<p>When the animated film swung into theaters in 2018, it did more than just introduce a new hero; it fundamentally changed what a superhero movie, and an animated movie, could look like, becoming a bona fide cinematic phenomenon and a cultural touchstone.</p>



<figure class="wp-block-image size-full"><figure class="image"><img loading="lazy" width="1920" height="1080" src="https://ds-images.bolavip.com/news/image?src=https://images.bolavip.com/webp/spen/full/SPEN_20251214_SPEN_80281_Spider-Man-1_7c9bb637.webp&amp;width=1920&amp;height=1080" alt="" class="wp-image-80283"></figure><figcaption>IMDb</figcaption></figure>



<h2>The Plot: Miles Morales Finds His Mask</h2>



<p>The film centers on <strong>Miles Morales (Shameik Moore)</strong>, a gifted yet awkward Afro-Latino teenager from Brooklyn who struggles to live up to the high expectations of his parents while dealing with a new upscale boarding school. While spray-painting graffiti in a subway tunnel with his uncle Aaron, Miles is bitten by a radioactive spider and quickly develops classic Spider-Man powers.</p>



<p>His world is violently upended when he witnesses the death of his universe’s Spider-Man (Peter Parker) while the hero attempts to stop the villain <strong>Kingpin</strong> from activating a powerful interdimensional collider. The collider’s activation rips open the multiverse, pulling in five other “Spider-People” from parallel universes—including the jaded, older <strong>Peter B. Parker</strong>, <strong>Gwen Stacy</strong>, and the black-and-white <strong>Spider-Man Noir</strong>. Miles must overcome his grief and inexperience to learn to control his powers, defeat Kingpin, and send his new allies back to their dimensions before his reality collapses.</p>



<h2>The Animation Phenomenon and Critical Acclaim</h2>



<figure class="wp-block-image size-full"><figure class="image"><img loading="lazy" width="1920" height="1080" src="https://ds-images.bolavip.com/news/image?src=https://images.bolavip.com/webp/spen/full/SPEN_20251214_SPEN_80281_Spider-Man-2_9c55e7b6.webp&amp;width=1920&amp;height=1080" alt="" class="wp-image-80284"></figure><figcaption>IMDb</figcaption></figure>



<p><em>Into the Spider-Verse</em> was a success on every level. Critically, it was a near-unanimous triumph, earning a <strong>97% approval rating on Rotten Tomatoes</strong>. Critics praised its sharp writing, deep emotional core, and ability to handle the complex multiverse concept with clarity and humor.</p>



<p>However, its biggest impact was its visual style. The film revolutionized animated cinema by pioneering a bold technique that blended traditional 3D computer animation with 2D comic-book aesthetics. It incorporated onomatopoeia, halftone dots, panel layouts, and “thought bubbles” directly into the visuals, making the audience feel like they were watching a comic book come to life. This instantly iconic style led to the film winning the <strong>Academy Award for Best Animated Feature</strong>, famously becoming the first non-Disney/Pixar film to win the award since 2011.</p>



<h2>Box Office and Lasting Impact</h2>



<p>Produced on a relatively modest budget of $90 million, the film earned a worldwide total of approximately <strong>$375 million</strong>. While this was the lowest box office gross for a <em>Spider-Man</em> film at the time, its theatrical run was remarkably strong, demonstrating consistent word-of-mouth success.</p>



<p>Seven years later, <em>Into the Spider-Verse</em> is still widely regarded as one of the best superhero movies ever made, setting the stage for its highly successful sequel and the eagerly anticipated conclusion to the trilogy in 2027.</p>

Celebrating 7 Years Since the Groundbreaking Release of ‘Spider-Man: Into the Spider-Verse’

Celebrating 7 Years Since the Groundbreaking Release of 'Spider-Man: Into the Spider-Verse' - Spoiler US

miniaturas



        


<p>A theatrical flop is usually considered a death sentence in Hollywood, but history has a way of rewriting those narratives. Over time, changing tastes, home video, critical reevaluations, and passionate fan bases <strong>have transformed certain financial failures into undeniable classics.</strong> From misunderstood releases to movies that were simply ahead of their time, these films went on to influence generations of filmmakers and audiences alike long after their disappointing box office runs were forgotten.</p>



<h2>The Shawshank Redemption (1994)</h2>



<figure class="wp-block-gallery has-nested-images columns-default is-cropped">
<figure class="wp-block-image size-large"><figure class="image"><img loading="lazy" width="1280" height="720" data-id="80207" src="https://ds-images.bolavip.com/news/image?src=https://images.bolavip.com/webp/spen/full/SPEN_20251213_SPEN_80195_Shaw_69fe9ce2.webp&amp;width=1280&amp;height=720" alt="" class="wp-image-80207"></figure><figcaption>Source: IMDb</figcaption></figure>
</figure>



<p>Despite now topping nearly every “Greatest Films of All Time” list, Frank Darabont’s prison drama, adapted from a Stephen King novella, was a significant disappointment at the box office, struggling to find an audience when pitted against major releases that year. Its lack of immediate commercial appeal was largely attributed to a poor marketing campaign and a difficult-to-market title.</p>



<p>The film was produced with a <strong>budget of $25 million</strong> but only managed an initial theatrical gross of around <strong>$16 million</strong>; however, its subsequent success on home video and cable television transformed it into a beloved classic celebrated for its powerful themes of hope and perseverance.</p>



<h2>Blade Runner (1982)</h2>



<p>Ridley Scott’s dystopian science fiction masterpiece struggled commercially against lighter sci-fi films like <em>E.T. the Extra-Terrestrial</em>, with its dark, complex narrative, slow pace, and contested studio-mandated ending confusing many mainstream viewers upon release. </p>



<p>Over time, thanks to cable airings and the eventual release of the definitive <em>Director’s Cut</em>, the film’s stunning visual style, philosophical depth, and groundbreaking production design cemented its status as one of the most influential works of science fiction cinema. The film’s <strong>production budget was approximately $30 million</strong>, and it earned an initial US box office gross of only <strong>$27.6 million</strong>.</p>



<h2>Fight Club (1999)</h2>



<p>David Fincher’s nihilistic critique of consumer culture was met with poor box office performance and divisive reviews, primarily due to an aggressive marketing campaign that misrepresented the film as a conventional action movie and its controversial, dark subject matter. </p>



<p>The film’s eventual rise to classic status began almost immediately with its massive success on DVD, where its anti-establishment themes and iconic dialogue found an ardent, younger cult following. Against a hefty <strong>budget of $63 million</strong>, the film grossed approximately <strong>$37.1 million worldwide</strong> during its initial run.</p>



<h2>Donnie Darko (2001)</h2>



<p>Released shortly after the September 11 attacks, this unsettling sci-fi psychological thriller featuring a plane engine crash was barely released in theaters and was an outright box office bomb, failing to gain traction with audiences still processing real-world tragedy. </p>



<p>The unique, reality-bending story of teenage angst, time travel, and existential mystery, combined with a breakout performance by Jake Gyllenhaal, resonated powerfully with viewers on the home video circuit. On a micro-scale <strong>budget of $4.5 million</strong>, the movie finished its initial US theatrical run with a disappointing gross of about <strong>$517,375</strong>.</p>



<h2>The Thing (1982)</h2>



<p>John Carpenter’s visceral horror-sci-fi adaptation received negative reviews and performed poorly at the box office, suffering from being released alongside the much more family-friendly alien movie <em>E.T.</em> that same summer. </p>



<p>Critics and audiences were unprepared for its relentless paranoia, bleak ending, and gruesome practical effects that were deemed excessive at the time. Reappraisal over the decades has elevated it to a high-water mark of the horror genre, now celebrated as a masterpiece of suspense. The film was made with an estimated <strong>budget of $15 million</strong> and only grossed around <strong>$13.7 million</strong> in US theaters.</p>



