing the limits of what audiences wanted to see in terms of sex and nudity, and multiple movies tapped into that sexual zeitgeist. Films like "Poison Ivy" (with Drew Barrymore) and "The Hand that Rocks the Cradle" (with Rebecca De Mornay) warned that one's babysitters might be there to take over the family with their sexual wiles, while "The Last Seduction," "Jade," "Sliver," and "Color of Night" tinged standard thrillers with a sexual element. Madonna starred in "Body of Evidence," a movie about a woman who accidentally sexed her partner to death. A lot of the genre's popularity was kicked by the assertive sexuality on display in Adrian Lyne's 1987 ultra-hit "Fatal Attraction." 

The biggest hits of the day were probably Lyne's "Indecent Proposal" and Paul Verhoeven's "Basic Instinct," with the former making $266 million,...

Paris-based Moon a Deal Films has boarded Talal Selhami’s upcoming feature, “The Shelter,” set to pitch at this year’s Atlas Workshops, part of the Marrakech Intl. Film Festival.

Moon a Deal will be the film’s development co-producer, joining Moroccan lead producer La Prod. Both companies were founded and are led by Moroccan indie superproducer Lamia Chraibi, who will produce alongside La Prod’s Sophia Menni.

The feature project will tell the story of Leila, an exiled Syrian refugee war survivor who must care for Georges, a former diplomat nearing the end of his life. Being brought so close to the prospect of death awakens ghosts from Leila’s past that the woman must address.

“The Shelter” has already received development backing from the Red Sea Fund and writing support from Morrocan film agency, the Centre Cinématographique Marocain, and will be hoping to score one of the cash...

NYC Weekend Watch is our weekly round-up of repertory offerings.

Roxy Cinema

An Adrian Lyne retrospective features Fatal Attraction, Jacob’s Ladder, Lolita, and Foxes on 35mm, while Bob Saget and Norm MacDonald’s seminal Dirty Work plays on a print Saturday.

Bam

A Shelley Duvall retrospective is underway.

Museum of Modern Art

A celebration of Robert Frank’s centennial begins.

Museum of the Moving Image

A Lana Wilson retrospective begins while the Frank Oz series continues.

Film Forum

As an Ealing Studios retrospective continues, The General screens on Sunday.

Metrograph

The Beaver Trilogy, The Machinist, and The Last Metro show on 35mm; a Crystal Mosell and Derrick B. Harden retrospective begins while The World Is a Stage, My Crazy Uncle (or Aunt), Insomnia, and Crush the Strong, Help the Weak continue.

IFC Center

A 4K restoration of The Fall plays daily; Bram Stoker’s Dracula, Ichi the Killer, Threads,...

If you were missing Adrian Lyne-style erotic thrillers — or even thought that such erotic thrillers were no longer possible — watch the second trailer for “Babygirl,” director Halina Reijn’s scorcher starring an uninhibited Nicole Kidman as a CEO having an affair with a younger man (Harris Dickinson) who also happens to be in her employ.

But that power dynamic may not be exactly what it seems. Dickinson’s character, a late 20-something intern, is also into domination and submission dynamics in his relationships, and indeed appears to swiftly take the control of their sexual connection. Is this guy a threat?

Reijn’s film takes on issues of power and control in relationships in the fearless way viewers haven’t been accustomed to seeing in some time. “Babygirl” was a sensation at the 2024 Venice Film Festival, with many critics and journalists in attendance hailing it as the legendary actress’s...

Paul Teal, who recurred as the closeted actor Josh Avery on the seventh season of The CW drama One Tree Hill, has died. He was 35.

Teal died Friday after a battle with cancer, according to his reps. “His exceptional talent and kind spirit touched the hearts of everyone who had the privilege of knowing him,” the Stw Talent Agency announced. “The void he leaves behind will be deeply felt.”

“Paul, you were my soulmate, my soon-to-be-husband, my rock, and my future,” his fiancée, Emilia Torello, wrote on Instagram. “You filled my lungs with laughter, my stomach with butterflies, and my heart with love. You were taken too soon, in a battle that you fought bravely without fail.”

She continued, “While a part of me died with you, I promise to fight to find joy in life as hard as you fought to live every single day.”

