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Mick Jackson's "The Bodyguard" is one of the lousiest blockbusters ever made. It's no secret why the film, which grossed a stunning $411 million globally ($924 million in 2024 dollars) on a $25 million budget, caught on with audiences: Kevin Costner playing the Steve McQueen-esque guardian of Whitney Houston, who belts out her biggest hit ever at the end of the movie ("I Will Always Love You"), was just a crazy zeitgeisty combination of superstars in 1992. Even though the B+ Cinemascore indicates it didn't hit the sweetest of spots with moviegoers, the hook and that song proved irresistible.

So what if the R-rated action-romance played like the chastest Adrian Lyne movie ever made, or the 17-year-old screenplay by Lawrence Kasdan was a by-the-numbers bore? Did it matter that Costner and Houston had absolutely zero chemistry, or that critics generally abhorred the film?...

In 2011, French thesps Omar Sy and Anne Le Ny co-starred in the comedy hit “Untouchable.” Now, the two are reunited in the domestic thriller “Out of Control,” with “Lupin” star Sy in one of the leading roles next to Elodie Bouchez, José Garcia and Vanessa Paradis, while Le Ny serves as director and Axella Cachman’s co-writer.

“There was a real bond and warmth between us then, which was easy to revive 13 years later,” says Le Ny, who shared the screen time with Matt Damon in “Stillwater” and earned her first writing/helming kudos for her breakthrough movie “Those Who Remain” (2008).

Her seventh pic as helmer, “Out of Control (“Dis moi juste que tu m’aimes”) world premieres at the Tallinn Black Nights Film Festival official competition on Nov. 16, is being produced by Move Movie’s Bruno Levy, in co-production with Sy’s production company Korokoro, France 2 Cinéma and La Compagnie Cinématographique & Panache Productions,...

Hulu – the American streaming service started back in 2008. While its main focus was on TV content owned by NBC Universal and The Walt Disney Company, the service has recently delved into churning out Original movie content. While Netflix and Amazon Prime Video are still known as the actual beasts for Movie Originals, Hulu original Films are slowly crawling up to form in line. While the streaming service has mostly looked towards non-fictional storytelling, the list will only consist of the major films they have produced. If you are searching for the Best movies to watch on Hulu, this will be a safe place. Please note that this is an ever-updating list so there will be changes made to it on a regular basis. Here are some of the Best Hulu Original Films ranked from Worst to Best:

22. The United States vs. Billie Holiday (2021)

Based on the book “Chasing the Scream:...

Exclusive: Amazon MGM Studios has moved to preemptively acquire The Killing Kind, a psychosexual thriller pitch from screenwriter Zach Helm (Stranger Than Fiction), which Ryan Reynolds’ Maximum Effort is attached to produce, sources tell Deadline.

Amazon MGM declined comment. Specifics as to the plot of the film are under wraps for the moment.

Helm comes to The Killing Kind after working in the same vein as the co-writer of Deep Water, the erotic thriller, starring Ben Affleck and Ana de Armas, from Fatal Attraction‘s Adrian Lyne. Well acquainted with various genres, he’s perhaps best known for writing Stranger Than Fiction, the beloved Columbia Pictures dramedy starring Will Ferrell, which brought him nominations at both the WGA Awards and the Critics Choice Awards. A celebrated playwright whose play Good Canary was most recently directed by John Malkovich in London, Helm also wrote and directed 20th Century Fox’s family film Mr. Magorium’s Wonder Emporium,...

Andrew Garfield is "excited" to work again.The 41-year-old actor can next be seen opposite Florence Pugh in 'We Live in Time', his first film in three years, and he admitted his sabbatical has given him a fresh enthusiasm for making movies.Asked if he is out of his sabbatical now, he told The Hollywood Reporter: "I think so. Yeah, I think I’m excited to work again in a different way. I feel looser, I feel less precious. I feel more joyful. I feel more aware. "I feel established enough as a person in the world, as an actor within myself and within the world. I know myself well enough now to feel more enjoyment… I’m still a headcase — when I’m on a set, I’m like a dog with a bone and get taken over by some weird spirit that is never satisfied...

Demi Moore underwent an intense physical regimen to lose weight for her role in the 1993 film “Indecent Proposal.” In a recent CBS interview, the actress opened up about the demanding schedule she maintained while filming the erotic thriller.

Moore had just given birth to her daughter Scout before production began. To lose weight quickly, she decided to bicycle the long distance between her Malibu home and the Paramount Pictures studio in Hollywood every day. This meant riding approximately 60 miles roundtrip under demanding conditions.

“I put a lot of pressure on myself,” Moore recalled. “I’ve been told in the past to lose weight too, which was really embarrassing and hurtful. But I took it out on myself for this role.”

Each day she woke up early with a trainer using headlamps in the dark. After biking to set, she worked through 12-hour filming days. Moore would then make the exhausting cycle ride back home.