<h2>Children of Men (2006)</h2>



<p>Alfonso Cuarón’s dystopian masterpiece, set in a world grappling with two decades of human infertility, was acclaimed by critics for its gritty realism, profound themes, and revolutionary single-shot sequences. However, it struggled to find a mainstream audience during its initial theatrical run. </p>



<p>The film was produced on a budget of approximately <strong>$76 million</strong> but only managed to gross around <strong>$70 million</strong> worldwide, failing to recoup its production costs in theaters. Despite this, the film later found greater success on home video and streaming platforms, where its complex themes and visual style gained a devoted following.</p>



<h2>The Big Lebowski (1998)</h2>



<figure class="wp-block-gallery has-nested-images columns-default is-cropped">
<figure class="wp-block-image size-large"><figure class="image"><img loading="lazy" width="1280" height="720" data-id="80208" src="https://ds-images.bolavip.com/news/image?src=https://images.bolavip.com/webp/spen/full/SPEN_20251213_SPEN_80195_Big_6c5b20e0.webp&amp;width=1280&amp;height=720" alt="" class="wp-image-80208"></figure><figcaption>Source: IMDb</figcaption></figure>
</figure>



<p>This Coen brothers dark comedy about an unemployed Los Angeles slacker known as “The Dude” was met with mixed reviews and modest commercial returns upon its release, confusing many mainstream viewers accustomed to more traditional narratives. </p>



<p>Over time, its endlessly quotable dialogue, surreal subplots, and charismatic performances fostered a massive global cult following, complete with annual conventions and its own tongue-in-cheek philosophy. The film was made for a budget of <strong>$15 million </strong>and earned around <strong>$46.1 million</strong> worldwide, an underwhelming performance that belied its eventual status as one of the most iconic comedies of the late 1990s.</p>



<h2>Scott Pilgrim vs. the World (2010)</h2>



<p>Director Edgar Wright’s hyper-stylized adaptation of the graphic novel series, blending comic book aesthetics with video game logic, was praised by critics for its kinetic energy and inventive visual style. Despite the acclaim, the film’s niche appeal and unconventional presentation failed to translate into a mainstream hit, resulting in a significant box office loss. </p>



<p>Produced for an estimated <strong>$85 million</strong>, the movie earned only about <strong>$47.8 million</strong> worldwide during its theatrical run. In the years that followed, strong home video sales, streaming exposure, and fan enthusiasm transformed it into a modern cult favorite.</p>



<h2>Office Space (1999)</h2>



<p>Mike Judge’s satire of white-collar mediocrity and corporate drone culture struggled to find an audience during its brief theatrical release, showing little immediate commercial impact. The film’s reputation was reshaped through its remarkable second life on home video and cable television, where it became a cultural touchstone for disaffected workers and office humor. </p>



<p>Made on a modest <strong>$10 million</strong> budget, <em>Office Space</em> earned only about <strong>$12.2 million</strong> worldwide in theaters, yet its legacy has endured through endless quotes, memes, and its iconic red stapler.</p>



<h2>Citizen Kane (1941)</h2>



<p>Often cited by critics as the greatest film ever made, Orson Welles’ directorial debut revolutionized cinema with its deep-focus cinematography and complex, non-linear storytelling. Its initial box office performance was undermined by a targeted campaign from newspaper magnate William Randolph Hearst, whose publications largely refused to promote the film, limiting its exposure and commercial potential. </p>



<p>Produced for <strong>$839,727</strong>, the film earned approximately <strong>$1 million</strong> at the US box office during its original run, a disappointing result at the time. In the decades since, <em>Citizen Kane</em> has been reevaluated and celebrated as one of the most influential and important films in cinema history.</p>



<h2>It’s a Wonderful Life (1946)</h2>



<p>Frank Capra’s timeless Christmas drama, starring James Stewart as the despairing George Bailey, was a box office disappointment for RKO Radio Pictures, falling short of covering its production costs during its initial release. The film’s challenging themes of existential dread and suicide may have deterred post-war audiences seeking lighter fare, and its relatively modest performance in theaters initially contributed to its financial struggles. </p>



<p>However, its eventual lapse into the public domain in the 1970s led to ceaseless television airings every holiday season, where it found its true audience and became a holiday classic. The movie was produced on a budget of approximately <strong>$3.18 million</strong> and earned around <strong>$3.3 million</strong> in its initial theatrical release. While the film didn’t recoup its production costs initially, it is now one of the most beloved and enduring films of all time.</p>



<h2>Willy Wonka &amp; the Chocolate Factory (1971)</h2>



<figure class="wp-block-gallery has-nested-images columns-default is-cropped">
<figure class="wp-block-image size-large"><figure class="image"><img loading="lazy" width="1280" height="720" data-id="80209" src="https://ds-images.bolavip.com/news/image?src=https://images.bolavip.com/webp/spen/full/SPEN_20251213_SPEN_80195_Willy_2fde8746.webp&amp;width=1280&amp;height=720" alt="" class="wp-image-80209"></figure><figcaption>Source: IMDb</figcaption></figure>
</figure>



<p>This beloved musical fantasy, featuring Gene Wilder’s iconic performance, was not a commercial success upon its theatrical debut and was considered a failure by its distributors, Paramount Pictures. The film’s limited and ineffective marketing campaign, coupled with mixed critical reception, contributed to its underperformance. </p>



<p>However, <em>Willy Wonka &amp; the Chocolate Factory</em> eventually found a massive audience and cult following thanks to repeated annual television broadcasts and phenomenal success in the home video market. Produced on a modest budget of <strong>$3 million</strong>, the movie earned approximately <strong>$4 million</strong> at the worldwide box office during its initial release. Despite its underwhelming performance at first, it has since become a much-loved classic.</p>



<h2>Brazil (1985)</h2>



<p>Terry Gilliam’s surreal, dystopian sci-fi masterpiece was famously caught in a severe distribution battle with Universal Pictures studio head Sid Sheinberg, who demanded major cuts to give it a more marketable “happy ending.” The contentious fight over the final cut severely limited the film’s theatrical release in the U.S., despite its positive critical reception. </p>



<p>This battle contributed to the film’s underperformance at the box office, but it later achieved cult status. The movie was made on an estimated budget of <strong>$15 million</strong> and earned a modest <strong>$9.9 million</strong> at the U.S. box office. While it didn’t fare well commercially at the time, <em>Brazil</em> is now considered a landmark film for its unique narrative style and dystopian vision.</p>



<h2>Waterworld (1995)</h2>



<p>Infamously known as the most expensive film ever made at the time, this Kevin Costner-led post-apocalyptic epic faced massive cost overruns, production difficulties on the open sea, and poor press, earning it the nickname “Fishtar.” While it grossed over its production budget worldwide, its massive total outlay, including marketing costs, meant it failed to break even during its theatrical run.</p>



<p>Despite its initial struggles, <em>Waterworld</em> has since gained a strong following due to its ambitious scope and production design. The film was produced on a massive budget of <strong>$172 million</strong> but only earned a worldwide box office gross of <strong>$264.2 million.</strong> When factoring in marketing and other expenses, the film was a financial disappointment during its theatrical run, though it later found success in the home entertainment market.</p>



<h2>Zodiac (2007)</h2>



<p>David Fincher’s meticulous, process-driven procedural about the hunt for the Zodiac Killer was critically hailed as a masterpiece upon release for its historical accuracy, suspense, and slow-burn approach. However, the film failed to become a major box office draw due to its lengthy run time, complex narrative structure, and lack of conventional action, which hindered its appeal to a wider audience.</p>



<p>The movie was made on an estimated budget of <strong>$65 million</strong> and earned <strong>$84.7 million</strong> at the worldwide box office, which was underwhelming considering its critical acclaim. While <em>Zodiac</em> didn’t perform well commercially, it has since been regarded as one of the best crime thrillers of the 2000s and a critical darling.</p>