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Mick Jackson's "The Bodyguard" is one of the lousiest blockbusters ever made. It's no secret why the film, which grossed a stunning $411 million globally ($924 million in 2024 dollars) on a $25 million budget, caught on with audiences: Kevin Costner playing the Steve McQueen-esque guardian of Whitney Houston, who belts out her biggest hit ever at the end of the movie ("I Will Always Love You"), was just a crazy zeitgeisty combination of superstars in 1992. Even though the B+ Cinemascore indicates it didn't hit the sweetest of spots with moviegoers, the hook and that song proved irresistible.

So what if the R-rated action-romance played like the chastest Adrian Lyne movie ever made, or the 17-year-old screenplay by Lawrence Kasdan was a by-the-numbers bore? Did it matter that Costner and Houston had absolutely zero chemistry, or that critics generally abhorred the film?...

In 2011, French thesps Omar Sy and Anne Le Ny co-starred in the comedy hit “Untouchable.” Now, the two are reunited in the domestic thriller “Out of Control,” with “Lupin” star Sy in one of the leading roles next to Elodie Bouchez, José Garcia and Vanessa Paradis, while Le Ny serves as director and Axella Cachman’s co-writer.

“There was a real bond and warmth between us then, which was easy to revive 13 years later,” says Le Ny, who shared the screen time with Matt Damon in “Stillwater” and earned her first writing/helming kudos for her breakthrough movie “Those Who Remain” (2008).

Her seventh pic as helmer, “Out of Control (“Dis moi juste que tu m’aimes”) world premieres at the Tallinn Black Nights Film Festival official competition on Nov. 16, is being produced by Move Movie’s Bruno Levy, in co-production with Sy’s production company Korokoro, France 2 Cinéma and La Compagnie Cinématographique & Panache Productions,...

Hulu – the American streaming service started back in 2008. While its main focus was on TV content owned by NBC Universal and The Walt Disney Company, the service has recently delved into churning out Original movie content. While Netflix and Amazon Prime Video are still known as the actual beasts for Movie Originals, Hulu original Films are slowly crawling up to form in line. While the streaming service has mostly looked towards non-fictional storytelling, the list will only consist of the major films they have produced. If you are searching for the Best movies to watch on Hulu, this will be a safe place. Please note that this is an ever-updating list so there will be changes made to it on a regular basis. Here are some of the Best Hulu Original Films ranked from Worst to Best:

22. The United States vs. Billie Holiday (2021)

Based on the book “Chasing the Scream:...

Exclusive: Amazon MGM Studios has moved to preemptively acquire The Killing Kind, a psychosexual thriller pitch from screenwriter Zach Helm (Stranger Than Fiction), which Ryan Reynolds’ Maximum Effort is attached to produce, sources tell Deadline.

Amazon MGM declined comment. Specifics as to the plot of the film are under wraps for the moment.

Helm comes to The Killing Kind after working in the same vein as the co-writer of Deep Water, the erotic thriller, starring Ben Affleck and Ana de Armas, from Fatal Attraction‘s Adrian Lyne. Well acquainted with various genres, he’s perhaps best known for writing Stranger Than Fiction, the beloved Columbia Pictures dramedy starring Will Ferrell, which brought him nominations at both the WGA Awards and the Critics Choice Awards. A celebrated playwright whose play Good Canary was most recently directed by John Malkovich in London, Helm also wrote and directed 20th Century Fox’s family film Mr. Magorium’s Wonder Emporium,...

Andrew Garfield is "excited" to work again.The 41-year-old actor can next be seen opposite Florence Pugh in 'We Live in Time', his first film in three years, and he admitted his sabbatical has given him a fresh enthusiasm for making movies.Asked if he is out of his sabbatical now, he told The Hollywood Reporter: "I think so. Yeah, I think I’m excited to work again in a different way. I feel looser, I feel less precious. I feel more joyful. I feel more aware. "I feel established enough as a person in the world, as an actor within myself and within the world. I know myself well enough now to feel more enjoyment… I’m still a headcase — when I’m on a set, I’m like a dog with a bone and get taken over by some weird spirit that is never satisfied...