Demi Moore revealed in an interview on CBS’ “Sunday Morning” that she biked around 60 miles each day during the filming of her 1993 erotic thriller “Indecent Proposal” in order to lose weight for the shoot after giving birth to her daughter Scout Willis. The movie, directed by Adrian Lyne and co-starring Robert Redford, shot in 1992. Scout was born the year prior.

“I put so much pressure on myself,” Moore said. “And I did have experiences of being told to lose weight and all of those. While they may have been embarrassing and humiliating, it’s what I did to myself because of that.”

Moore was living in Malibu at the time “Indecent Proposal” was filming at the Paramount Pictures lot in Hollywood. She decided to ride her bike to and from set each day to lose weight, which totaled around 60 miles each day.

“I think [Scout] was, like, five or six months old when we were shooting,...

This year’s Venice Film Festival lineup was not only the starriest in recent history, it was also the steamiest. Literally and figuratively. Aside from the brutal heatwave that plagued festivalgoers, the roster was filled with sexually charged movies, ranging from “Babygirl,” starring Nicole Kidman, to Luca Guadagnino’s “Queer” with Daniel Craig. Elsewhere in the festival circuit, Audrey Diwan’s “Emmanuelle” is kicking off San Sebastian, while Alain Guiraudie’s “Misericordia,” which opened at Cannes, is playing at virtually every major fest this fall.

But like Kidman’s character in “Babygirl” who only gets triggered when something is at stake, erotic movies in 2024 aren’t created as mere entertainment as they once were; they exist to push boundaries and break down clichés revolving mainly around female and gay protagonists.

“Babygirl,” directed by Dutch helmer Halina Reijn (“Bodies Bodies Bodies”), tackles the complexity of female sexuality and the issue of...

Demi Moore is getting her due thanks to Metrograph.

The “Substance” actress and Hollywood icon is being honored by Metrograph with a five-film series of Moore’s most beloved features, as curated by the theater. Titled “We Want Moore,” the mini festival begins September 13.

“The rapturous reception of Demi Moore’s performance in Coralie Fargeat’s ‘The Substance’ at this year’s Cannes Film Festival seems to have reminded many people that the New Mexico-born actress is a bona fide movie star — not just in terms of box office receipts and magazine cover shoots, but in her seemingly effortless ability to command the screen every time she walks into frame,” the Metrograph press statement reads. “In ‘We Want Moore,’ we’ve brought together some other timely reminders.”

Selected films screening in 35mm include Moore’s iconic turns in “Ghost,” “Indecent Proposal,” and “Striptease,” which Moore recently told Variety was one of her most under-appreciated performances.

The worst thing your partner could possibly say to you after sex, after you’ve said “I love you,” is the dreaded “love you.” No “I.” And that’s not the most demoralizing response Romy (Nicole Kidman) has for an amorous confession by her husband Jacob (Antonio Banderas) in “Babygirl,” writer/director Halina Reijn’s provocative erotic dramedy that begins and ends with an orgasm. One of them is faked, but in between, this perversely funny and absorbing new film explores the pleasure gap between men and women, and how our inability to talk about sex limits our ability to just do it.

And there’s lots of sex here, with Kidman going raw inside and out for one of her top performances in a career built on risk-taking. That’s all the way back to her psychosexual breakout in “Dead Calm” and as recently as “Big Little Lies,” where...

On a new episode of “The Jess Cagle Show with Julia Cunningham” on SiriusXM’s Radio Andy (Ch. 102), Diane Lane reflected on a kissing scene that injured her neck and the iconic train scene in “Unfaithful,” the acclaimed 2002 erotic thriller for which she earned an Academy Award nomination for Best Actress.

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Diane Lane Revisits ‘Unfaithful’ Over 20 Years Later

“You know, it’s a fun story for me because it was sort of a revenge moment,” Diane Lane told Jess Cagle and Julia Cunningham. “[Director] Adrian Lyne likes to do a lot of takes, and I can tell you some stories about that as well. Made my chiropractor rich hurting my neck in the kissing scene,...

For over 15 years, a remake of “The Crow” has been in development with countless directors and stars cycling in and out. A new spin on the stylistically influential comic book movie from 1994 that is mostly remembered for the tragic on-set death of star Brandon Lee would fall apart just as quickly it would generate heat or a star to coalesce in some way. At various points in time actors like Bradley Cooper, Jason Momoa and Luke Evans were attached to prior iterations of the project. All of them went away.

But now, a new version of “The Crow” finally opens wide courtesy of Lionsgate Friday, with Bill Skarsgård as the doomed title character and pop star FKA Twigs as Shelly, his equally doomed fiancée. The story follows these doomed lovers who are murdered, only for Skarsgård’s character to get a chance at revenge by sacrificing himself, traversing the lands...

One of the very best Stephen King films isn't a horror movie — it's the coming-of-age drama "Stand By Me." Released in 1986 and helmed by Rob Reiner, the film actually went out of its way to not slap King's name all over the marketing material. "We actually played down King's name because we didn't want people to have the idea that this was a bloody, gory horror movie," Reiner said (via the book "Creepshows: The Illustrated Stephen King Movie Guide" by Stephen Jones). But while "Stand By Me" may not have been sold as a Stephen King movie, it was very much a personal story for King. So personal, in fact, that when he saw the finished film, he was overcome with emotion and had to be alone for a few minutes to gather his thoughts.

