Scott Mendelson

After years of ignoring female-focused melodramas, romantic comedies, cat-and-mouse thrillers, etcetera—a string of hits like It Ends With Us may finally convince Hollywood to revisit some of its tried-and-true genres.

Overseas matters more than online controversies, younger moviegoers already want to relive their youth, audiences are hungry for old-school movie stars, and other revelations from this year's better-than-expected blockbuster season.

From August 2022, when Amazon officially acquired MGM, through to this past weekend's flop Blink Twice, the studio released copious features greenlit by predecessors Mike De Luca and Pam Abdy.

Not all legacy sequels work out, but ‘Beetlejuice Beetlejuice' had a number of factors guiding its success—multigenerational appeal, the return of Tim Burton, and a pair of stars who are nearly as relevant now as they were more than 30 years ago.

Despite some incredible prerelease buzz around ‘Transformers One,' the latest entry in the toy franchise proved to be another cautionary tale about what happens when a studio keeps exploiting franchises past their sell-by date.

With six bombs in a row, the Megalopolis distributor has leaned on foreign presales to paper over an astoundingly bad slate of 2024 movies. Thankfully, at least, the next year is looking up.

At one point, a big-budget follow-up movie that grossed less than the original was an anomaly. But with The Marvels and now Joker: Folie à Deux, it's becoming a trend.

The success of ‘Terrifier 3' further proves that a mainstream theatrical release still trumps nontheatrical distribution—at least in terms of cash-in-hand revenue and pop culture impact.

Anora, which has earned more than half a million dollars from six theaters and goes wide next month, is testing the viability of the old platform release model.

Why is Disney considering the Thor actor for ‘Prince Charming' despite prodigious evidence that he has failed to lure audiences to theaters outside of his Marvel movies?