Snow White is in the midst of a disasterous second weekend at the box office, while Statham shows some surprising muscle.

Last Updated on March 31, 2025

Snow White’s disastrous opening weekend proved to be the talk of the town this week, with many blaming the polarizing Rachel Zegler as having turned off audiences from seeing this pricey remake. Whatever the case, the hope was that it would pull a Mufasa, and hold on to its audience in week two. That’s not proving to be true, with Deadline reporting that the movie will suffer an awful 68% second-week decline, with it only on track for a second weekend in the $13 million range. That’s a full $7 million less than we predicted, and we were rather glum, as folks expected a better hold.

However, Snow White’s misfortune is Jason Statham’s opportunity, with his well-reviewed (by us anyway) A Working Man looking at a solid $15 million weekend. That’s pretty close to what The Beekeeper made last year, and that happened to come out on a holiday weekend. While the B CinemaScore is nothing to write home about, Statham certainly seems to have a strong core audience, and given that the movie was modestly budgeted, it should turn into a valuable library title for Amazon/MGM once it hits streaming. While it’s unlikely to have the same kind of hold Beekeeper had (with it buzzing its way to a $66 million domestic total), the movie shows that there’s still a place for old-school action at the box office, with Den of Thieves 2: Pantera also performing well earlier this year. Audiences still like meat-and-potatoes action flicks. 

Universal’s Blumhouse movie, The Woman in the Yard, is performing about the same as usual for the studio, with it on track for a $9 million opening, which isn’t bad. However, A24’s had its second flop in a row, with the star-studded Death of a Unicorn whiffing at the box office with an opening in the $5 million range. That’s pretty bad for a movie that boasts two pretty big stars in leading roles: Paul Rudd and Jenna Ortega. In fact, outside of A Working Man, the only new release to show much muscle was another collection of episodes from The Chosen, with The Last Supper – Part 1 – on track for a very solid $12 million. 

We’ll be back tomorrow with a full box office round-up!

Jon Lovitz and co-creator Al Jean are ready to bring back animated series The Critic, which only aired for two seasons.

Last Updated on March 31, 2025

By and large, the movies that Jay Sherman reviewed on Coming Attractions stunk. But here’s some news that doesn’t: Jon Lovitz is ready to get The Critic back on the air, and he even has the support of one of the show’s creators.

Jon Lovitz took to social media this week to share news that he is ready for The Critic to return, saying that co-creator Al Jean (The Simpsons) is also on board. (Mike Reiss, who co-wrote a number of classic Simpsons episodes with Jean, was also a co-creator.) “Critic Fans!!!!  You keep telling me you want it back. I’ve been trying for years! Well, now, creator Al Jean is on board!!! If you want it back, we need your help! Please like this post and spread the word! So we can show the studio, how many people want it!”

If Lovitz is taking a count on how many people want The Critic back, you can count me in that list. I can’t begin to figure out the number of times I’ve watched the show, which, considering it only has 23 episodes over just two seasons, really says something. The show would totally benefit from a revival. Not only would it offer some clever parodies of modern flicks but it could even incorporate today’s business model. Maybe we find Jay Sherman ousted from his job through personnel cuts, forced to review movies that only hit streaming and yelling, “It stinks!” from his couch.

The Critic originally aired from 1994 to 1995, later being revived for a series of webisodes. The show had a rough time during its short run, jumping between ABC and Fox, changing time slots and even failing to capitalize on a Simpsons crossover (season six’s “A Star Is Burns”). But none of this ultimately worked and The Critic would be canceled after two seasons. Now 30 years on, it might be time to bring back Jon Lovitz to reprise one of his all-time great characters.

You can currently stream The Critic on Tubi or pick up the Complete Series on DVD.

Would you be down for a revival of The Critic?

AI trailers have been pulling in serious views on YouTube as of late. So why aren’t studios forcing them to be taken down?

Last Updated on March 31, 2025

Years and years ago there was a trend where famous movies were being given fan-made trailers where they were put into an entirely different genre. Remember the one for The Shining that saw the Torrances as a happy family, moving about the Overlook Hotel while Peter Gabriel’s “Solsbury Hill” played? Well, those innocent days are long gone because now YouTube is infested with fake trailers that make use of AI, tricking many into thinking it’s a legit promos from the studio.