<h2>Harold and Maude (1971)</h2>



<p>Hal Ashby’s dark, romantic comedy about the unlikely relationship between a death-obsessed young man and a life-affirming 79-year-old woman received poor initial reviews and struggled commercially upon release, with Paramount Pictures unsure how to market its subversive themes and unconventional tone.</p>



<p>The film’s offbeat sensibility and bleak humor alienated many mainstream audiences at the time. However, it gradually found a passionate following through midnight-movie screenings across the United States, transforming it into a definitive cult classic celebrated for its unique blend of dark humor and emotional depth. Made on a modest budget of approximately <strong>$1.1 million</strong>, the film earned around <strong>$1.18 million</strong> during its initial theatrical run.</p>



<h2>Heaven’s Gate (1980)</h2>



<p>Michael Cimino’s ambitious Western epic became one of the most infamous financial disasters in Hollywood history and played a major role in the collapse of United Artists, marking a turning point in how studios approached director autonomy. Massive cost overruns, an extended runtime, and scathing initial reviews contributed to its disastrous box office performance. </p>



<p>In the decades since, the film has undergone significant critical re-evaluation, particularly following the release of restored cuts that highlighted its sweeping visuals, meticulous craftsmanship, and thematic ambition. Its budget reportedly ballooned to as much as <strong>$44 million</strong>, while its initial U.S. box office gross amounted to only about<strong> $3.5 million.</strong></p>



<h2>Fear and Loathing in Las Vegas (1998)</h2>



<figure class="wp-block-gallery has-nested-images columns-default is-cropped">
<figure class="wp-block-image size-large"><figure class="image"><img loading="lazy" width="1280" height="720" data-id="80210" src="https://ds-images.bolavip.com/news/image?src=https://images.bolavip.com/webp/spen/full/SPEN_20251213_SPEN_80195_Deep_31148ef0.webp&amp;width=1280&amp;height=720" alt="" class="wp-image-80210"></figure><figcaption>Source: IMDb</figcaption></figure>
</figure>



<p>Terry Gilliam’s chaotic adaptation of Hunter S. Thompson’s cult novel polarized critics and struggled commercially upon release, with its frenetic structure and hallucinatory visuals proving challenging for general audiences. While the film failed to make an impact at the box office, it gradually built a devoted following among fans of Thompson’s work and admirers of Gilliam’s visual ambition, particularly through home video. </p>



<p>Produced on an estimated <strong>$20 million budget</strong>, the film earned approximately <strong>$20.4 million</strong> worldwide, but its cultural reputation has grown substantially in the years since.</p>

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<p>HBO’s <strong>“It: Welcome to Derry”</strong> has become one of the biggest surprise hits of the year, drawing strong reviews, steady buzz, and a growing fanbase as it expands the mythology of Stephen King’s iconic horror universe. </p>



<p>With the prequel series now racing toward its highly anticipated final episode this Sunday, viewers have been praising everything from its period setting to Bill Skarsgård’s chilling return as Pennywise. And just as excitement peaks around the show, director <strong>Andy Muschietti </strong>has reignited interest in another long-discussed project: his dream of creating a massive, never-before-seen extended cut combining both “IT” movies.</p>



<h2>Muschietti Says the Supercut Is “Still a Big Dream of Mine”</h2>



<p>In a new Ask-Me-Anything chat on Reddit this week, Andy Muschietti surprised fans by confirming that he still hopes to assemble <strong>a massive extended cut that blends “IT” and “IT: Chapter Two” into one epic feature.</strong> Though the idea was first floated back in 2019, many assumed it had quietly died as the director moved on to other projects.</p>



<figure class="wp-block-gallery has-nested-images columns-default is-cropped">
<figure class="wp-block-image size-large"><figure class="image"><img loading="lazy" width="1280" height="720" data-id="80191" src="https://ds-images.bolavip.com/news/image?src=https://images.bolavip.com/webp/spen/full/SPEN_20251212_SPEN_80183_it1_c9faac32.webp&amp;width=1280&amp;height=720" alt="" class="wp-image-80191"></figure><figcaption>Source: Araya Doheny/Getty Images for HBO</figcaption></figure>
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<p>Muschietti explained that the main reason the supercut hasn’t materialized <strong>is simply time </strong>— especially with the demanding production of “It: Welcome to Derry,” which he developed alongside Barbara Muschietti and Jason Fuchs. Between directing multiple episodes and guiding the show’s creative direction, the project left little room to revisit the films.</p>



<p>Despite that, Muschietti made it clear the desire hasn’t gone away. In the AMA, he called the supercut <strong>“still a big dream of mine,”</strong> adding that he’s hopeful he’ll eventually find the space to finally execute it. His comment immediately reignited speculation within the fandom, especially as the series continues to deepen the lore of Pennywise and Derry.</p>



<p>For now, <strong>Muschietti is focused on celebrating the strong reception to “Welcome to Derry,”</strong> which has become a standout entry in the franchise. But with the show bringing renewed attention to the world he built, fans are more curious than ever whether the long-discussed, never-before-seen supercut might one day become a reality.</p>

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<p><strong>TIME</strong>’s newly released roundup of the <strong>10 best movie performances of 2025</strong> arrives at a moment when the industry is still recalibrating from years of disruption and reinvention. The past year delivered a wave of roles shaped by artistic risk, unexpected casting swings, and filmmakers willing to stretch familiar genres in new directions.</p>



<p>What stands out in the selection is the sense of range: collaborations born on independent sets running alongside major-studio turns that broke through the noise, and veteran actors sharing space with names still carving out their artistic identities.</p>



<h2>Kirsten Dunst, Roofman</h2>



<figure class="wp-block-image size-full"><figure class="image"><img loading="lazy" width="1920" height="1080" src="https://ds-images.bolavip.com/news/image?src=https://images.bolavip.com/webp/spen/full/SPEN_20251211_SPEN_80021_Kirsten-Dunst-Roofman_e6a1e93e.webp&amp;width=1920&amp;height=1080" alt="" class="wp-image-80041"></figure><figcaption>(Source: IMDb)</figcaption></figure>



<p>Kirsten Dunst’s work in Roofman marks one of the most quietly revelatory turns of 2025. Under Derek Cianfrance’s sensitive direction, she embodies Leigh, a woman drawn into the orbit of a charming con man played by Channing Tatum. </p>



<p>Dunst’s performance is remarkable not for grand gestures but for its emotional precision: every glance and withheld smile conveys the vulnerability of someone who has learned to trust against better judgment. In a film that balances humor with a melancholic undercurrent, her portrayal becomes the emotional bedrock, evoking the tension between longing and self-preservation.</p>



<h2>Delroy Lindo, Sinners</h2>



<figure class="wp-block-image size-full"><figure class="image"><img loading="lazy" width="1920" height="1080" src="https://ds-images.bolavip.com/news/image?src=https://images.bolavip.com/webp/spen/full/SPEN_20251211_SPEN_80021_Delroy-Lindo-Sinners_6eeb97d1.webp&amp;width=1920&amp;height=1080" alt="" class="wp-image-80040"></figure><figcaption>(Source: IMDb)</figcaption></figure>



<p>Delroy Lindo’s performance in Sinners is a study in quiet authority. As Delta Slim, a seasoned musician whose blues roots run as deep as the Mississippi soil, Lindo carries the weight of history and memory in every breath. The film’s blend of gothic horror and cultural introspection gives him room to anchor scenes that could otherwise teeter on the fantastical. </p>



<p>What makes his work stand out this year is the way he embodies resilience without spectacle: the character’s wisdom, weariness, and unspoken grief become the pulse of a narrative that is as much about heritage as it is about haunting.</p>