Demi Moore underwent an intense physical regimen to lose weight for her role in the 1993 film “Indecent Proposal.” In a recent CBS interview, the actress opened up about the demanding schedule she maintained while filming the erotic thriller.

Moore had just given birth to her daughter Scout before production began. To lose weight quickly, she decided to bicycle the long distance between her Malibu home and the Paramount Pictures studio in Hollywood every day. This meant riding approximately 60 miles roundtrip under demanding conditions.

“I put a lot of pressure on myself,” Moore recalled. “I’ve been told in the past to lose weight too, which was really embarrassing and hurtful. But I took it out on myself for this role.”

Each day she woke up early with a trainer using headlamps in the dark. After biking to set, she worked through 12-hour filming days. Moore would then make the exhausting cycle ride back home.

Demi Moore revealed in an interview on CBS’ “Sunday Morning” that she biked around 60 miles each day during the filming of her 1993 erotic thriller “Indecent Proposal” in order to lose weight for the shoot after giving birth to her daughter Scout Willis. The movie, directed by Adrian Lyne and co-starring Robert Redford, shot in 1992. Scout was born the year prior.

“I put so much pressure on myself,” Moore said. “And I did have experiences of being told to lose weight and all of those. While they may have been embarrassing and humiliating, it’s what I did to myself because of that.”

Moore was living in Malibu at the time “Indecent Proposal” was filming at the Paramount Pictures lot in Hollywood. She decided to ride her bike to and from set each day to lose weight, which totaled around 60 miles each day.

“I think [Scout] was, like, five or six months old when we were shooting,...

This year’s Venice Film Festival lineup was not only the starriest in recent history, it was also the steamiest. Literally and figuratively. Aside from the brutal heatwave that plagued festivalgoers, the roster was filled with sexually charged movies, ranging from “Babygirl,” starring Nicole Kidman, to Luca Guadagnino’s “Queer” with Daniel Craig. Elsewhere in the festival circuit, Audrey Diwan’s “Emmanuelle” is kicking off San Sebastian, while Alain Guiraudie’s “Misericordia,” which opened at Cannes, is playing at virtually every major fest this fall.

But like Kidman’s character in “Babygirl” who only gets triggered when something is at stake, erotic movies in 2024 aren’t created as mere entertainment as they once were; they exist to push boundaries and break down clichés revolving mainly around female and gay protagonists.

“Babygirl,” directed by Dutch helmer Halina Reijn (“Bodies Bodies Bodies”), tackles the complexity of female sexuality and the issue of...

Demi Moore is getting her due thanks to Metrograph.

The “Substance” actress and Hollywood icon is being honored by Metrograph with a five-film series of Moore’s most beloved features, as curated by the theater. Titled “We Want Moore,” the mini festival begins September 13.

“The rapturous reception of Demi Moore’s performance in Coralie Fargeat’s ‘The Substance’ at this year’s Cannes Film Festival seems to have reminded many people that the New Mexico-born actress is a bona fide movie star — not just in terms of box office receipts and magazine cover shoots, but in her seemingly effortless ability to command the screen every time she walks into frame,” the Metrograph press statement reads. “In ‘We Want Moore,’ we’ve brought together some other timely reminders.”

Selected films screening in 35mm include Moore’s iconic turns in “Ghost,” “Indecent Proposal,” and “Striptease,” which Moore recently told Variety was one of her most under-appreciated performances.

On a new episode of “The Jess Cagle Show with Julia Cunningham” on SiriusXM’s Radio Andy (Ch. 102), Diane Lane reflected on a kissing scene that injured her neck and the iconic train scene in “Unfaithful,” the acclaimed 2002 erotic thriller for which she earned an Academy Award nomination for Best Actress.

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Diane Lane Revisits ‘Unfaithful’ Over 20 Years Later

“You know, it’s a fun story for me because it was sort of a revenge moment,” Diane Lane told Jess Cagle and Julia Cunningham. “[Director] Adrian Lyne likes to do a lot of takes, and I can tell you some stories about that as well. Made my chiropractor rich hurting my neck in the kissing scene,...