These AI trailers that have been hitting YouTube for the past couple of years have really picked up steam over the past few months, especially hitting on major upcoming releases. Some of the bigger titles, like James Gunn’s upcoming Superman, get hundreds of thousands of views, sometimes more than the real trailers. Sadly, not all of the top comments are informing others that it’s generated by artificial intelligence (because we know the channel isn’t); many are just saying how swoll Superman looks or how they can’t wait to see the movie…which will look virtually nothing like the fake trailer.

So why aren’t these AI trailers getting shut down? Deadline noted that some studios are requesting that YouTube send over some of the videos’ ad revenue their way. From one viewpoint, this ensures that Hollywood is actually continuing to make money off of properties that they own yet are being used by those without any ownership. Yes, that’s good for the studios, but if we look at the other viewpoint, things are far more dire. Really, by doing this, they are only encouraging amateur editors to take copyrighted material and do as they wish, something that is at the forefront of the AI debate in Hollywood.

With that, you can expect the likes of Screen Culture and any other proponent of AI trailers to keep building their library. After all, they’re not just getting hits and paychecks but also studio support. If, say, Warner Bros. isn’t going to demand they take all of these videos down and instead ask for financial compensation (as they, like Sony and Paramount, have), what reason do the likes of Screen Culture have to stop? Truly, shame on any studio that is allowing users and companies to continue releasing AI trailers of their upcoming movies. Is the 

What do you make of all of the AI trailers that have hit YouTube? What responsibility do the studios have here? Share your thoughts with us in the comments section below.

Whether its Saw, Friday the 13th or even I Know What You Did Last Summer, Hollywood seems incapable of doing right by the fans.

This week, we were treated to the teaser poster and plot synopsis for the legacy sequel to I Know What You Did Last Summer, and it may as well have been copy and pasted from the first film. A generic hook, the same title of the film released nearly 30 years ago, and the damn near exact same plot synopsis: “When five friends inadvertently cause a deadly car accident, they cover up their involvement and make a pact to keep it a secret rather than face the consequences. A year later, their past comes back to haunt them and they’re forced to confront a horrifying truth: someone knows what they did last summer… and is hell-bent on revenge. As one by one the friends are stalked by a killer, they discover this has happened before, and they turn to two survivors of the legendary Southport Massacre of 1997 for help.“

Don’t get me wrong, you could essentially say that Scream 5 had this exact issue (with it just being called SCREAM upon release and following a similar plot), but I’d argue there’s quite a difference. The Scream franchise has the Stab franchise within it, which allows them to comment on their own series in a meta way. Parallels can be called out by characters because all they need to do is watch the Stab films to know what happened prior. In this Last Summer sequel, a group of friends find themselves in the EXACT situation that occurred to Julie James and her friends 30 years prior. A situation that very few people are supposed to have known about. Yet not only has it gotten out there enough for it to be recreated, but for this new group to connect to it happening in the past. Last Summer isn’t and has never been Meta, so any connection would just be convoluted.

Why is redoing the first film’s story the ONLY solution when it comes to picking up this story 30 years later? But hell, at least we’re getting a new I Know What You Did Last Summer…

Look at our other horror franchises. Nightmare on Elm Street has been on the back burner for 15 years despite Freddy Krueger still being enough of a pop culture figure to appear in video games and TV shows. Yet you’re telling me we couldn’t get a sequel? I understand that the Craven Estate is stingy with the rights, but let’s move on! Hell, Michael Myers had a recent trilogy that essentially erased the other films in the franchise. What the hell are we even doing here? And there’s the baffling decision to prequel-ize Friday the 13th. Because that’s what I want from my Jason Voorhees series: a film about his life before becoming a hockey mask-wearing, machete-wielding psychopath.

Most of the appeal of the Friday the 13th franchise comes from Jason Voorhees stalking and killing various teens and young adults. There’s plenty of sex and violence, and they tend to go for entertainment value over logic. There are 12 Friday the 13th films and nearly every single one of them follows this formula. So it’s pretty surprising that the franchise died after the very successful 2009 reboot. It’s made all the more baffling when you consider that Friday the 13th fans have been CLAMORING for more. The lawsuit complicated things for years, which is likely why we ended up in our situation. But that doesn’t excuse the strange decisions about bringing the franchise back, post-lawsuit.