<h2>Jennifer Lawrence, Die My Love</h2>



<figure class="wp-block-image size-full"><figure class="image"><img loading="lazy" width="1920" height="1080" src="https://ds-images.bolavip.com/news/image?src=https://images.bolavip.com/webp/spen/full/SPEN_20251211_SPEN_80021_Jennifer-Lawrence-Die-My-Love_6ea36d2e.webp&amp;width=1920&amp;height=1080" alt="" class="wp-image-80039"></figure><figcaption>(Source: IMDb)</figcaption></figure>



<p>In one of the most unsettling portrayals of the year, Jennifer Lawrence taps into a visceral emotional landscape in Die My Love. Playing Grace, a new mother plunged into postpartum turmoil, Lawrence does not merely perform distress—she excavates it. </p>



<p>The performance teeters between tenderness and fragmentation, inviting a kind of empathetic immersion that few actors achieve. What’s especially striking is her ability to evoke humor amid chaos, making Grace’s psychological odyssey both poignant and disturbingly intimate.</p>



<h2>Joel Edgerton, Train Dreams</h2>



<figure class="wp-block-image size-full"><figure class="image"><img loading="lazy" width="1920" height="1080" src="https://ds-images.bolavip.com/news/image?src=https://images.bolavip.com/webp/spen/full/SPEN_20251211_SPEN_80021_Joel-Edgerton-Train-Dreams_e1da7247.webp&amp;width=1920&amp;height=1080" alt="" class="wp-image-80042"></figure><figcaption>(Source: IMDb)</figcaption></figure>



<p>Joel Edgerton delivers a performance of quiet, haunting beauty in Train Dreams, Clint Bentley’s adaptation of Denis Johnson’s novella. As Robert Grainier, a hardworking logger whose life unravels after personal tragedy, Edgerton brings an elemental stillness to sorrow that could easily be misread as restraint. </p>



<p>Yet beneath that composure lies a reservoir of patience and reflective pain, capturing the ache of a man adrift in a changing world. His portrayal anchors the film’s meditative rhythm, making Grainier’s solitude feel both universal and deeply specific.</p>



<h2>Zoey Deutch, Nouvelle Vague</h2>



<figure class="wp-block-image size-full"><figure class="image"><img loading="lazy" width="1920" height="1080" src="https://ds-images.bolavip.com/news/image?src=https://images.bolavip.com/webp/spen/full/SPEN_20251211_SPEN_80021_Source_-IMDb_21b3d5d5.webp&amp;width=1920&amp;height=1080" alt="" class="wp-image-80043"></figure><figcaption>(Source: IMDb)</figcaption></figure>



<p>Zoey Deutch’s turn in Nouvelle Vague is both a celebration of and a tribute to the French New Wave spirit. In Richard Linklater’s affectionate recreation of the making of Breathless, Deutch channels Jean Seberg with a combination of intellectual poise and playful spontaneity. </p>



<p>Her performance is lively without being lightweight, capturing Seberg’s paradoxical blend of thoughtful retreat and bold improvisation. In a film steeped in cinema history, it is Deutch’s buoyant yet thoughtful presence that allows the past to feel immediate and alive.</p>



<h2>Paul Mescal, Hamnet</h2>



<figure class="wp-block-image size-full"><figure class="image"><img loading="lazy" width="1920" height="1080" src="https://ds-images.bolavip.com/news/image?src=https://images.bolavip.com/webp/spen/full/SPEN_20251211_SPEN_80021_Paul-Mescal-Hamnet_fbe34a37.webp&amp;width=1920&amp;height=1080" alt="" class="wp-image-80037"></figure><figcaption>(Source: IMDb)</figcaption></figure>



<p>In Hamnet, Paul Mescal embodies one of Shakespeare’s most elusive emotional states: the silent grief of a father. Unlike performances driven by outward expression, Mescal’s is a study in internal conflict—his face a landscape of suppressed longing and stoic tenderness. </p>



<p>Chloe Zhao’s adaptation of Maggie O’Farrell’s novel places him at the emotional heart of a family grappling with loss, and by channeling subtle, almost imperceptible shifts in mood, Mescal turns Hamlet’s quieter echoes into something heartbreakingly tangible.</p>



<h2>Rebecca Hall, Peter Hujar’s Day</h2>



<figure class="wp-block-image size-full"><figure class="image"><img loading="lazy" width="1920" height="1080" src="https://ds-images.bolavip.com/news/image?src=https://images.bolavip.com/webp/spen/full/SPEN_20251211_SPEN_80021_Rebecca-Hall-Peter-Hujars-Day_68ec9740.webp&amp;width=1920&amp;height=1080" alt="" class="wp-image-80036"></figure><figcaption>(Source: IMDb)</figcaption></figure>



<p>In Peter Hujar’s Day, Rebecca Hall transforms the role of Linda Rosenkrantz into something quietly profound. The film’s premise—an intimate interview over the course of a single day—requires Hall to be both a listener and a presence that shapes the narrative without commandeering it. </p>



<p>Her performance is a masterclass in conversational nuance: she never dominates the dialogue, but with each measured hesitation and soft challenge, she reveals layers of curiosity, respect, and introspection. In this way, Hall turns the act of listening into a dramatic force.</p>



<h2>Channing Tatum, Roofman</h2>



<figure class="wp-block-image size-full"><figure class="image"><img loading="lazy" width="1920" height="1080" src="https://ds-images.bolavip.com/news/image?src=https://images.bolavip.com/webp/spen/full/SPEN_20251211_SPEN_80021_Channing-Tatum-Roofman_458aea49.webp&amp;width=1920&amp;height=1080" alt="" class="wp-image-80035"></figure><figcaption>(Source: IMDb)</figcaption></figure>



<p>Channing Tatum’s performance in Roofman resists easy categorization. Known for his charismatic screen presence, here he deepens his craft to reveal the complex interiority of Jeffrey, a thief with a penchant for reinvention. </p>



<p>Balancing the film’s comedic edges with moments of poignant vulnerability, Tatum explores the contradictions of a man seeking redemption while haunted by past failures. The result is an emotionally rich portrayal that rescues Jeffrey from cliché, making his earnest yearning feel like the quiet engine driving the film’s richer themes of identity and belonging.</p>



<h2>Keke Palmer and SZA, One of Them Days</h2>



<figure class="wp-block-image size-full"><figure class="image"><img loading="lazy" width="1920" height="1080" src="https://ds-images.bolavip.com/news/image?src=https://images.bolavip.com/webp/spen/full/SPEN_20251211_SPEN_80021_Keke-Palmer-and-SZA-One-of-Them-Days_bdc902f1.webp&amp;width=1920&amp;height=1080" alt="" class="wp-image-80033"></figure><figcaption>(Source: IMDb)</figcaption></figure>



<p>Keke Palmer and SZA share a rare screen chemistry in One of Them Days that elevates what could have been a standard buddy comedy into a kinetic duet of raw humor and emotional resonance. </p>



<p>Their portrayal of two best friends scrambling to pay rent becomes a kind of rhythmic back-and-forth, full of impulsive laughter and unexpected vulnerability. Together, they transform each bicker and harmony into a reflection of shared survival, making their performance feel as spontaneous and alive as the city streets their characters traverse.</p>



<h2>Ethan Hawke, Blue Moon</h2>



<figure class="wp-block-image size-full"><figure class="image"><img loading="lazy" width="1920" height="1080" src="https://ds-images.bolavip.com/news/image?src=https://images.bolavip.com/webp/spen/full/SPEN_20251211_SPEN_80021_Ethan-Hawke-Blue-Moon_33ce7755.webp&amp;width=1920&amp;height=1080" alt="" class="wp-image-80034"></figure><figcaption>(Source: IMDb)</figcaption></figure>