"Stand By Me" is based on King's novella "The Body," which appeared in King's 1982 collection "Different Seasons.

Bud S. Smith, an Oscar-nominated film editor, died last Sunday at his home in Studio City, California, from respiratory failure after a prolonged illness. He was 88.

Smith’s death was confirmed by his wife, dialogue editor Lucy Coldsnow-Smith.

During his five decades as an editor, Smith was a two-time Academy Award nominee, scoring bids in 1975 for William Friedkin’s horror classic, The Exorcist, which Smith shared with Evan A. Lottman and Norman Gay, and in 1984 for Adrian Lyne’s Flashdance

Smith won the BAFTA award for best editing for Flashdance and a career achievement award from the American Cinema Editors in 2008.

His credits also included Putney Swope, Cruising, Sam Raimi’s Darkman, Robert Towne’s Personal Best and Poltergeist II: The Other Side.

In the 1990s, Smith was a film doctor and consultant, most often on the slate at Universal Pictures under exec Casey Silver.

Born on Dec. 6, 1935 in Tulsa,...

Bud S. Smith, an Oscar-nominated film editor who was a regular collaborator with William Friedkin and whose other credits include “Putney Swope,” “Flashdance” and “The Karate Kid,” died Sunday at his home in Studio City, Calif. due to respiratory failure after a prolonged illness. He was 88.

Smith’s death was confirmed by his wife, dialogue editor Lucy Coldsnow-Smith.

Over a career spanning five decades, Smith was a two-time Academy Award nominee: in 1984 for Adrian Lyne’s romance fantasia “Flashdance,” and in 1974 for William Friedkin’s horror classic “The Exorcist,” which Smith shared a nomination for with Evan A. Lottman and Norman Gay. Smith won the BAFTA award for best editing for “Flashdance” and received a career achievement award from American Cinema Editors in 2008.

After beginning in television and working under David L. Wolper in the ’60s, Smith’s first feature editing credit came at the end of the decade with Robert Downey,...

Ana De Armas Once Gave Everyone W*t Dreams With Her Seductive Scene With Jacob Elordi ( Photo Credit – Instagram )

Ana de Armas and Ben Affleck starrer Deep Water is a psychological thriller with a complicated theme. The film also featured Euphoria star Jacob Elordi in a supporting role. It featured several passionate scenes, but the one where Ana de Armas and Elordi make love is the highlight and is still discussed online. Scroll below for more.

For the unversed, Ben and Ana dated each other before breaking up in January 2021. They started dating in 2020 and were together for ten months. The film began production in 2019, and they probably started dating after that. It was directed by Adrian Lyne, who returned to filmmaking after 20 years of absence. His last film before that was Unfaithful.

The scene we are talking of is when Ana de Armas’ character Melinda gets playful in the car with her lover Charlie,...

“Let’s face it, I had a bad script,” director Michael Bay said on the commentary track of his debut feature film, Bad Boys. Bay isn’t wrong. Bad Boys relies on buddy comedy tropes already established in 1974’s Freebie and the Bean and 1982’s 48 Hrs., complete with nonsense plot points. “But I had real comic talent in my two stars.” Bay of course means Martin Lawrence and Will Smith. Drawn from the popular sitcoms Martin and The Fresh Prince of Bel-Air, Lawrence and Smith saved the movie from the clunky script with their easy chemistry and comic timing.

At one point, however, Bad Boys had two very different stars in mind with a comic chemistry unlike that of Lawrence and Smith.

Live From Miami, It’s Saturday Night!

In the 1980s, there were no greater kingmakers than Jerry Bruckheimer and Don Simpson. Not only did the super producers turn...

Adria Arjona, Richard Linklater, and Glen Powell on the set of Hit ManImage: Netflix

Loosely based on a 2001 Texas Monthly profile, Richard Linklater’s Hit Man mythologizes the life of Gary Johnson, a part-time college professor who moonlighted as a fake hit man for the Houston Police Department. Of course,...

In the late 1980s, Bruce Joel Rubin was a screenwriter with two interesting credits on his resume — “Brainstorm” (1983) and “Deadly Friend” (1986) — and a screenplay (“Jacob’s Ladder”) that everyone in Los Angeles agreed was terrific but which no one at the studios would green light. Rubin’s fortunes and reputation changed seemingly overnight on July 13, 1990, when his romantic thriller “Ghost” opened and became a worldwide smash. A few months later, “Jacob’s Ladder,” which had finally been brought to the screen by director Adrian Lyne, opened as well, and Rubin’s status as one of Hollywood’s top screenwriters was secure.

While “Ghost” ultimately garnered Rubin an Academy Award and went on to become a classic — one of those rare cases where personal expression seamlessly intersected with popular and artistic success — its path to the screen wasn’t always smooth. In the following exclusive excerpt from Rubin’s new memoir, “It’s Only a Movie,...

