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(02/06/26 2:35am)
It shouldn’t really come as a surprise: Amassing a total of 73 million followers across the internet, Mark Fischbach, alias Markiplier, released his first feature film, Iron Lung, in 4,000 theaters nationwide on Jan. 30. Written, directed, and acted in by Fischbach, it is already, in no uncertain terms, a massive financial success. With a budget of only $3 million, its opening weekend saw a domestic gross of $17.8 million and an additional $3 million in international profits.
(02/10/26 9:45pm)
The box office for horror in 2026 is already off to a strong start. With titles like 28 Years Later: The Bone Temple, Ready Or Not 2: Here I Come, Scream 7, and The Strangers: Chapter 3 all either out or releasing later this quarter, horror continues to be a reliable genre for theatres to fill seats.
(02/23/26 12:29am)
The term “prestige television” used to mean big ambition and slow rhythm, as if each episode was a movie. The Sopranos, Mad Men, Breaking Bad—these were dramas about institutions, morality, and power, all told through the highest cinematic craft. Having cable access to such art felt too good to be true.
(02/01/26 11:23pm)
Freida McFadden’s The Housemaid is not a particularly intellectual read. It’s shocking, full of plot twists which keep the reader turning pages. I read this book in two sittings on a long car trip and can affirm that I was never bored. The characters at first appear a bit stereotypical: the broke city girl, the uptight housewife, the sheltered kid, the sad husband. But the novel soon reveals that these initial impressions are misleading, reframing the characters in far more unsettling ways. As in any beach–read thriller, the story is more plot–driven than character–driven, but part of the plot comes from the realization of their true personalities. In that way, the suspense comes as much from character as from action.
(02/01/26 11:52pm)
To avoid wasting your time, I’ll answer that question upfront: Wonder Man was made for me.
(01/29/26 10:11pm)
As a member of Street, Hollywood’s most feared and respected publication, I recently had the honor of previewing the latest Asian American Blockbuster(™): it’s the powerful story of a young Asian American who fights their controlling family and ultimately overcomes their conservative thinking, winning the freedom to choose their own path as a result.
(01/28/26 2:57am)
The anxiously awaited second part to the Wicked duology, Wicked: For Good, released this past November and, to quote Glinda, “I couldn’t be happier.” Wicked (2024) was highly regarded by audiences and critics alike; during the 2025 Oscars, the film received ten nominations, winning in Costume Design and Production Design (in addition to other Critics’ Choice Awards, Golden Globes, and more). However, there’s been a significant difference in reception this time around—especially when it comes to critics. The number of 2026 Oscar nominations? None.
(02/12/26 2:36am)
Quentin Tarantino released a new chapter of Kill Bill this month—not as a film, not as a short, but as a Fortnite cinematic. Yes, that Fortnite. The platform built on battle passes, emotes, and endless crossovers is now hosting original work by the filmmaker who once called digital projection “the death of cinema.” It’s hard to imagine a more surreal collision: one of the last self–defined auteurs dropping lore into a game best known for lightsabers, Thanos gloves, and Ariana Grande concerts.
(02/13/26 5:37am)
Male yearning isn’t new. Men are capable of romance–driven longing like the rest of us, but their stereotypical macho, no–feelings demeanor isn’t always broken through on the screen like we want it to be. So many of these fictional men hold back their feelings, shy away from communication, yell at their partners, and offer a half–assed love none of us deserve. However, in romances of the last decade, stories centered on male yearning dominate, and their most emotional moments are endlessly cycled online. From Theodore “Laurie” Laurence’s (Timothée Chalamet) heartbreaking confession to Jo March (Saoirse Ronan) in Little Women to Peeta Mellark’s (Josh Hutcherson) painful devotion to Katniss Everdeen (Jennifer Lawrence) in The Hunger Games saga, women eat male yearning up. Seeing men obsessed with someone—so much that it hurts—reminds us that men too are capable of emotional vulnerability and expressing love.
(01/21/26 1:06am)
What do you do after making two of the most acclaimed television series of all time, back to back? Perhaps you try to bottle lightning a third time—greenlighting a sequel or spin–off that guarantees viewers and money. Maybe you quietly retire, stepping into a consultant role so your name still carries weight without risking dilution. Or maybe you’re Vince Gilligan, and you build a streaming service’s prestige so thoroughly that your next original series becomes its most watched show ever.