Linda Cardellini is an absolutely fantastic actress but I can’t imagine a world where I give a shit about Pamela Voorhees and her problems. She’s a villain. We had an entire film that showed her taking unjust revenge on counselors that had absolutely nothing to do with her son’s death. I don’t, and have never cared about Pamela’s plight. We got more than enough of her in the first film, and adding any more to her backstory just has the potential to taint that first film. How many times does it need to be said that we don’t need more villain background before someone actually starts listening?

It’s infuriating that we can’t get a proper Jason-led Friday film, yet we are getting a prequel about his mother that no one asked for. This feels like yet another studio trying to check the boxes on how to take advantage of a fan group. Because it may have the Crystal Lake name attached to it, but it’s so far from everything we know that makes Friday the 13th what it is, it may as well be something else entirely. In this day and age of marketing, attaching your own original ideas to established properties seems to be the norm.

Hell, even the Saw franchise is dealing with creative struggles despite coming off of one of the most successful entries in the franchise. How on earth do you course-correct your franchise after so many missteps and then proceed to shit the bed with it? Just give us Saw XI with Tobin Bell, Shawnee Smith, and Costas Mandylor. It’s really not that difficult. Yet, if rumors are to be believed, one of the producers wants a reboot. Again, what the hell are we doing here?! Does Hollywood hate money? I’m beginning to think so…

What do you think? Am I just being too cynical? Has it just been bad luck that we’ve had so many of our horror icons put on ice?

Richard Chamberlain, the 1980’s kind of the miniseries – including Shogun, The Thorn Birds and The Bourne Identity, has died at 90.

The 1980s were the heyday of the miniseries, and of all the people who starred in them, the undisputed king of the format was Richard Chamberlain, who, Variety reports, has died at age 90 following a stroke. Chamberlain had already been a leading man for decades by the time he made his first miniseries, having starred on TV’s Dr. Kildare, as well as in a slew of movies during the 1970s, which included Richard Lester’s classic duo, The Three Musketeers and The Four Musketeers (he played Aramis), and Peter Weir’s apocalyptic drama, The Last Wave, plus roles in the disaster films The Towering Inferno and The Swarm (where his demise caused by killer bees triggers a nuclear meltdown). 

However, his greatest fame came in the 1980s when he headlined a host of epic miniseries. His first, Shogun, is widely regarded as a classic adaptation of the James Clavell novel (with the recent remake a smash on Hulu). It was a smash hit, and Chamberlain followed it up with an even bigger hit, The Thorn Birds, which became the second highest-rated miniseries of all time (behind Roots). He followed it up with the high-rated Wallenberg: A Hero’s Story and then was the first actor to play Jason Bourne in the miniseries adaptation of Robert Ludlum’s The Bourne Identity. 

In between miniseries, he also starred in the Cannon Pictures B-movie classic King Solomon’s Mines, in which he played H. Rider Haggard’s Alan Quartermain (renamed from Quatermain), who was reimagined in the film as an Indiana Jones-style hero. The movie also marked an early role for Sharon Stone, and it was followed by a cheapie sequel, Alan Quartermain and the Lost City of Gold. 

Notably, he also spent much of his career in the closet, only coming out in 2003, with him becoming something of an icon in the gay community, showing up in I Now Pronounce You Chuck and Larry, Nip/Tuck, and Will & Grace. 

As a child of the eighties, I remember Chamberlain’s work quite well, and he will be missed. 

Which Avengers: Doomsday cast member are you the most excited about for Marvel Studios’ latest universe-spanning event film?

Last Wednesday, Marvel launched a livestream for its upcoming cinematic epic Avengers: Doomsday. The event, which moved at a snail’s pace, featured a then-unknown crew member placing chairs in a line, each revealing a confirmed cast member of the Joe and Anthony Russo-directed movie. As a chair appeared every 10-15 minutes, the five-and-a-half-hour-long presentation helped build anticipation for the film across social media and the Marvel Cinematic Universe.