Mark Damon, who starred in the Vincent Price horror classic House of Usher and spaghetti Westerns before revolutionizing the foreign sales and distribution film business and producing features including 9 1/2 Weeks, Monster and Lone Survivor, has died. He was 91.

Damon died Sunday of natural causes in Los Angeles, his daughter, Alexis Damon Ribaut, told The Hollywood Reporter.

Damon spent the first 20 years of his career as an actor, including about a dozen as a leading man in Italian action movies, before he transitioned to the business side.

He had early success as an executive producer with two movies written and directed by Wolfgang Petersen: the German-language World War II drama Das Boot (1981), which received six Oscar nominations, and The NeverEnding Story (1984), a big-budget fantasy film that featured a Damon-commissioned score by Giorgio Moroder for non-German audiences.

He shared an Independent Spirit Award with director Patty Jenkins and others...

It is the spring of “Baby Reindeer.” Netflix’s addictive limited series about a struggling comedian (Richard Gadd) working at a bar who makes the biggest mistake of his life when he gives a lonely woman (Jessica Gunning) a cup of tea on the house is the most watched series currently on the streamer and viewership is growing. And the fact that it’s based on a true story, makes “Baby Reindeer” even more creep and chilling. It’s a must-see voyeur thriller.

The same was true in the fall of 1987 with Adrian Lyne’s “Fatal Attraction.” Audiences flocked to the hard R-rated thriller which starred a wild-haired Glenn Close as an editor with a publishing company who has one-night stand with a happily married attorney (Michael Douglas) whose wife and daughter are out of town. Though it’s “understood” that it’s just a fling, Close’s Alex just won’t let go.

Paramount Pictures had good reason to believe Adrian Lyne's "Fatal Attraction" would be another box office smash for the hit-making studio (which had just dominated 1986 with five of the ten highest-grossing movies of that year — including the top two in "Top Gun" and "Crocodile Dundee"), but they couldn't have anticipated the film becoming a full-blown, adult-skewing blockbuster. Nevertheless, the erotic thriller about an extramarital fling that turns into a waking nightmare for the happily married Dan Gallagher (Michael Douglas) outperformed such heavy hitters as "Beverly Hills Cop II," "The Untouchables," and "Lethal Weapon" to become the second highest-grossing film of 1987 (behind the four-quadrant behemoth "Three Men and a Baby").

Why was the film such a pop cultural sensation? Every single element clicked perfectly into place. Lyne brought the sensual heat, James Dearden's screenplay tightened the screws with nerve-jangling precision, and the stars absolutely smoldered. Douglas and Glenn Close...

Ready to head back to the Wasteland and experience another outlandish post-apocalyptic vision from George Miller? Well, step this way – Furiosa: A Mad Max Saga is revving up its engine, set to unleash a fresh batch of mayhem on the multiplexes. And the new issue of Empire is a world-exclusive deep-dive into the madness, speaking to Miller and his stars – including Anya Taylor-Joy and Chris Hemsworth – about their all-new action epic.

The issue hits newsstands on Thursday 14 March – but before then, take a sneak peek below at what’s inside.

Furiosa: A Mad Max Saga

Fire. Blood. Oil. Chrome. The world of Mad Max is exploding back onto the screen with the tale of the one and only Imperator Furiosa. We speak to filmmaker George Miller, stars Anya Taylor-Joy and Chris Hemsworth and more, getting the lowdown on Furiosa’s vengeful saga, the mind-blowing action, and Hemsworth’s wild new villain Dementus.

How distraught is Annette, the severely troubled British mother of two played by Daisy Ridley in “Magpie?” She has gotten a short angular haircut, one that might, in another context, be the height of chic (very Isabella Rossellini). Except that the movie uses it as a symbolic expression of her trauma, like Mia Farrow’s iconic Vidal Sassoon cut in “Rosemary’s Baby.” Annette, who’s on some serious medication, looks at a mirror until it breaks. Does she have telekinetic powers? No, she broke it with her hand (which bleeds into the sink), but the force of her repressed rage is palpable. Ben (Shazad Latif), her British Indian husband, is a noted author, and every comment she makes about his work is a sly dig. She speaks in brief, clipped “civilized” phrases. At one point a bird crashes into the window of her home. The whole atmosphere of the film...

In John Carpenter’s horror classic The Thing, R.J. MacReady (Kurt Russell) somberly explains to his tape recorder, “Nobody trusts anybody now, and we’re all very tired.” The now iconic quote summarizes the exhaustive state of sustained paranoia induced by the shape-shifting, extraterrestrial threat that has infiltrated the ranks of an isolated Antarctic research station, seamlessly assuming the identities of its inhabitants.

Isolation, mistrust, and intense paranoia drive Carpenter’s classic 1982 horror movie, heightening the effectiveness of the horror to a tangible degree; and it’s far from the only horror movie to effectively wield paranoia like a sharp blade. This week’s streaming picks highlight intense horror movies that unfurl their unrelenting tension, disorienting distrust, and discomfort through a heavy emphasis on paranoia, whether internal or external.

