American film and television review aggregator
Horror films directed by young creators from YouTube and TikTok are reshaping the summer box office, with Kane Parsons’ Backrooms and Curry Barker’s Obsession delivering strong openings. Steven Spielberg’s Disclosure Day opens strongly in the U.S. and worldwide, while Masters of the Universe struggles to meet expectations. Audiences over 34 are driving early legs for original releases.
Toy Story 5 has opened to record franchise returns, grossing roughly $312m worldwide and dominating ticket sales. Low‑budget horror films made by online creators — notably Obsession, Backrooms and Iron Lung — have posted surprise gains. By contrast, DCilms' Supergirl has underperformed, opening far below studio expectations and drawing poor reviews.
A slate of reviews and box-office numbers show Supergirl has opened modestly, prompting DC Studios to reassess momentum and direction for its evolving DC Universe. Critics highlight pacing and tonal decisions, while Milly Alcock’s performance is noted as a potential future asset.
Comcast has announced a tax-free spin-off that will separate NBCUniversal and Sky into a standalone, publicly traded media company while leaving Comcast focused on broadband, wireless and business services. The company has said the separation will complete in about a year, executives told investors, and Comcast will initially keep up to 19.9% of the new media group.
Minions & Monsters has opened strongly, topping North American box office with $36.4 million for the holiday weekend and $61.4 million over five days. Toy Story 5 follows with $31 million, while Young Washington debuts around $21 million. Supergirl trails, and overall weekend revenue is down year-on-year but up for the summer period vs 2025.
The Minions & Monsters franchise continues to ride high on box office success, with Coffin defending its bridge to cinema history while the latest film tests whether silent era nostalgia can translate into new, daring storytelling.
Disney’s live-action Moana opens to a global $95 million, underperforming the $60 million U.S. target and facing scathing critics who call it a “shot-for-shot” redo. Audiences are warmer, with a CinemaScore A- and a largely female 66% share, while competition from new releases looms.
The Odyssey has ignited a global cinema moment as fans travel to London, LA and beyond for 70mm Imax screenings. Tickets sell out, with unprecedented demand and cross-border pilgrimages, while industry observers weigh the impact on cinemas and traditional distribution.
Universal Pictures releases Nolan’s Odyssey, adapting Homer’s epic with Matt Damon, Anne Hathaway and Tom Holland. The film is shot entirely in IMAX 70mm, positioning Nolan’s epic as 2026’s event cinema.
Christopher Nolan's Odyssey has opened to blockbuster numbers, surpassing expectations and even rivaling his own Dark Knight era. The film has drawn global audiences, sparked online debate over casting, and critics are split on stylistic choices, while praise for its ambition grows.
The Odyssey remains a box-office hit amid heated debate over casting and authenticity, with supporters praising Nolan’s vision while critics argue about representation and woke culture.
The Odyssey has sparked a global reaction as Nolan's adaptation, starring Matt Damon and a star-studded cast, receives rave reviews and strong box office. Musk has pledged a rival, historically accurate version, intensifying the debate over AI in cinema and casting. The Guardian reports Musk’s criticisms persist, while the BBC notes access to ancient artifacts during the US premiere.
The Odyssey has surpassed $1.1 billion worldwide, making it Christopher Nolan’s highest-grossing film and surpassing The Dark Knight Rises. The epic, featuring Matt Damon, Anne Hathaway and Robert Pattinson, opened July 17 and has dominated theatres globally while Nolan’s other projects in 2026 have delivered mixed results. The film’s success cements Nolan’s status at the peak of his career.