Here’s the list of actors and characters Marvel confirmed for the movie: We have Robert Downey Jr. – not as his Tony Stark / Iron Man character from earlier MCU movies, but as the villainous Doctor Doom / Victor von Doom. Chris Hemsworth is back as Thor, with Tom Hiddleston as his brother Loki. Anthony Mackie returns as the new Captain America, and Danny Ramirez as the new Falcon. Paul Rudd returns as Ant-Man. So does Simu Liu as Shang-Chi. The Fantastic Four is in the line-up: Pedro Pascal as Reed Richards, Vanessa Kirby as Sue Storm, Joseph Quinn as Johnny Storm, and Ebon Moss-Bachrach as Ben Grimm. We have Letitia Wright as Shuri from Wakanda and Winston Duke as M’Baku. Tenoch Huerta Mejía, who played King Ch’ah Toh Almehen, a.k.a. Namor the Sub-Mariner, in Black Panther: Wakanda Forever, is returning.

Several Thunderbolts* cast members are present and accounted for: Sebastian Stan as James Buchanan “Bucky” Barnes, Wyatt Russell as John Walker, Florence Pugh as Yelena Belova, David Harbour as Alexei Shostakov / Red Guardian, Hannah John-Kamen as Ava Starr / Ghost, and Lewis Pullman as Robert “Bob” Reynolds / Sentry. And from the X-Men films: Patrick Stewart as Professor Charles Xavier, Ian McKellen as Erik Lehnsherr / Magneto, Kelsey Grammer as Dr. Henry “Hank” McCoy / Beast, Alan Cumming as Kurt Wagner / Nightcrawler, Rebecca Romijn as Raven Darkholme / Mystique, James Marsden as Scott Summers / Cyclops, and Channing Tatum as Remy LeBeau / Gambit.

The most significant surprise for Avengers: Doomsday arrives courtesy of Marvel’s pivot into the studio’s X-Men universe. Bringing familiar cast members back from Fox’s X-Men films was a highlight of last year’s Deadpool and Wolverine, and it appears Marvel wants to keep the X-train rolling. Still, the studio says fans can expect more cast members to return, perhaps with another lengthy game of musical chairs.

All this excitement leads us to today’s poll question: Which Avengers: Doomsday cast member are you the most excited about? Who would you like to see confirmed for the second round of cast reveals? Answer the poll, then let us know in the comments section below.

The long journey for Blade to finally make it to the Marvel Cinematic Universe may be over…and not in a good way.

For months and months, we were only getting bad and disheartening news about Marvel’s Blade, which would be entering the MCU more than 25 years after Wesley Snipes first brought the character to the big screen. Now, the bad news may be over…depending on your view of the movie. As it stands, it may be that Blade has been cancelled completely.

Multiple sources are reporting that Marvel has put Blade to rest after a string of screenwriters and directors circled, signed on and left the project. One key source this time around is The Playlist’s Rodrigo Perez, who posted a thread on X where he detailed what might really have been going behind the scenes that eventually led to Blade potentially – but not definitely – being dulled.

For starters, Perez noted that the news that Chad Stahelski signing on as director (after Bassam Tariq and Yann Demange, while apparently Cari Joji Fukunaga had also been in talks) was false. However, Mashershala Ali is still playing Blade (despite calls for Wesley Snipe to reprise, especially after his Deadpool & Wolverine cameo), although it may not be for a standalone movie. So where does that leave Ali in the MCU?

Last year, after Blade was formally removed from the release calendar, Marvel Studios president Kevin Feige insisted that Ali would for sure be playing Blade, saying, “We love the character, we love Mahershala’s version of him. And rest assured: whenever we change direction with a project, or are still trying to figure out how it fits into our schedule, we let the public know. You’re up to date on what’s going on. But I can tell you that the character will be coming to the MCU.” So does this development mean that he’ll be a surprise reveal in something like Avengers: Doomsday? More likely, it might be that Blade gets introduced to the Marvel Cinematic Universe via Midnight Sons, as Blade is part of the titular group which was first introduced in 1992.

