A 174-Minute Elizabeth Holmes Documentary Sold Out 2,000 Screenings. Hollywood, Please Explain Again Why Nobody Goes to Theaters.
You Can See Everything, Nathan Fielder and Lance Oppenheim's nearly three-hour Elizabeth Holmes documentary, opened to an estimated $15 million from just 855 theaters. The crowd was young, the screenings sold out, and the old line that long films and docs don't sell just took a hit.
Other Mommy Got a D+ and Still Won the Weekend — Horror Is Review-Proof, Sorkin's Social Network Follow-Up Isn't
Jessica Chastain's Other Mommy got torn apart by critics, handed a D+ by the people who paid to see it, and still opened No. 1 with $27.5M. The same weekend, Aaron Sorkin's better-reviewed, better-graded Social Network follow-up opened fifth with about $5.5M. Here's why that isn't a paradox.
Digger Wasn't Killed by Tom Cruise — It Was Killed by Being a Nine-Figure Satire Nobody Asked For
Tom Cruise's Digger opened to an estimated $8 million, his weakest debut since 2007, while the worse-reviewed Verity took No. 1 with $32.6 million. The star isn't the problem. A $125-180 million Iñárritu climate satire with no audience of its own is.
A Different World's Reboot Can't Decide If It's Nostalgia Bait or Its Own Show — and It Shows
Netflix's A Different World sequel has an 82% on Rotten Tomatoes, and that's exactly the problem: the raves and the pans describe the same show stuck between a reunion special and a Gen Z dramedy. Here's what a braver season one would have cut.
The Best-Reviewed Resident Evil Movie Ever Made Has None of the Characters You Actually Wanted
Zach Cregger threw out Leon, Jill, Chris and Claire, cast a medical courier nobody has heard of, and landed a 96% Tomatometer — the highest score any video game movie has ever held. Then it opened to a franchise-record $60 million with a 91% audience score. The fans who spent nine months calling it a betrayal were never the people buying tickets.
Critics Gave Practical Magic 2 a 39%. Audiences Gave It 92%. Only One of Those Groups Bought a Ticket.
Practical Magic 2 opened No. 1 with a 53-point gap between its Tomatometer and its audience score, and the internet already has a tidy story about what that means. The tidy story is wrong. The 1998 original had almost the same gap, the widest divide Rotten Tomatoes has ever recorded belongs to a film nobody is calling good, and a 92% from verified ticket-buyers is measuring something other than quality.
Tom and Jerry: Forbidden Compass Benched Its Own Stars — And Critics Are Furious
The first fully CG Tom and Jerry feature landed in US theaters on September 4 with a Metacritic score of 24. The complaint from Empire, Variety, The Guardian and The Irish Times is not that it is bad — it is that Tom and Jerry are barely in it. Here is what actually happened, and why “legacy character as mascot” is now a business model.
Stop Calling Disclosure Day the Next Matrix Before You've Bought a Ticket
The Paris premiere happened a week ago. The film opens wide in America on Friday. And somehow, on the strength of a trailer, a Williams score, and a Le Grand Rex afterparty, half the internet has already decided Disclosure Day is a paradigm shift. Look — calm down. Here's the part nobody wants to say out loud.
Enough Already: Why the Era of the "Nostalgia Reboot" Needs to End
Hollywood spent the last decade strip-mining your childhood, and 2026 is the year the receipts came due. The Mummy crashed. Mortal Kombat II got beaten by Miranda Priestly in a wig. Masters of the Universe is the next coin flip. The lesson is sitting right there — if anyone in the C-suite would look at it.
The Boys Is Ending Just in Time to Save Its Own Legacy
Five seasons. One finale to go. And anyone who thinks Amazon should have squeezed out Season 6 hasn't been paying attention. The Boys is going out at exactly the right moment — and pretending otherwise is the most superhero-movie thing a fan can do.
Mortal Kombat II Lost to a Holdover About Handbags — The R-Rated Video Game Ceiling Has Been This Low for 30 Years
Look, I'm going to say something nobody at a Hollywood pitch meeting wants to hear: Mortal Kombat II opened to $40 million this weekend — the best opening of the entire Mortal Kombat film franchise, by the way — and it still got out-grossed by a sequel about a fashion magazine editor. In its second weekend. A holdover. A legacy comedy. About clothes.
Stop Defending The Super Mario Galaxy Movie. The Franchise Just Hit $2 Billion of Pure Nostalgia Bait.
Nintendo and Illumination just pushed the Mario film franchise past $2 billion in combined worldwide gross. Critics still landed on "mixed to negative" for Galaxy. And I'm tired of pretending the box office is the same thing as a defense.
The Devil Wears Prada 2 Earns Its Existence — But Not For The Reason You Think
Look, I came in ready to write the "we didn't need this sequel" piece. The Devil Wears Prada 2 had every disadvantage a 20-year-old legacy comedy sequel could have. So why did I leave the theater thinking the only honest critique left is one nobody's saying out loud?
The Devil Wears Prada 2 Earns Its Existence — But Not For The Reason You Think
Look, I came in ready to write the "we didn't need this sequel" piece. The Devil Wears Prada 2 had every disadvantage a 20-year-old legacy comedy sequel could have. So why did I leave the theater thinking the only honest critique left is one nobody's saying out loud?
Stop Defending Euphoria. Season 3 Isn't Ambitious — It's Exhausted.
Euphoria Season 3 is the lowest-rated season in the show's history. 48% audience. 54% Popcornmeter. Episode 2 — 'America My Dream' — spent 55 minutes proving everyone right. Maybe the style really is the substance. And maybe that's finally the problem.
Supergirl Didn't Need Earth, Superman, or a Safety Net — And That's Why It Works
The DCU's second film sent its lead to space with a dog and a teenager instead of giving audiences another Metropolis slugfest. James Gunn just made the most confident creative bet in superhero cinema this year.
Toy Story 5 Didn't Need to Exist — But Does It Justify Itself?
Pixar had the perfect ending. Toy Story 4 wrapped everything up with a bow so clean it made grown adults sob in parking lots. So why are we here again? Because Disney smelled money, Pixar found a theme worth chasing, and somehow — against all odds — there might be a reason this movie exists.