Here’s where you can stream them this week.

For more Stay Home, Watch Horror picks, click here.

Bug – Fandor, Pluto TV,...

Netflix’s new Turkish film Ashes is one of those enticing films that know we have a child inside of us that’s always willing to come on a journey where some kind of magic is involved. The film, directed by Erdem Tepegöz, stars Funda Eryigit, Alperen Duymaz, and Mehmet Günsür in major roles. Apart from how gorgeous everybody looks in this film, there is nothing else to connect to concepts like beauty and allure in this erotic thriller, or more bluntly, a sluggish drama in the garb of an erotic thriller.

The movie begins by showing us the life of Gokce, an elegant woman who is married to the owner of a renowned publishing company. They receive a manuscript from an unknown writer, and Gokce takes a liking to it. It’s tilted ‘Ashes,’ which is where the title of the movie comes from. As an audience, we now...

As Sex Crimes has evolved, it has been exciting to see how different Erotic Thrillers play to – or subvert – the conventions of the subgenre. This is especially true of modern entries, which, unlike the titles released during the heyday of the late 80s and early 90s, tend to defy simple classification.

The truth is that there are very few contemporary Erotic Thrillers; it’s something of a dormant subgenre that rears its head in fits and starts. This is partially why everyone got so excited by Adrian Lyne’s “return” with Deep Water (and then summarily got disappointed when he failed to adhere to the expected tropes that many of his own films established).

Fans of Lyne would do well to shift their attention to French writer/director François Ozon (Swimming Pool). Well respected in his home country, the extremely literary, openly queer director has made two Erotic Thriller-adjacent titles in the last six years,...

“If you ever come near my family again, I’ll kill you. Do you understand?”

We’ve all heard the phrase “hell hath no fury like a woman scorned.” We pull it out when we see a woman reacting to the hurtful choices of a romantic partner, standing up for herself after rejection, or really expressing any kind of powerful emotions at all. It’s a bon mot so pervasive that it makes you wonder if there are any men in hell. Maybe it’s all just hysterical women pulling hair and trying to steal each other’s boyfriends. Regardless of this reductive phrase and dehumanizing stereotype, few films in the history of cinema explore the concept of the scorned woman like Adrian Lyne’s Fatal Attraction. This cautionary tale about infidelity and revenge pits two women against each other for the love of one man with a surprising female killer emerging from the wreckage.

E.L. James' original "Fifty Shades of Grey" trilogy is undoubtedly the most successful piece of fanfiction ever published. James turned the teen-friendly romance between Bella Swan and Edward Cullen in Stephenie Meyer's wildly popular "Twilight" franchise into an erotic reverie explored by the mysterious (and quite wealthy) entrepreneur Christian Grey and college journalist Kate Kavanaugh. It was a Bdsm gateway drug that opened up a healthy portal for kink-curious young adults. You didn't have to feel like a freak for wanting to do what conservative society deemed freaky.

Was it good literature? Does it matter? James' novels have sold hundreds of millions of copies and been translated into 52 different languages. They are adored by people who never knew they wanted to see Bella and Edward engage in consensual sadomasochism. I am happy they have these stories in their lives. What matters, at least when it comes to my bailiwick,...

New Regency Pictures has elevated Natalie Lehmann to President of Motion Pictures and Television. She was previously SVP.

With the promotion, Lehmann expands and extends her oversight of film and television for New Regency. She will continue to report to New Regency chairman and CEO Yariv Milchan.

Lehmann will also continue to oversee projects including Steve McQueen’s World War II film Blitz for Apple as well as the series adaptation of Man on Fire for Netflix.

“Over the last seven years with New Regency, Natalie has proven time and time again she is one of the best in the business,” Milchan said. “With strength in both creative and strategic thinking she’s been able to consistently produce both marquee projects and surprise breakout hits. With Natalie’s expanded role New Regency will continue its track record of producing top-quality films and series.”

Lehmann said, “It’s an honor to...

The erotic thriller is back, and you'd have to be a prudish killjoy to lament its return.

The subgenre has its roots in the pre-code movies of the 1920s, and '30s, and films noir of the '40s and '50s, but the formula as it exists today was codified in 1980 with Paul Schrader's "American Gigolo" and, most vitally, Brian De Palma's "Dressed to Kill". And thanks to Karina Longworth's deep dive into best and worst of the subgenre via her indispensable podcast "You Must Remember This," younger viewers who weren't there for the '80s and '90s heyday are now revisiting the stylish highs and Skinemax lows of films in which people occasionally take a break from screwing to commit a string of murders (or investigate said murders with alarming aloofness).

As movies (especially studio productions) got progressively less sexy throughout the 2000s, the...

When promoting Saving Private Ryan, Steven Spielberg claimed that every war movie is an anti-war movie. I think this is doubly true when it comes to genre cinema. After all, what better way to immerse audiences in the horrors of war than by telling a story specifically designed to scare them?