Genuinely, the news that Blade might officially be dead as a standalone Marvel movie is no surprise as it feels like it has more or less gone nowhere of significance since first being announced more than five years ago.

How would you feel if Blade was officially dead at Marvel? Where do you want to see the character end up?

Jason Statham’s latest action flick, A Working Man, topped Snow White and more at the box office this weekend.

Magic mirror on the wall, who’s the fairest of them all? Jason Statham, evidently, as his latest action flick, A Working Man, has topped the weekend box office, poisoning the apple of Snow White, which continued its disappointing run by dropping to the number two spot.

A Working Man once again proved that Jason Statham’s fanbase is a continuously loyal one, as the movie – which reunites him with The Beekeeper director David Ayer – earned $15.2 million in its debut weekend, a chisel in its $40 million budget. For a movie that banks on Statham himself (and not an established franchise like Fast and the Furious), that’s pretty good, landing in The Beekeeper territory.

Now onto Snow White, which opened last week with just $47 million. The live-action (well, mostly) remake of the Disney classic was bound to fall but we didn’t expect it to do so in such embarrassing fashion, as it slipped nearly 70%. While that still put it as the weekend’s runner-up, it only took in another $14.2 million. For a movie that has a budget pegged upwards of $270 million, this is easily one of the biggest red marks for Disney. Hopefully this will make them reconsider their desire to remake their animated classics (although a lot are still on the calendar)…or at least convince Hollywood to stop casting Gal Gadot.

The rest of the box office was far less dramatic, although a curious choice came in at #3: The Chosen: The Last Supper ($11.5 million), which is actually part of an Amazon MGM Studios deal that sees the fifth season of the faith-based series getting a theatrical release before hitting Amazon. It’s an interesting strategy that is evidently paying off, pulling solid numbers for a movie that has a niche audience.

Blumhouse’s The Woman in the Yard snuck through the gate with $9.4 million. That single-digital number isn’t all that far from the movie’s $12 million budget, although the studio’s non-franchise fare usually at least opens in the doubles. Failing to sparkle was Death of a Unicorn, which poked its way into the top 5 with $5.8 million. You’d think that a movie starring Paul Rudd and Jenna Ortega would have fared far better at the box office but with mid reviews, an R rating and nothing really to grab an audience outside of the cast, it just didn’t have the magic to land.

One delight that made the top 10 was Hayao Miyazaki’s Princess Mononoke, now out courtesy of a 4K transfer. No doubt IMAX screens helped boost it to $3.5 million, but I’d also like to think those who were disgusted by OpenAI’s Studio Ghibli-inspired feature headed to the theater as a move of support. And considering its initial domestic run back in 1999 only saw it in 129 theaters, we’re calling this a win all around. Right behind it was Captain America: Brave New World, which, with another $2.75 million to its name, still stands as the highest-grossing movie of 2025 so far.

Meanwhile, Steven Soderbergh’s Black Bag is trying to nudge towards $20 million domestically with its $2.15 million this weekend. Soderbergh isn’t normally a splash at the box office but his movies are almost always worth seeing so good on him for hanging in the top 10 (even if Black Bag won’t recoup its budget, not even earning back half of it on the domestic front). The number nine and 10 spots would go to Bong Joon Ho’s Mickey 17 and the Jack Quaid action flick Novocaine, which is a lot of fun and well worth checking out. Mickey 17 took in $2 with a, while Novocaine earned $1.45 million in its third week. That might seem numb, but considering it has already recouped its budget, any extra bucks are welcome.

As it happens, Chris Bumbray’s box office predictions for this week’s totals underestimated Jason Statham’s ability to put in work. Our editor-in-chief, Chris Bumbray, thought Snow White would retain its top spot, but David Ayer and Jason Statham’s A Working Man hammered its way to the top of the list with a $15.2M debut over Snow White‘s $14.2M. Ah, well. Even a broken clock is right twice a day, right?

Next week will no doubt find a new champ at the box office, as A Minecraft Movie is looking to be a real blockbuster, proving to do well with advanced ticket sales ahead of its release. Other new titles include Lionsgate’s Pedro Pascal-starring Freaky Tales, horror-comedy Hell of a Summer (which is Finn Wolfhard’s co-directorial debut), The Luckiest Man in America (about the infamous Press Your Luck scandal) and Eric Laure (Michael Shannon’s own directorial debut). Mid-week, Screamboat – the latest horror movie taking advantage of copyright lapses – will also open.