For over 15 years, a remake of “The Crow” has been in development with countless directors and stars cycling in and out. A new spin on the stylistically influential comic book movie from 1994 that is mostly remembered for the tragic on-set death of star Brandon Lee would fall apart just as quickly it would generate heat or a star to coalesce in some way. At various points in time actors like Bradley Cooper, Jason Momoa and Luke Evans were attached to prior iterations of the project. All of them went away.

But now, a new version of “The Crow” finally opens wide courtesy of Lionsgate Friday, with Bill Skarsgård as the doomed title character and pop star FKA Twigs as Shelly, his equally doomed fiancée. The story follows these doomed lovers who are murdered, only for Skarsgård’s character to get a chance at revenge by sacrificing himself, traversing the lands...

One of the very best Stephen King films isn't a horror movie — it's the coming-of-age drama "Stand By Me." Released in 1986 and helmed by Rob Reiner, the film actually went out of its way to not slap King's name all over the marketing material. "We actually played down King's name because we didn't want people to have the idea that this was a bloody, gory horror movie," Reiner said (via the book "Creepshows: The Illustrated Stephen King Movie Guide" by Stephen Jones). But while "Stand By Me" may not have been sold as a Stephen King movie, it was very much a personal story for King. So personal, in fact, that when he saw the finished film, he was overcome with emotion and had to be alone for a few minutes to gather his thoughts.

"Stand By Me" is based on King's novella "The Body," which appeared in King's 1982 collection "Different Seasons.

Bud S. Smith, an Oscar-nominated film editor, died last Sunday at his home in Studio City, California, from respiratory failure after a prolonged illness. He was 88.

Smith’s death was confirmed by his wife, dialogue editor Lucy Coldsnow-Smith.

During his five decades as an editor, Smith was a two-time Academy Award nominee, scoring bids in 1975 for William Friedkin’s horror classic, The Exorcist, which Smith shared with Evan A. Lottman and Norman Gay, and in 1984 for Adrian Lyne’s Flashdance

Smith won the BAFTA award for best editing for Flashdance and a career achievement award from the American Cinema Editors in 2008.

His credits also included Putney Swope, Cruising, Sam Raimi’s Darkman, Robert Towne’s Personal Best and Poltergeist II: The Other Side.

In the 1990s, Smith was a film doctor and consultant, most often on the slate at Universal Pictures under exec Casey Silver.

Born on Dec. 6, 1935 in Tulsa,...

Bud S. Smith, an Oscar-nominated film editor who was a regular collaborator with William Friedkin and whose other credits include “Putney Swope,” “Flashdance” and “The Karate Kid,” died Sunday at his home in Studio City, Calif. due to respiratory failure after a prolonged illness. He was 88.

Smith’s death was confirmed by his wife, dialogue editor Lucy Coldsnow-Smith.

Over a career spanning five decades, Smith was a two-time Academy Award nominee: in 1984 for Adrian Lyne’s romance fantasia “Flashdance,” and in 1974 for William Friedkin’s horror classic “The Exorcist,” which Smith shared a nomination for with Evan A. Lottman and Norman Gay. Smith won the BAFTA award for best editing for “Flashdance” and received a career achievement award from American Cinema Editors in 2008.

After beginning in television and working under David L. Wolper in the ’60s, Smith’s first feature editing credit came at the end of the decade with Robert Downey,...

Ana De Armas Once Gave Everyone W*t Dreams With Her Seductive Scene With Jacob Elordi ( Photo Credit – Instagram )

Ana de Armas and Ben Affleck starrer Deep Water is a psychological thriller with a complicated theme. The film also featured Euphoria star Jacob Elordi in a supporting role. It featured several passionate scenes, but the one where Ana de Armas and Elordi make love is the highlight and is still discussed online. Scroll below for more.

For the unversed, Ben and Ana dated each other before breaking up in January 2021. They started dating in 2020 and were together for ten months. The film began production in 2019, and they probably started dating after that. It was directed by Adrian Lyne, who returned to filmmaking after 20 years of absence. His last film before that was Unfaithful.

The scene we are talking of is when Ana de Armas’ character Melinda gets playful in the car with her lover Charlie,...

