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Author: Nathan Osborne
Nathan is a film aficionado from England, who dreams of the movies when he’s not at the movies and has bylines at Perks of Being Nath, Film Inquiry, and Movie Corner. Proud Film Independent member and voter. You won’t find a bigger love of La La Land on the internet (or anywhere else for that matter).
Black Widow, The Eternals, Doctor Strange, or Black Panther? We investigate which heroes will form the Marvel Cinematic Universe’s 2020 slate.
It ends up tripping over genre conventions, but Charlize Theron and Seth Rogen’s Long Shot is an otherwise impressive romcom with plenty of laughs and a political edge.
After Endgame’s massive weekend gross of $1.2 billion (yes, billion), we look at what records the movie has smashed and which ones are still left.
With Avengers: Endgame just hours away, we predict which of the big heroes live and which heroes bite the dust (for real this time).
From Rocketman to Quentin Tarantino’s Once Upon a Time In Hollywood, here are the most exciting films making their debut at 2019’s Cannes Film Festival.
Missing Link, the latest release from stop-motion masters Laika, probably won’t save the company from its financial demise.
2019 for Disney will be one for the history books, with plenty of massive films that will bring a yearly gross Hollywood has never seen before.
Fox 2000 is the first casualty of the Disney-Fox merger deal. This may also signal the first sign of doom for mid-budget films.
Jordan Peele’s Us kicks off Universal Pictures’ 2019 slate of original ideas, but could a lack of sequels backfire?
The studio behind Vice and If Beale Street Could Talk has suffered such financial losses that they’re in desperate need of a box office success.
While International Women’s Day may be over, we don’t need an excuse to highlight some of the most exciting upcoming films from female directors.
This year’s box office hasn’t gotten off to the strongest start, and “sequel-itis” may be setting in.
Midsommar subverts our expectations of a horror film in this first teaser from director Ari Aster.