<p>Ethan Hawke’s work in Blue Moon brings to life the melancholic genius of lyricist Lorenz Hart, a figure struggling with both brilliance and desolation. Hawke captures the razor’s edge between jubilant charm and emotional unraveling, revealing how Hart’s creative fire is inseparable from his self-destructive impulses. In scenes that oscillate between witty banter and aching solitude, Hawke taps into an emotional truth that resonates far beyond the period setting: that genius often flourishes in the shadow of personal turmoil.</p>

TIME’s 10 Best Movie Performances of 2025: A Standout Year on Screen

TIME’s 10 Best Movie Performances of 2025: A Standout Year on Screen - Spoiler US

<p>News of<strong> 28 Years Later</strong> has cracked open a corner of modern horror history that many assumed was sealed for good. More than two decades after <strong>Danny Boyle</strong> and <strong>Alex Garland</strong> redefined the zombie genre with <em>28 Days Later</em>, the long-dormant saga is stirring again.</p>



<p>The project arrives with an unusual sense of momentum: a renewed trilogy plan, a studio push to resurrect a cultural landmark, and the magnetic prospect of <strong><a href="https://spoiler.bolavip.com/en/topic/cillian-murphy">Cillian Murphy</a></strong> stepping back into a world that once launched him into global recognition.</p>



<p>The involvement of the Oscar-winning actor for Oppenheimer—whether in a key onscreen role or through a creative presence behind the camera—has already become one of the most discussed elements surrounding the film’s development.</p>



<h2>Cillian Murphy is in talks to reprise his role</h2>



<p>Talks about <strong>Cillian Murphy reprising his iconic role as Jim</strong> from 28 Days Later have taken on a life of their own as <strong>28 Years Later: The Bone Temple</strong> moves closer to release. The actor, who became a defining face of the franchise in its 2002 debut, does not appear in the first of the <strong>new trilogy, 28 Years Later</strong>.</p>



<p>However, multiple reports indicate that the actor will show up in the sequel, albeit briefly, setting the stage for a potential larger part in a planned third picture. Director <strong>Danny Boyle</strong> has suggested that Cillian’s involvement could be a key factor in securing financing for the trilogy’s concluding chapter.</p>



<figure class="wp-block-image size-full"><figure class="image"><img loading="lazy" width="1920" height="1080" src="https://ds-images.bolavip.com/news/image?src=https://images.bolavip.com/webp/spen/full/SPEN_20251211_SPEN_79998_28-days-later-2_2c2ada4c.webp&amp;width=1920&amp;height=1080" alt="" class="wp-image-80049"></figure><figcaption>Cillian Murphy in 28 Days Later (Source: IMDb)</figcaption></figure>



<p>While some early statements were unclear about his presence, the weight of current reporting confirms that his return to the saga is more than wishful thinking. His portrayal of Jim, a survivor of the original viral outbreak, has become a touchstone for fans.</p>



<h2>When will 28 Years Later: The Bone Temple be released?</h2>



<p>The release date for 28 Years Later: The Bone Temple has been firmly set: the continuation is scheduled to hit theaters on <strong>January 16, 2026</strong>, arriving just seven months after 28 Years Later made its 2025 debut.</p>



<p>This timing reflects an ambitious production strategy, as both films were shot back-to-back during the summer of 2024, ensuring that audiences won’t wait long between installments.</p>



<p>The decision to position the movie early in the year—over Martin Luther King Jr. weekend in the United States—suggests confidence from Sony Pictures Releasing in the franchise’s ability to draw horror fans even outside the traditional summer blockbuster season.</p>



<h2>Who is in the cast of 28 Years Later: The Bone Temple?</h2>



<p>While <strong>Cillian Murphy’s potential cameo</strong> looms large, The Bone Temple features an ensemble of both returning and new performers who help give the sequel its own identity…</p>



<p>The film stars <strong>Ralph Fiennes</strong> (Harry Potter and Schindler’s List) as Dr. Ian Kelson and <strong>Jack O’Connell </strong>(Unbroken and Sinners) as Sir Lord Jimmy Crystal—figures central to the brutal, post-apocalyptic world the story explores.</p>



<figure class="wp-block-image size-full"><figure class="image"><img loading="lazy" width="1920" height="1080" src="https://ds-images.bolavip.com/news/image?src=https://images.bolavip.com/webp/spen/full/SPEN_20251211_SPEN_79998_28-years-later_10f80ca7.webp&amp;width=1920&amp;height=1080" alt="" class="wp-image-80000"></figure><figcaption>Maura Bird, Jack O’Connell and Erin Kellyman in 28 Years Later: The Bone Temple (Source: IMDb)</figcaption></figure>



<p>Alongside them are <strong>Alfie Williams</strong> (His Dark Materials) reprising his role as Spike, and <strong>Erin Kellyman</strong> (The Green Knight) and <strong>Chi Lewis-Parry</strong> (Gladiator II), who add depth to the growing roster of survivors and antagonists.</p>



<p>This mix of seasoned actors and rising talent underscores how the franchise is bridging its roots with fresh narrative energy, bringing seasoned survivors and terrifying new threats into the fold. The cast list includes so far:</p>



<ul><li>Ralph Fiennes as Dr. Kelson</li><li>Emma Laird as Jimmima</li><li>Jack O’Connell as Sir Jimmy Crystal</li><li>Robert Rhodes as Jimmy Jimmy</li><li>Erin Kellyman as Jimmy Ink</li><li>Chi Lewis-Parry as Samson</li><li>Alfie Williams as Spike</li><li>Louis Ashbourne Serkis as Tom</li><li>David Sterne as Grandfather</li><li>Maura Bird as Jimmy Jones</li><li>Sam Locke as Jimmy Fox</li><li>Natalie Cousteau as Natalie Williams, Ticket Inspector</li><li>Elliot Benn as Husband</li><li>Ghazi Al Ruffai as Jimmy Snake</li><li>Mia Verity as Train Passenger</li></ul>



<h2>Will 28 Years Later: The Bone Temple follow the plot of 28 Years Later?</h2>



<p><strong>28 Years Later: The Bone Temple is very much a direct continuation</strong> of the storyline set in motion by its predecessor. Set in the same post-apocalyptic Britain ravaged by the <strong>Rage Virus</strong>, the sequel picks up where the previous film left off, following familiar faces as they navigate a world where the threat of infection has been eclipsed by human cruelty and cult-like fervor.</p>



<p>Rather than resetting the narrative, The Bone Temple deepens it, exploring the fractured humanity of survivors and escalating the stakes with new dynamics among the ensemble cast. </p>



<p>Characters like Kelson and Spike confront psychological and physical horrors that stretch the original concept beyond simple survival horror, anchoring the sequel firmly within the narrative arc established earlier in the year.</p>

28 Years Later Gets Its Third Film: All About Cillian Murphy’s Potential Comeback and More

28 Years Later Gets Its Third Film: All About Cillian Murphy’s Potential Comeback and More - Spoiler US

<p>Long before <strong>Milly Alcock</strong>’s<em> Supergirl</em> spreads her crimson cape across multiplex screens in <em>Supergirl: Woman of Tomorrow</em>, the mythos of Krypton’s most iconic family has been etched into cinematic history in ways both grand and uneven.</p>



<p>With the <strong>DC Universe</strong> reboot catalyzed by <strong>James Gunn</strong>’s<strong> </strong><em>Superman</em> (2025), where the actress first appeared as Kara Zor-El before taking center stage in her own feature, there’s a distinct lineage of <strong>Superman films</strong> that not only chart the evolution of the <em>Man of Steel</em> but also illuminate the thematic soil from which her journey grows.</p>



<p>As <strong>Supergirl</strong>’s standalone debut approaches its <strong>June 26, 2026</strong> release, the importance of revisiting that lineage becomes more than a checklist for fans — it is a way of tracing the tonal and narrative shifts that inform her own story.</p>