“Let’s face it, I had a bad script,” director Michael Bay said on the commentary track of his debut feature film, Bad Boys. Bay isn’t wrong. Bad Boys relies on buddy comedy tropes already established in 1974’s Freebie and the Bean and 1982’s 48 Hrs., complete with nonsense plot points. “But I had real comic talent in my two stars.” Bay of course means Martin Lawrence and Will Smith. Drawn from the popular sitcoms Martin and The Fresh Prince of Bel-Air, Lawrence and Smith saved the movie from the clunky script with their easy chemistry and comic timing.

At one point, however, Bad Boys had two very different stars in mind with a comic chemistry unlike that of Lawrence and Smith.

Live From Miami, It’s Saturday Night!

In the 1980s, there were no greater kingmakers than Jerry Bruckheimer and Don Simpson. Not only did the super producers turn...

Adria Arjona, Richard Linklater, and Glen Powell on the set of Hit ManImage: Netflix

Loosely based on a 2001 Texas Monthly profile, Richard Linklater’s Hit Man mythologizes the life of Gary Johnson, a part-time college professor who moonlighted as a fake hit man for the Houston Police Department. Of course,...

In the late 1980s, Bruce Joel Rubin was a screenwriter with two interesting credits on his resume — “Brainstorm” (1983) and “Deadly Friend” (1986) — and a screenplay (“Jacob’s Ladder”) that everyone in Los Angeles agreed was terrific but which no one at the studios would green light. Rubin’s fortunes and reputation changed seemingly overnight on July 13, 1990, when his romantic thriller “Ghost” opened and became a worldwide smash. A few months later, “Jacob’s Ladder,” which had finally been brought to the screen by director Adrian Lyne, opened as well, and Rubin’s status as one of Hollywood’s top screenwriters was secure.

While “Ghost” ultimately garnered Rubin an Academy Award and went on to become a classic — one of those rare cases where personal expression seamlessly intersected with popular and artistic success — its path to the screen wasn’t always smooth. In the following exclusive excerpt from Rubin’s new memoir, “It’s Only a Movie,...

Mark Damon, who starred in the Vincent Price horror classic House of Usher and spaghetti Westerns before revolutionizing the foreign sales and distribution film business and producing features including 9 1/2 Weeks, Monster and Lone Survivor, has died. He was 91.

Damon died Sunday of natural causes in Los Angeles, his daughter, Alexis Damon Ribaut, told The Hollywood Reporter.

Damon spent the first 20 years of his career as an actor, including about a dozen as a leading man in Italian action movies, before he transitioned to the business side.

He had early success as an executive producer with two movies written and directed by Wolfgang Petersen: the German-language World War II drama Das Boot (1981), which received six Oscar nominations, and The NeverEnding Story (1984), a big-budget fantasy film that featured a Damon-commissioned score by Giorgio Moroder for non-German audiences.

He shared an Independent Spirit Award with director Patty Jenkins and others...

It is the spring of “Baby Reindeer.” Netflix’s addictive limited series about a struggling comedian (Richard Gadd) working at a bar who makes the biggest mistake of his life when he gives a lonely woman (Jessica Gunning) a cup of tea on the house is the most watched series currently on the streamer and viewership is growing. And the fact that it’s based on a true story, makes “Baby Reindeer” even more creep and chilling. It’s a must-see voyeur thriller.

The same was true in the fall of 1987 with Adrian Lyne’s “Fatal Attraction.” Audiences flocked to the hard R-rated thriller which starred a wild-haired Glenn Close as an editor with a publishing company who has one-night stand with a happily married attorney (Michael Douglas) whose wife and daughter are out of town. Though it’s “understood” that it’s just a fling, Close’s Alex just won’t let go.

Paramount Pictures had good reason to believe Adrian Lyne's "Fatal Attraction" would be another box office smash for the hit-making studio (which had just dominated 1986 with five of the ten highest-grossing movies of that year — including the top two in "Top Gun" and "Crocodile Dundee"), but they couldn't have anticipated the film becoming a full-blown, adult-skewing blockbuster. Nevertheless, the erotic thriller about an extramarital fling that turns into a waking nightmare for the happily married Dan Gallagher (Michael Douglas) outperformed such heavy hitters as "Beverly Hills Cop II," "The Untouchables," and "Lethal Weapon" to become the second highest-grossing film of 1987 (behind the four-quadrant behemoth "Three Men and a Baby").