Hell, sometimes the war itself doesn’t even need to happen onscreen, like in the case of 1954’s Godzilla – one of the all-time best commentaries on nuclear warfare. And with Takashi Yamazaki returning the radioactive dinosaur to his post-war roots in Godzilla Minus One, we’ve decided to come up with a list recommending six more war-time horror movies for fans of historical terror.

While not all of the films on this list take place during a war, they all incorporate warfare and its consequences into their stories. That being said, don’t forget to comment below with your...

Clockwise from left: The Departed (Warner Bros.), True Lies (20th Century Studios), Some Like It Hot (United Artists), 12 Monkeys (Universal)Graphic: The A.V. Club

Of all the challenges in the moviemaking universe, redoing a beloved foreign film for an American audience would seem pretty low on the list. You already...

Locked In is a mystery thriller film directed by Alex Baranowski, from a screenplay by Rowan Joffé. The Netflix film revolves around Lina, an unhappy newlywed woman who has a hostile relationship with her mother-in-law Katherine. An affair starts a chain reaction that ends up in betrayal and murder. Locked In stars Famke Janssen, Rose Williams, Anna Friel, Finn Cole, and Alex Hassell. So, if you loved the Netflix film here are some similar movies you could watch next.

Gone Girl (Max & Prime Video Add-On) Credit – 20th Century Fox

Synopsis: Gone Girl, directed by David Fincher and based upon the global bestseller by Gillian Flynn, unearths the secrets at the heart of a modern marriage. On the occasion of his fifth wedding anniversary, Nick Dunne (Ben Affleck) reports that his beautiful wife, Amy (Rosamund Pike), has gone missing. Under pressure from the police and a growing media frenzy, Nick’s...

Burning Betrayal is a Brazilian erotic thriller film directed by Diego Freitas, from a screenplay by Sue Hecker. The Netflix film revolves around Babi after she finds out that her long-term partner has been cheating on her. This shock sends Babi on a new adventure in her life and in her journey she meets Judge Marco, and a surge of sexual tension takes over both of them. Burning Betrayal stars Giovanna Lancelloti, Bruno Montaleone, and Leandro Lima. So, if you loved the Netflix film here are some similar erotic movies you could watch next.

Unfaithful (Hulu & Rent on Prime Video) Credit – 20th Century Fox

Synopsis: From the director of Fatal Attraction comes a steamy thriller about physical passion so intense, it consumes everything – and everyone – in its path. Edward and Connie Summer have the perfect life: a happy marriage, an eight year old son, and a beautiful house in the suburbs.

New Regency film and TV president Michael Schaefer has exited after seven years at the company.

The move was mutual and previously planned, the company said Thursday. Schaefer will move on to explore new opportunities as a producer within the film and TV arena.

While at Regency, Schaefer oversaw the production of Adrian Lyne’s “Deep Water,” with its cast including Ben Afflect and Ana de Armas; and the Bill Skarsgård-led horror “Barabarian,” which also starred Georgina Campbell and Justin Long.

For the TV sector, Schaefer executive produced Prime Video’s upcoming series and Donald Glover-led “Mr. and Mrs. Smith,” and the Apple TV+ series “The Crowded Room,” which starred Tom Holland, Amanda Seyfried, and Emmy Rossum. He also managed the hit Prime Video series “Swarm” starring Dominique Fishback, Chloe Bailey and Damson Idris.

The production studio has more than 140 films and over 50 TV series in its library,...

The heat is most definitely on in this episode of revisited, as we’re looking back on a quintessential piece of 1980s action / comedy movie-making, that helped to launch the career of American funnyman Eddie Murphy into the stratosphere. That’s right folk, with the much anticipated fourth entry in the series on the horizon, we’re taking a retrospective look at the Axel F infused goodness that is Beverly Hills Cop. Ok, well, I guess part four isn’t necessarily ‘much anticipated’ across the entire movie-world, but Eddie Murphy has had somewhat of a career resurgence in recent times and apart from a slightly tame and disappointing Coming 2 America, and the relative appeal of You People, he’s made a positive return the spotlight. Part four is currently slated, as per time of writing this video, for 2024 but there have been whispers about it possibly surfacing on Netflix,...

As sexless tentpoles have taken over the box office and online discourse has people asking if sex is "necessary" in movies (whatever that even means), the erotic thriller has nearly gone extinct. Even "Fatal Attraction" and "Unfaithful" director Adrian Lyne was only able to breathe so much life back into the fading sub-genre when he came out of semi-retirement to direct last year's "Deep Water," a straight-to-streaming release that drew respectable viewership despite lukewarm reviews. Enter first-time feature director Chloe Domont with her critically acclaimed festival hit "Fair Play," a film that's arrived just in time to give steamy mid-budget adult cinema a much-needed shot in the arm.

Phoebe Dynevor and Alden Ehrenreich star in Domont's thriller (which she additionally wrote) as Emily and Luke, a pair of ambitious young hedge fund analysts who, unbeknownst to their company's bosses, are secretly dating. However, when Emily is promoted over Luke, it...