<h2>Superman: The Movie (1978)</h2>



<figure class="wp-block-image size-full"><figure class="image"><img loading="lazy" width="1920" height="1080" src="https://ds-images.bolavip.com/news/image?src=https://images.bolavip.com/webp/spen/full/SPEN_20251211_SPEN_79989_Superman_-The-Movie-1978_943fc8b0.webp&amp;width=1920&amp;height=1080" alt="" class="wp-image-79991"></figure><figcaption>(Source: IMDb)</figcaption></figure>



<p>This is the origin point, the cinematic genesis that convinced a generation to believe in the impossible. Richard Donner’s masterpiece operates not just as a superhero film, but as a sweeping epic that blends biblical scale with small-town Americana sincerity. </p>



<p>Before Milly Alcock’s Kara Zor-El is introduced, likely carrying the heavy baggage of a more destructive Krypton, understanding the pure, unburdened nobility of Christopher Reeve’s Kal-El is paramount. </p>



<p>This film establishes the core values of the House of El—Truth, Justice, and the American Way—through John Williams’ iconic score and the effortless charm of its lead, setting the foundational benchmark for all Kryptonian heroes who follow. It’s the definitive look at the innocence Kara may have lost, providing crucial emotional context for her likely darker, more seasoned characterization.</p>



<h2>Superman II (1980) – The Richard Donner Cut</h2>



<figure class="wp-block-image size-full"><figure class="image"><img loading="lazy" width="1920" height="1080" src="https://ds-images.bolavip.com/news/image?src=https://images.bolavip.com/webp/spen/full/SPEN_20251211_SPEN_79989_Superman-II-1980_c70b87d4.webp&amp;width=1920&amp;height=1080" alt="" class="wp-image-79992"></figure><figcaption>(Source: IMDb)</figcaption></figure>



<p>While the theatrical release is canonical for many, the ‘Donner Cut’ is essential viewing for its uncompromised portrayal of the Kryptonian antagonists. This film introduces General Zod, Ursa, and Non, three Kryptonian criminals whose power and destructive nature perfectly illustrate the brutal history and political strife that often haunts Kal-El’s lineage. </p>



<p>For Supergirl, who is expected to have a more challenging, less idyllic backstory compared to her cousin, observing the raw, unmitigated power of these three exiles is key. It highlights the immense, dangerous potential of Kryptonian refugees and the kind of high-stakes conflict that Kara Zor-El, a potential survivor of a different kind of cataclysm, might be uniquely equipped to face or, conversely, be haunted by.</p>



<h2>Supergirl (1984)</h2>



<figure class="wp-block-image size-full"><figure class="image"><img loading="lazy" width="1920" height="1080" src="https://ds-images.bolavip.com/news/image?src=https://images.bolavip.com/webp/spen/full/SPEN_20251211_SPEN_79989_Supergirl-1984_f1866a8d.webp&amp;width=1920&amp;height=1080" alt="" class="wp-image-79993"></figure><figcaption>(Source: IMDb)</figcaption></figure>



<p>Often overlooked, this film is vital simply because it is the original live-action spotlight for the Girl of Steel, featuring Helen Slater in the title role. Though narratively disconnected from the current DC Universe, it serves as a critical historical marker in the attempt to bring Kara’s story to life. </p>



<p>It explored her immediate immersion into Earth culture and the distinct challenges she faced outside of her famous cousin’s shadow. Watching it provides a lens through which to gauge the evolution of the character. </p>



<p>Alcock’s Supergirl, reportedly inspired by the fierce, complicated version in the comic Supergirl: Woman of Tomorrow, will inevitably be compared to the lightness of Slater’s portrayal, making the original a necessary contrast to fully appreciate the new iteration’s intensity and complexity.</p>



<h2>Man of Steel (2013)</h2>



<figure class="wp-block-image size-full"><figure class="image"><img loading="lazy" width="1920" height="1080" src="https://ds-images.bolavip.com/news/image?src=https://images.bolavip.com/webp/spen/full/SPEN_20251211_SPEN_79989_Man-of-Steel-2013_8438140b.webp&amp;width=1920&amp;height=1080" alt="" class="wp-image-79994"></figure><figcaption>(Source: IMDb)</figcaption></figure>



<p>Zack Snyder’s divisive film is necessary viewing as it presents a Superman grappling with the burden of godhood and alien identity in a world that fears him. This version of Kryptonian culture is militaristic, grand, and ultimately self-destructive, offering a visual and tonal contrast to Donner’s optimism. </p>



<p>Henry Cavill’s Superman is forced to make impossible choices regarding collateral damage and self-preservation, themes that resonate deeply with the expected narrative for Alcock’s Supergirl—a character often depicted as having witnessed the destruction of Krypton firsthand and arriving on Earth with more trauma than hope. </p>



<p>This film grounds the Kryptonian conflict in a raw, almost mythological struggle for survival, which is an important emotional touchstone for any character emerging from the House of El.</p>



<h2>Superman (2025)</h2>



<figure class="wp-block-image size-full"><figure class="image"><img loading="lazy" width="1920" height="1080" src="https://ds-images.bolavip.com/news/image?src=https://images.bolavip.com/webp/spen/full/SPEN_20251211_SPEN_79989_Superman-2025_5443e05a.webp&amp;width=1920&amp;height=1080" alt="" class="wp-image-79995"></figure><figcaption>(Source: IMDb)</figcaption></figure>



<p>James Gunn’s highly anticipated reboot, starring David Corenswet, is now a cornerstone of the DC Universe, having debuted earlier this year. Its release is arguably the most crucial contemporary text to absorb before Supergirl’s debut. </p>



<p>As the official launching point for the new era, the film successfully established the definitive new tone, aesthetic, and baseline characterization for Kryptonian heroes. Its importance lies in the fact that it immediately defines the current political landscape and the world that Kara Zor-El is entering. </p>



<p>Focusing on a young Clark Kent balancing his human upbringing with his alien heritage, it presents a hero with a clear, modern sense of purpose. By observing this foundational, current iteration of the Last Son of Krypton, fans have a direct, necessary comparison point for Milly Alcock’s Supergirl, whose own narrative is projected to be far more complex, isolated, and potentially darker than her cousin’s newly established tale.</p>

Essential Superman Movies to Watch Before Milly Alcock’s Supergirl Hits Theaters

Essential Superman Movies to Watch Before Milly Alcock’s Supergirl Hits Theaters - Spoiler US

<p>Released in 2009, the film was a landmark achievement for the studio, celebrating both the rich culture of New Orleans and ushering in a new era of classic hand-drawn animation.</p>



<p>More importantly, the movie made history by introducing the world to <strong>Tiana</strong>, securing her place as <strong>Disney’s first Black princess</strong> and a cultural milestone that continues to resonate with fans today.</p>



<figure class="wp-block-image size-full"><figure class="image"><img loading="lazy" width="1920" height="1080" src="https://ds-images.bolavip.com/news/image?src=https://images.bolavip.com/webp/spen/full/SPEN_20251211_SPEN_79943_1-16_d8cbc3bf.webp&amp;width=1920&amp;height=1080" alt="" class="wp-image-79948"></figure><figcaption>The Princess and the Frog // IMDb – Walt Disney</figcaption></figure>



<h2>The Significance of Princess Tiana</h2>



<p>The introduction of Princess Tiana (voiced by the incomparable Anika Noni Rose) was a monumental moment in representation for Disney and a crucial step toward diversifying its iconic lineup.</p>



<p><strong>Breaking Barriers:</strong> Tiana’s debut broke a significant barrier that had stood since Snow White in 1937, finally giving Black audiences a princess to see themselves reflected in. The movie’s celebration of Black culture, history, and the music of New Orleans—with a soundtrack featuring jazz, gospel, and zydeco—was instantly hailed as a cultural achievement.</p>