Why was the film such a pop cultural sensation? Every single element clicked perfectly into place. Lyne brought the sensual heat, James Dearden's screenplay tightened the screws with nerve-jangling precision, and the stars absolutely smoldered. Douglas and Glenn Close...

Ready to head back to the Wasteland and experience another outlandish post-apocalyptic vision from George Miller? Well, step this way – Furiosa: A Mad Max Saga is revving up its engine, set to unleash a fresh batch of mayhem on the multiplexes. And the new issue of Empire is a world-exclusive deep-dive into the madness, speaking to Miller and his stars – including Anya Taylor-Joy and Chris Hemsworth – about their all-new action epic.

The issue hits newsstands on Thursday 14 March – but before then, take a sneak peek below at what’s inside.

Furiosa: A Mad Max Saga

Fire. Blood. Oil. Chrome. The world of Mad Max is exploding back onto the screen with the tale of the one and only Imperator Furiosa. We speak to filmmaker George Miller, stars Anya Taylor-Joy and Chris Hemsworth and more, getting the lowdown on Furiosa’s vengeful saga, the mind-blowing action, and Hemsworth’s wild new villain Dementus.

How distraught is Annette, the severely troubled British mother of two played by Daisy Ridley in “Magpie?” She has gotten a short angular haircut, one that might, in another context, be the height of chic (very Isabella Rossellini). Except that the movie uses it as a symbolic expression of her trauma, like Mia Farrow’s iconic Vidal Sassoon cut in “Rosemary’s Baby.” Annette, who’s on some serious medication, looks at a mirror until it breaks. Does she have telekinetic powers? No, she broke it with her hand (which bleeds into the sink), but the force of her repressed rage is palpable. Ben (Shazad Latif), her British Indian husband, is a noted author, and every comment she makes about his work is a sly dig. She speaks in brief, clipped “civilized” phrases. At one point a bird crashes into the window of her home. The whole atmosphere of the film...

In John Carpenter’s horror classic The Thing, R.J. MacReady (Kurt Russell) somberly explains to his tape recorder, “Nobody trusts anybody now, and we’re all very tired.” The now iconic quote summarizes the exhaustive state of sustained paranoia induced by the shape-shifting, extraterrestrial threat that has infiltrated the ranks of an isolated Antarctic research station, seamlessly assuming the identities of its inhabitants.

Isolation, mistrust, and intense paranoia drive Carpenter’s classic 1982 horror movie, heightening the effectiveness of the horror to a tangible degree; and it’s far from the only horror movie to effectively wield paranoia like a sharp blade. This week’s streaming picks highlight intense horror movies that unfurl their unrelenting tension, disorienting distrust, and discomfort through a heavy emphasis on paranoia, whether internal or external.

Here’s where you can stream them this week.

For more Stay Home, Watch Horror picks, click here.

Bug – Fandor, Pluto TV,...

Netflix’s new Turkish film Ashes is one of those enticing films that know we have a child inside of us that’s always willing to come on a journey where some kind of magic is involved. The film, directed by Erdem Tepegöz, stars Funda Eryigit, Alperen Duymaz, and Mehmet Günsür in major roles. Apart from how gorgeous everybody looks in this film, there is nothing else to connect to concepts like beauty and allure in this erotic thriller, or more bluntly, a sluggish drama in the garb of an erotic thriller.

The movie begins by showing us the life of Gokce, an elegant woman who is married to the owner of a renowned publishing company. They receive a manuscript from an unknown writer, and Gokce takes a liking to it. It’s tilted ‘Ashes,’ which is where the title of the movie comes from. As an audience, we now...

As Sex Crimes has evolved, it has been exciting to see how different Erotic Thrillers play to – or subvert – the conventions of the subgenre. This is especially true of modern entries, which, unlike the titles released during the heyday of the late 80s and early 90s, tend to defy simple classification.

The truth is that there are very few contemporary Erotic Thrillers; it’s something of a dormant subgenre that rears its head in fits and starts. This is partially why everyone got so excited by Adrian Lyne’s “return” with Deep Water (and then summarily got disappointed when he failed to adhere to the expected tropes that many of his own films established).