What did you catch at the movies this weekend?

Bruce Glover, who notably played a villain in 1971’s Diamonds Are Forever and had small roles in several classics of the ‘70s, has passed away. He was 92.

The news of Bruce Glover’s passing was shared on social media by son Crispin, who posted numerous photos – ranging from publicity shots to family photos – all bearing the caption: “Bruce Herbert Glover May 2, 1932 – March 12, 2025”.

While Bruce Glover was featured in dozens of movies, his most famous role was as one of the henchman (along with Putter Smith’s Mr. Kidd) to Blofeld in Diamonds Are Forever. He and Smith stole nearly every scene they were in, providing deadly ends to their targets (from scorpions to time bombs) and exchanging banter that made them some of the most interesting lower-tier baddies in the entire franchise.

Bruce Glover would be featured in a number of movies following Diamonds Are Forever, including vigilante favorite Walking Tall, Roman Polanski’s Chinatown and Charles Brosnan boxing movie Hard Times. A good amount of his cinematic output in the ‘80s and ‘90s would be with genre movies, 1988’s Ghost Town, 1991’s Popcorn and 1993’s Warlock: The Armageddon. His earliest credits came via television, with spots on famous series like My Favorite Martian, Perry Mason and Car 54, Where Are You? Near the end of his career, he would even be directed by his son in 2007’s It Is Fine! Everything Is Fine. According to IMDb, he also has a role in another yet-to-be-released film directed by Crispin.

In a 2019 interview, Bruce Glover stated, “If I am anything as an actor, it is that I will never the usual. I will be the unusual, and I intend to continue that whatever I am doing, whether it be acting, or I’m writing, or I am going to be painting or whatever I am going to be doing. It is uniquely my own.” Now there’s something that got passed down to son Crispin. And as  Mr. Wint said, “One is never too old to learn from a master…”

Share your favorite Bruce Glover movies and performances with us in the comments section below.

Australian martial artist and fight coordinator Richard Norton worked across the world and with some of Hollywood’s elite.

Richard Norton, the Australian stunt performer and coordinator who worked with some of Hollywood’s elite, has passed away. He was 75.

Announcing the news, Richard Norton’s wife Judy wrote on Instagram, “I am numb and devastated, I have no words, I have lost my everything, I know there is, and will be lots of love and shock that we have lost this incredible human being. The love of my life. I’m using this time to come to terms with my great loss…” The likes of Robert Patrick, Lorenzo Lamas and more have all shared their grief on social media over the loss of Norton, with Lamas noting that he was inducted into the Martial Arts Hall of Fame in the same year.

No doubt Richard Norton was an absolute legend in the field of martial arts, proving versatile in a number of studies, including karate, Aikido, and Brazilian Jiu-Jitsu (he was even an instructor). That he studied and perfected fields from different countries showed his devotion to the craft. And he would take this into the movies as well, getting his first notable credit alongside Chuck Norris in 1980’s The Octagon. Soon after, he was appearing in films from Hong Kong (Twinkle, Twinkle, Lucky Stars) and the Philippines (Future Hunters). Throughout his lengthy career, Richard Norton was found facing off – and holding his own against – the likes of Jackie Chan, Sammo Hung, Don Wilson, Cynthia Rothrock, and the aforementioned Chuck Norris (their showdown in The Octagon is simply badass).

Richard Norton got a new appreciation with Western audiences much later, serving as a stunt performer and fight coordinator on George Miller’s Mad Max: Fury Road, later returning for Furiosa: A Mad Max Saga. These action-packed favorites allowed him to work with some of Hollywood’s biggest stars, including Charlize Theron. He, too, would work with Scarlett Johansson, Margot Robbie and Ben Affleck, who all found out that when you want to look like you know what you’re doing in hand-to-hand combat, Richard Norton was one of the best.

What was your favorite Richard Norton movie or stunt work? Leave your picks and your condolences in the comments section below.