Since his debut film "Thief" hit theaters in 1981, Michael Mann has enjoyed a reputation as one of the best working directors we have in America. Across masterfully mounted films like "Heat," "Collateral," and "Manhunter," he's also earned a somewhat unusual place in the filmmaking pantheon. He's become somewhat of a household name, his films generally do good business at the box office, and he tends to work in genre -- from the noir to the thriller to the procedural. And yet his films also compete at prestigious international film festivals, they've been given Criterion releases, and he's often lumped in with "arthouse" directors like Paul Thomas Anderson and Wes Anderson, rather than action helmers like Michael Bay or Tony Scott.

All this is to say that Mann's career is a bit of a paradox, but it's a wonderful one, and new Michael Mann movies should always be regarded as appointment viewing.

This article contains Fair Play spoilers.

It is not the first time the union of Emily (Phoebe Dynevor) and Luke (Alden Ehrenreich) has marked a turning point in the relationship with blood on the floor. When we meet this young couple at Luke’s brother’s wedding at the beginning of the film, they seem hopelessly in love, or at least in sizzling thrall, while attempting to have sex in the bathroom. They don’t actually succeed, however. Instead the pair christen what turns out to be a drunken and ill-conceived marriage proposal by Luke—he drops the engagement ring out of his pocket and onto the tiled floor—with menstrual blood. It even stains Emily’s bridesmaid dress as Luke goes down on her.

This botched fooling around will wind up being the most successful lovemaking we see between the pair, because by movie’s end their grotesquely toxic relationship is in tatters,...

Each week we highlight the noteworthy titles that have recently hit streaming platforms in the United States. Check out this week’s selections below and past round-ups here.

’90s Horror, Art-House Horror, and Pre-Code Horror

It’s October, which means you are likely crafting an endless queue of horror films to consume. When it comes to a single streaming service to dedicate your eyes to this month, The Criterion Channel takes the cake with three different series. First up, ’90s horror brings together such films as The Rapture (1991), In the Mouth of Madness (1994), The Addiction (1995), and Ravenous (1999), while Art-House Horror features Häxan (1922), Vampyr (1932), Eyes Without a Face (1960), Carnival of Souls (1962), Onibaba (1964), Night of the Living Dead (1968), Sisters (1973), Eraserhead (1977), House (1977), Suspiria (1977), Arrebato (1979), The Brood (1979), The Vanishing (1988), Cronos (1993), Cure (1997), Donnie Darko (2001), Trouble Every Day (2001), Antichrist (2009), and more. Lastly, Pre-Code horrors brings together ’30s features such as Freaks (1932), Island of Lost Souls (1932), The Old Dark House...

[Editor’s note: This article was published in May 2021 and has been updated multiple times since.]

We’ve all heard it before: the book was better. For the most part, it’s true. The best literary adaptations mine something newly cinematic from their source material; at worst, they’re so doggedly faithful to the text that the end result feels nervously redundant or like an overly gutsy cash grab.

We’ve seen it on screens big and small. Take Joe Wright’s notorious 2020 Netflix thriller “The Woman in the Window”: a film that loop-de-looped through so many ups and downs — from uneasy test screenings and rewrites and re-shoots to a big-money handoff from now-defunct Fox 2000 to the streamer — it never stood a chance of coming out the other end as anything less than mangled. The story of a boozy agoraphobic voyeur played by Amy Adams, the film was adapted from an already controversial page-turner by A.J. Finn, an author whose rocky backstory could easily fill...

Let’s talk about that electric spark that lights up the screen, that magnetic pull that draws us into a world of desire and passion.

Yes, I’m talking about those movies that don’t just tell a story but ignite something deep within us – the sexiest movies that have set hearts racing and left us breathless.

From smoldering glances to scorching encounters, these films turn up the heat and leave an indelible mark on our cinematic journey.

Get ready to immerse yourself in a mix of steamy moments, complex relationships, and stories that prove that sometimes, the sexiest thing of all is the connection between characters.

Ready? Let’s dive in!

My Exploration of Cinematic Seduction

As someone who’s always been fascinated by the power of storytelling, I can’t deny the allure of a film that knows how to play with desire.

Whether it’s the lingering...

While our massive, 60-film fall movie preview gives a hint at what to expect this season, it’s time to dive deeper into September. With films from Ethan Coen, Yorgos Lanthimos, and Luca Guadagnino being ripped off the month’s release calendar because studios don’t want to pay actors and writers fairly, it means the fall’s first offerings are a bit lighter––thankfully giving some truly independent productions further room to shine.

12. The Storms of Jeremy Thomas (Mark Cousins; Sept. 22 in theaters)

What do films like David Cronenberg’s Crash, Jonathan Glazer’s Sexy Beast, Jerzy Skolimowski’s Eo, Jim Jarmusch’s Only Lovers Left Alive, Bernardo Bertolucci’s The Last Emperor, Nagisa Ôshima’s Merry Christmas Mr. Lawrence, and (many) more have in common? They were produced by Oscar winner Jeremy Thomas. A new documentary by cinephile Mark Cousins, The Storms of Jeremy Thomas, explores the making of his most notable films.