<p><strong>A New Kind of Princess:</strong> Tiana was defined not by royalty, but by her <strong>hard work, ambition, and entrepreneurial spirit</strong>. Her core desire wasn’t a prince or a palace, but the money to open her own restaurant. This modern, goal-oriented approach resonated deeply with audiences, cementing her as one of the most hardworking and inspirational figures in the Disney family.</p>



<h2>The Music and the Legacy</h2>



<figure class="wp-block-image size-full"><figure class="image"><img loading="lazy" width="1920" height="1080" src="https://ds-images.bolavip.com/news/image?src=https://images.bolavip.com/webp/spen/full/SPEN_20251211_SPEN_79943_1-2-3_4b8a2295.webp&amp;width=1920&amp;height=1080" alt="" class="wp-image-79949"></figure><figcaption>The Princess and the Frog / IMDb – Walt Disney</figcaption></figure>



<p>The film’s soundtrack, featuring original songs by the legendary <strong>Randy Newman</strong>, earned massive critical acclaim and contributed greatly to the film’s success. Iconic tracks like <strong>“Almost There”</strong> (Tiana’s powerhouse declaration of ambition) and the villainous swamp-voodoo number <strong>“Friends on the Other Side”</strong> remain instant classics.</p>



<p>Sixteen years later, <em>The Princess and the Frog</em> is celebrated for its beautiful animation, timeless themes, and its successful mission to expand the definition of a Disney princess.</p>

The Princess and the Frog Was Released 16 Years Ago

The Princess and the Frog Was Released 16 Years Ago - Spoiler US

<p>Set for a 2026 release, <strong>Robert Pattinson</strong> and <strong>Zendaya</strong>’s The Drama has already begun shaping early expectations around emotionally charged cinema. Even before reaching theaters, its reputation for intense character work and a deliberately atmospheric style has positioned it as one of the most anticipated films of the coming year.</p>



<p>Around that rising anticipation, a constellation of films emerges—works that operate with the same sharpened edge, marked by shadow-laden visuals, fractured relationships, and performances that feel carved from real conflict. These titles don’t just resemble what <em><strong>The Drama</strong></em> promises; they echo its pulse, offering a similar blend of intimacy.</p>



<h2>Closer (2004) directed by Mike Nichols</h2>



<figure class="wp-block-image size-full"><figure class="image"><img loading="lazy" width="1920" height="1080" src="https://ds-images.bolavip.com/news/image?src=https://images.bolavip.com/webp/spen/full/SPEN_20251210_SPEN_79916_Closer-2004_20dbfdf9.webp&amp;width=1920&amp;height=1080" alt="" class="wp-image-79932"></figure><figcaption>(Source: IMDb)</figcaption></figure>



<p>This film is a brutal, dialogue-heavy dissection of modern relationships, centered entirely on the lies, secrets, and infidelities that link four characters in a destructive carousel of passion and cruelty. It functions less as a romance and more as a high-velocity drama where emotional wounds are inflicted with surgical precision through dialogue. It directly mirrors the emotional intensity and clinical focus on an intimate collapse inherent to The Drama’s premise, proving that words and hidden truths can be as sharp as any weapon in a domestic setting.</p>



<h2>Blue Valentine (2010) directed by Derek Cianfrance</h2>



<figure class="wp-block-image size-full"><figure class="image"><img loading="lazy" width="1920" height="1080" src="https://ds-images.bolavip.com/news/image?src=https://images.bolavip.com/webp/spen/full/SPEN_20251210_SPEN_79916_Blue-Valentine-2010_54417de0.webp&amp;width=1920&amp;height=1080" alt="" class="wp-image-79931"></figure><figcaption>(Source: IMDb)</figcaption></figure>



<p>A hyper-realistic, gut-wrenching portrayal that intercuts the romantic, sun-drenched genesis of a relationship with its terminal, present-day decline. It is relentless in capturing the raw, palpable tension between two people whose initial, volatile love has calcified into bitter resentment and distance. Its focus is entirely on the erosion of intimacy and the shattering of marital illusion, driven by past truths and present failures that feel irrevocably set in stone—a perfect study in domestic tragedy.</p>



<h2>Shame (2011) directed by Steve McQueen</h2>



<figure class="wp-block-image size-full"><figure class="image"><img loading="lazy" width="1920" height="1080" src="https://ds-images.bolavip.com/news/image?src=https://images.bolavip.com/webp/spen/full/SPEN_20251210_SPEN_79916_Shame-2011_aa6d9403.webp&amp;width=1920&amp;height=1080" alt="" class="wp-image-79930"></figure><figcaption>(Source: IMDb)</figcaption></figure>



<p>A stylized, often silent, and deeply unsettling examination of the self-imposed isolation and addiction that fuels one’s secret life. The film features a cold, minimalist aesthetic that focuses intensely on the protagonist’s emotional landscape. It speaks directly to the themes of a hidden, turbulent inner life festering just beneath a sophisticated, polished corporate surface, echoing the moody, visually spare styles often associated with Robert Pattinson’s challenging, non-mainstream roles.</p>



<h2>Malcolm &amp; Marie (2021) directed by Sam Levinson</h2>



<figure class="wp-block-image size-full"><figure class="image"><img loading="lazy" width="1920" height="1080" src="https://ds-images.bolavip.com/news/image?src=https://images.bolavip.com/webp/spen/full/SPEN_20251210_SPEN_79916_Malcolm-Marie-2021_fe3c265d.webp&amp;width=1920&amp;height=1080" alt="" class="wp-image-79929"></figure><figcaption>(Source: IMDb)</figcaption></figure>



<p>Shot in stark black-and-white during the pandemic, this is an incredibly high-tension, two-person chamber piece that unfolds over one volatile night. A filmmaker and his actress girlfriend engage in a relentless, cathartic argument where they mercilessly air every uncomfortable truth about their relationship, their vulnerabilities, and their professional egos. It possesses the intense, contained emotional warfare, the focus on dialogue as conflict, and the elevated, artistic style crucial to mirroring the intimate setting of The Drama.</p>



<h2>In the Mood for Love (2000) directed by Wong Kar-wai</h2>



<figure class="wp-block-image size-full"><figure class="image"><img loading="lazy" width="1920" height="1080" src="https://ds-images.bolavip.com/news/image?src=https://images.bolavip.com/webp/spen/full/SPEN_20251210_SPEN_79916_In-the-Mood-for-Love-2000_a9ab7e9f.webp&amp;width=1920&amp;height=1080" alt="" class="wp-image-79928"></figure><figcaption>(Source: IMDb)</figcaption></figure>



<p>More subtle and profoundly melancholic, yet equally intense in its emotional stakes, this visually stunning film centers on two neighbors who gradually discover that their respective spouses are having an affair. The drama is built on exquisite longing, unspoken truths, shared glances, and the necessity of silence. It uses an incredibly high, saturated style to frame a narrative of profound betrayal, where the emotional truth is conveyed not through confrontation, but through the haunting elegance of what is not said.</p>



<h2>Don’t Worry Darling (2022) directed by Olivia Wilde</h2>



<figure class="wp-block-image size-full"><figure class="image"><img loading="lazy" width="1920" height="1080" src="https://ds-images.bolavip.com/news/image?src=https://images.bolavip.com/webp/spen/full/SPEN_20251210_SPEN_79916_Dont-Worry-Darling-2022_7624d7c8.webp&amp;width=1920&amp;height=1080" alt="" class="wp-image-79927"></figure><figcaption>(Source: IMDb)</figcaption></figure>



<p>Set with a dazzling, high-style 1950s aesthetic, the movie follows a suburban wife who begins to suspect that the meticulously curated, “perfect” life she shares with her charismatic husband is underpinned by a dark, reality-bending secret. It successfully blends the glamour-versus-ruin dichotomy, combining stylistic mystery and unsettling dread with the theme of a relationship built entirely on a powerful, catastrophic lie that must ultimately be exposed.</p>