(02/15/26 5:38pm)
This review contains spoilers for Season 5 of Stranger Things.
(01/21/26 2:09am)
Especially when I was younger, I didn’t really understand what made the first Avatar film (and its sequel) such a box–office sensation. I found the movie boring and put it off for years. That is until my sophomore year of high school, when I impulsively rewatched the original a few months before The Way of Water arrived. I viewed it exactly as director James Cameron intended: late at night, on Disney+, on my laptop.
(12/13/25 11:28pm)
With the year coming to a close, it’s always nice to look back at what’s passed. And what a year it’s been, especially in cinema. Some real classics–to–be have graced the screen in an industry that’s seen scares left and right, cementing film’s popularity and standing power in the global consciousness. There have also been a myriad of surprises, as the past year illuminates the growth and reception of anime against the biggest blockbusters.
(12/13/25 7:58pm)
Guillermo del Toro has been in a 25–year situationship with Frankenstein. He’s said it himself: “Frankenstein to me is the pinnacle of everything … I dream I can make the greatest Frankenstein ever, but then if you make it, you've made it. Whether it's great or not, it's done. You cannot dream about it anymore. That’s the tragedy of a filmmaker.” It’s such a painfully romantic thing to admit—that the dream is sometimes sweeter than the execution, that creation always comes with the risk of disappointment, that once you animate the monster you lose the fantasy of what he could have been. It’s deeply Shelleyan, deeply Catholic in the melodramatic sense, and deeply del Toro: he's a man who loves monsters so tenderly he’s almost afraid to touch them.
(12/19/25 7:45pm)
For almost a century, Warner Bros. has been one of Hollywood’s great institutions. It survived the end of the studio system, the rise of television, the streaming wars, and the era where every company tried to buy every other company. But somehow, the most dramatic chapter in its history is the one unfolding right now.
(12/04/25 4:36pm)
We love to flirt with death—at least behind the barrier of the silver screen. Maybe it’s morbid curiosity, maybe it’s catharsis, maybe it’s just good storytelling, but audiences have always been obsessed with the spectacle of survival. “Death game” movies—stories where contestants compete until only one walks out alive—feel aggressively modern, but the instinct behind their success is ancient. The arenas may change, but our fixation doesn’t.
(12/08/25 8:04pm)
In 2025, Hollywood’s most reliable special effect wasn’t CGI—it was cloning its stars. Michael B. Jordan played twin brothers in Sinners. Robert De Niro played rival mobsters in The Alto Knights. Robert Pattinson played a man and his copy in Mickey 17. Theo James faced off against his evil twin in The Monkey. Even Superman found himself doubled, with David Corenswet facing off against his evil clone Ultraman. Add Elle Fanning’s twin act in the newest Predator film and Dylan O’Brien’s bleak comedy Twinless, and it starts to feel less like coincidence and more like obsession.
(12/02/25 2:37pm)
It becomes increasingly difficult to romanticize autumn as the colorful leaves slowly turn brittle, a constant reminder that winter is approaching. But the changing scenery also hints that winter break is inching ever closer, and the anticipation of relaxing, reuniting with friends from home, and reconnecting with family members radiates all across campus. The holiday season is thrilling, but it can also be a stressful time: while bringing everyone together over a delicious meal can be meaningful, it can also unintentionally bring up family tensions and uncomfortable conversations. While it may feel easier to shy away from these uncomfortable interactions, the lighthearted romantic comedy Nobody Wants This reminds us that sometimes it's best to approach them head–on.
(12/02/25 3:52am)
In 1878, English photographer Eadweard Muybridge (yes, that is really how his name is spelled) assembled a series of photos depicting the movements of a horse as it galloped across a stage. Though he didn’t know it at the time, these “electro–photographs” would eventually lead to the development of the first movie camera, paving the way for photography to move from capturing moments to telling stories on screen.
(11/28/25 5:00am)
It’s hard to maintain critical distance from a film when you keep bumping into its director on the street, but Urchin (2025) made that impossible anyway. I immediately saw it a second time while at Cannes, partly because the film was so good and partly because the universe kept throwing Harris Dickinson directly into my path. I ran into him on the Croisette three separate times like some sort of strangely tailored omen, and then capped off the week by getting a photo with Frank Dillane right after he won Best Actor at the Un Certain Regard closing ceremony.