Fans of Lyne would do well to shift their attention to French writer/director François Ozon (Swimming Pool). Well respected in his home country, the extremely literary, openly queer director has made two Erotic Thriller-adjacent titles in the last six years,...

“If you ever come near my family again, I’ll kill you. Do you understand?”

We’ve all heard the phrase “hell hath no fury like a woman scorned.” We pull it out when we see a woman reacting to the hurtful choices of a romantic partner, standing up for herself after rejection, or really expressing any kind of powerful emotions at all. It’s a bon mot so pervasive that it makes you wonder if there are any men in hell. Maybe it’s all just hysterical women pulling hair and trying to steal each other’s boyfriends. Regardless of this reductive phrase and dehumanizing stereotype, few films in the history of cinema explore the concept of the scorned woman like Adrian Lyne’s Fatal Attraction. This cautionary tale about infidelity and revenge pits two women against each other for the love of one man with a surprising female killer emerging from the wreckage.

E.L. James' original "Fifty Shades of Grey" trilogy is undoubtedly the most successful piece of fanfiction ever published. James turned the teen-friendly romance between Bella Swan and Edward Cullen in Stephenie Meyer's wildly popular "Twilight" franchise into an erotic reverie explored by the mysterious (and quite wealthy) entrepreneur Christian Grey and college journalist Kate Kavanaugh. It was a Bdsm gateway drug that opened up a healthy portal for kink-curious young adults. You didn't have to feel like a freak for wanting to do what conservative society deemed freaky.

Was it good literature? Does it matter? James' novels have sold hundreds of millions of copies and been translated into 52 different languages. They are adored by people who never knew they wanted to see Bella and Edward engage in consensual sadomasochism. I am happy they have these stories in their lives. What matters, at least when it comes to my bailiwick,...

New Regency Pictures has elevated Natalie Lehmann to President of Motion Pictures and Television. She was previously SVP.

With the promotion, Lehmann expands and extends her oversight of film and television for New Regency. She will continue to report to New Regency chairman and CEO Yariv Milchan.

Lehmann will also continue to oversee projects including Steve McQueen’s World War II film Blitz for Apple as well as the series adaptation of Man on Fire for Netflix.

“Over the last seven years with New Regency, Natalie has proven time and time again she is one of the best in the business,” Milchan said. “With strength in both creative and strategic thinking she’s been able to consistently produce both marquee projects and surprise breakout hits. With Natalie’s expanded role New Regency will continue its track record of producing top-quality films and series.”

Lehmann said, “It’s an honor to...

The erotic thriller is back, and you'd have to be a prudish killjoy to lament its return.

The subgenre has its roots in the pre-code movies of the 1920s, and '30s, and films noir of the '40s and '50s, but the formula as it exists today was codified in 1980 with Paul Schrader's "American Gigolo" and, most vitally, Brian De Palma's "Dressed to Kill". And thanks to Karina Longworth's deep dive into best and worst of the subgenre via her indispensable podcast "You Must Remember This," younger viewers who weren't there for the '80s and '90s heyday are now revisiting the stylish highs and Skinemax lows of films in which people occasionally take a break from screwing to commit a string of murders (or investigate said murders with alarming aloofness).

As movies (especially studio productions) got progressively less sexy throughout the 2000s, the...

When promoting Saving Private Ryan, Steven Spielberg claimed that every war movie is an anti-war movie. I think this is doubly true when it comes to genre cinema. After all, what better way to immerse audiences in the horrors of war than by telling a story specifically designed to scare them?

Hell, sometimes the war itself doesn’t even need to happen onscreen, like in the case of 1954’s Godzilla – one of the all-time best commentaries on nuclear warfare. And with Takashi Yamazaki returning the radioactive dinosaur to his post-war roots in Godzilla Minus One, we’ve decided to come up with a list recommending six more war-time horror movies for fans of historical terror.

While not all of the films on this list take place during a war, they all incorporate warfare and its consequences into their stories. That being said, don’t forget to comment below with your...

Clockwise from left: The Departed (Warner Bros.), True Lies (20th Century Studios), Some Like It Hot (United Artists), 12 Monkeys (Universal)Graphic: The A.V. Club

Of all the challenges in the moviemaking universe, redoing a beloved foreign film for an American audience would seem pretty low on the list. You already...