Full disclosure: This essay is being written by an avowed Bender (Aka Judd Nelson’s character in “The Breakfast Club”) apologist. And yes, nearly four decades since the release of the classic John Hughes teen dramedy, I’m well-aware of how problematic that is by our contemporary standards. While (sigh) the fingerless gloves, shredded denim vest, and studs made Bender the epitome of swoon-worthy bad boy chic, it took close to a decade for my still-forming teenage brain to realize that no, that is not, in fact, the ideal form of sensitive masculinity….because Bender is kind of a creep.

But this just goes to show how deeply the ’80s-era sexist, problematic dreamboat bad boy character has permeated culture. It’s the patriarchy of romance, by way of Reagan era sensibilities still relevant fifty years later. Broken boys will be broken boys in need of healing; but why has it...

Not every erotic thriller is a film noir, but they all owe a debt to the genre. The ‘80s erotic thriller took the formulas established by post-war noir and adapted them for a post-pornographic film landscape, adding scenes of explicit sex and nudity where they were once merely suggested. Like classic noirs, erotic thrillers also revolve around the archetypes of the femme fatale and her hapless mark. These, too, were updated to fit the times, reaching their ultimate ‘80s form in Adrian Lyne’s 1987 smash hit “Fatal Attraction.”

In Lyne’s film the male schmuck in question is a married Manhattan yuppie about to move to the suburbs, and the femme fatale is a single career woman with a loft in the Meatpacking District. Fear of female independence is foundational to the femme fatale archetype. Here, it’s incorporated with Susan Faludi’s “backlash” theory to create what Brian De Palma...

After selling to Netflix for a whopping $20 million out of Sundance Film Festival, Chloe Domont’s feature debut Fair Play is finally re-emerging this fall. Headed to Toronto International Film Festival then coming to theaters on September 29 and arriving on Netflix on October 13, the first trailer has now arrived. Starring Phoebe Dynevor and Alden Ehrenreich, the battle of the sexes drama follows a young couple who both work at a hedge fund. When one of them gets a promotion, it pushes their relationship to the brink, threatening to unravel far more than their recent engagement.

Jordan Raup said in his review, “Emily (Phoebe Dynevor) and Luke (Alden Ehrenreich) are madly in love. Engendering sex at every possible opportunity, their passion is a burning one and, after a quasi-impromptu engagement, their bond has become even deeper. Heading off to work from their NYC Chinatown apartment, though, something feels off. We quickly...

Nothing is fair in love and war — in fact, it’s often cruel, sexy, and mean.

That’s the spirit of writer/director Chloe Domont’s feature directorial debut, “Fair Play,” a psychosexual corporate thriller with echoes of Adrian Lyne by way of HBO’s “Industry” that set the 2023 Sundance Film Festival on fire. So much so that Netflix ended up picking the film up for a cool $20 million in the biggest deal of the festival.

The film stars Phoebe Dynevor and Alden Ehrenreich as a newly engaged New York couple who can’t keep their hands off each other. They also work at the same investment firm, and none of their colleagues know they’re together. They’re also vying for the same promotion. None of this will end well, and that’s what you’ll get a taste of in the first trailer for “Fair Play,” available below.

Camerimage Film Festival, which is devoted to the art of cinematography, is to pay tribute to Peter Biziou. The British cinematographer, who won an Oscar for “Mississippi Burning,” and was BAFTA nominated for “The Truman Show,” will receive the festival’s Lifetime Achievement Award.

Biziou, the son of cinematographer-animator Leon Bijou, started his career at an animation company in London. In the mid-sixties, he started to light film sets for commercials and shorts, which helped foster “his innate intuition and his courage to implement innovation,” the festival said. He worked with the likes of Len Fulford, Bob Brooks, Terence Donovan, John Swannell and Frank Budgen.

His work with fashion photographer Robert Freeman brought an invitation for Biziou to be in charge of the visuals on Freeman’s fiction film debut, 1969’s “Secret World,” starring Jacqueline Bisset, which was well-received.

He then worked on Alan Parker’s “Bugsy Malone” (1976), Terry Jones...

New Regency said today it’s closed a $175 million term loan from global investment firm Carlyle Group, providing new capital for the indie to scale up production. The loan is a refinancing and upsize of an existing Carlyle facility.

In 2020, the producer set a new five-and-a-half year, $125-million term loan from Carlyle, along with a pair of financing deals with banks for up to $825 million.

“We’re delighted to have Carlyle’s continued support in the ongoing strategic growth of our company. Given their knowledge and expertise in the entertainment industry, they remain a key partner in our businesses evolution,” said New Regency CEO Yariv Milchan.

J.P. Morgan continues to serve as lead arranger, sole bookrunner and administrative agent to New Regency’s combined $675 million facilities.

New Regency’s library includes The Revenant, 12 Years A Slave, Birdman, Bohemian Rhapsody, Fight Club, L.A. Confidential, Heat, Man on Fire and Mr. and Mrs. Smith.