<h2>The Two Faces of January (2014) directed by Hossein Amini</h2>



<figure class="wp-block-image size-full"><figure class="image"><img loading="lazy" width="1920" height="1080" src="https://ds-images.bolavip.com/news/image?src=https://images.bolavip.com/webp/spen/full/SPEN_20251210_SPEN_79916_The-Two-Faces-of-January-2014_6c468cf2.webp&amp;width=1920&amp;height=1080" alt="" class="wp-image-79926"></figure><figcaption>(Source: IMDb)</figcaption></figure>



<p>An atmospheric neo-noir romantic thriller set across sun-drenched Greek and Turkish locales. A wealthy American couple, harboring a profound and violent secret, encounter an outsider and are soon forced to go on the run. The film captures the necessary elements of mounting tension, deceit, and an inescapable sense of fatalistic decay, where the stunning scenery only heightens the characters’ moral corruption and the secrets they are desperately trying to outrun.</p>



<h2>Who’s Afraid of Virginia Woolf? (1966) directed by Mike Nichols</h2>



<figure class="wp-block-image size-full"><figure class="image"><img loading="lazy" width="1920" height="1080" src="https://ds-images.bolavip.com/news/image?src=https://images.bolavip.com/webp/spen/full/SPEN_20251210_SPEN_79916_Whos-Afraid-of-Virginia-Woolf_-1966-1_eed385fb.webp&amp;width=1920&amp;height=1080" alt="" class="wp-image-79925"></figure><figcaption>(Source: IMDb)</figcaption></figure>



<p>The quintessential dramatic chamber piece about a marriage sustained entirely by volatile, corrosive lies. Over the course of one brutal, drunken night, a couple forces a younger pair to bear witness as they meticulously dismantle the deepest, most sacred “truth” of their relationship. Its intense, confined focus on verbal cruelty and the revelation of a foundational fiction makes it the ultimate progenitor of the “marital secret” subgenre.</p>



<h2>Marriage Story (2019) directed by Noah Baumbach</h2>



<figure class="wp-block-image size-full"><figure class="image"><img loading="lazy" width="1920" height="1080" src="https://ds-images.bolavip.com/news/image?src=https://images.bolavip.com/webp/spen/full/SPEN_20251210_SPEN_79916_Marriage-Story-2019_b2b5e967.webp&amp;width=1920&amp;height=1080" alt="" class="wp-image-79924"></figure><figcaption>(Source: IMDb)</figcaption></figure>



<p>Though dealing with divorce rather than pre-marital secrets, the film perfectly encapsulates the pain of realizing a partner you thought you knew has become an adversarial stranger. It is a sharp, often funny, but ultimately devastating examination of how two complex people can love each other while simultaneously revealing the worst parts of themselves during an agonizing separation. It grounds the emotional destruction in realism, echoing the raw confessional nature of The Drama.</p>



<h2>Materialists (2025) directed by Celine Song</h2>



<figure class="wp-block-image size-full"><figure class="image"><img loading="lazy" width="1920" height="1080" src="https://ds-images.bolavip.com/news/image?src=https://images.bolavip.com/webp/spen/full/SPEN_20251210_SPEN_79916_Materialists-2025_e4a47953.webp&amp;width=1920&amp;height=1080" alt="" class="wp-image-79923"></figure><figcaption>(Source: IMDb)</figcaption></figure>



<p>As one of the 2025’s defining cinematic events, Materialists has already cemented its place in the modern drama lexicon. Following the immense success of Past Lives, Celine Song delivers an intimate, sophisticated, and ruthlessly observational study of emotional entanglement and strategic connection in the high-stakes New York dating scene. Its sharp focus on the hidden calculations and vulnerabilities beneath polished facades—particularly in how money and ambition intersect with love—makes it a perfect thematic match for the stylish, contemporary emotional turmoil central to The Drama.</p>

Films That Capture the Same Edge as Robert Pattinson and Zendaya’s The Drama

Films That Capture the Same Edge as Robert Pattinson and Zendaya’s The Drama - Spoiler US

<p>Whether through unforgettable performances, groundbreaking visual imagery, or lines that entered everyday language, these scenes have earned a permanent place in global pop culture. They continue to be referenced, parodied, and celebrated across generations, proving the enduring power of cinema.</p>



<h2><em>Titanic</em> – Jack and Rose on the Bow</h2>



<figure class="wp-block-image size-full"><figure class="image"><img loading="lazy" width="1920" height="1080" src="https://ds-images.bolavip.com/news/image?src=https://images.bolavip.com/webp/spen/full/SPEN_20251210_SPEN_79809_a-4-2_4616598e.webp&amp;width=1920&amp;height=1080" alt="" class="wp-image-79849"></figure><figcaption>IMDb</figcaption></figure>



<p>The moment Jack lifts Rose onto the bow of the Titanic as she spreads her arms against the wind remains one of the most iconic images in film history. Paired with James Horner’s sweeping score, the scene symbolizes freedom, romance, and youthful optimism. It has been recreated countless times in popular culture, cementing its place as a defining piece of 1990s cinema.</p>



<h2><em>Star Wars: Episode V – The Empire Strikes Back</em> – “I Am Your Father”</h2>



<p>Darth Vader’s revelation to Luke Skywalker during their duel reshaped the landscape of blockbuster storytelling. The twist became a cultural touchstone, instantly recognizable even to audiences unfamiliar with the franchise. Its impact on narrative surprises and its widespread parody make it one of the most famous movie moments ever filmed.</p>



<h2><em>The Wizard of Oz</em> – “We’re Not in Kansas Anymore”</h2>



<p>Dorothy’s arrival in the colorful world of Oz marks a turning point not only in the story but in cinematic history. The transition from sepia to vibrant Technicolor stunned audiences in 1939 and continues to be referenced as a symbol of entering a new, extraordinary world. The scene remains a cornerstone of American film heritage.</p>



<h2><em>Psycho</em> – The Shower Scene</h2>



<figure class="wp-block-image size-full"><figure class="image"><img loading="lazy" width="1920" height="1080" src="https://ds-images.bolavip.com/news/image?src=https://images.bolavip.com/webp/spen/full/SPEN_20251210_SPEN_79809_a-3-2_73ecf70f.webp&amp;width=1920&amp;height=1080" alt="" class="wp-image-79848"></figure><figcaption>IMDb</figcaption></figure>



<p>Alfred Hitchcock’s masterfully edited shower sequence revolutionized the thriller genre with its rapid cuts, chilling score, and shocking narrative turn. Despite revealing little on screen, the scene created an atmosphere of terror that set new standards for suspense. Its influence can still be felt in modern horror, making it instantly recognizable worldwide.</p>



<h2><em>Rocky</em> – Running Up the Philadelphia Museum Steps</h2>



<p>Rocky Balboa’s triumphant sprint up the museum steps embodies resilience and determination, turning a simple workout into a cinematic symbol of perseverance. Bill Conti’s stirring music elevates the moment, transforming it into a universal metaphor for overcoming obstacles. The steps have since become a landmark visited by fans from around the globe.</p>



<h2><em>Jurassic Park</em> – The Rippling Water Glass</h2>



<p>The subtle vibration in a cup of water, signaling the approach of the T. rex, remains one of the most memorable suspense cues in modern film. Steven Spielberg used a simple yet ingenious visual effect to build tension before the dinosaur’s reveal. The moment has since become shorthand for impending danger and is frequently referenced in pop culture.</p>



<h2><em>Casablanca</em> – “Here’s Looking at You, Kid”</h2>



<p>Humphrey Bogart’s quiet farewell to Ingrid Bergman in the misty airport setting has become one of cinema’s most quoted scenes. The emotional restraint and atmospheric lighting capture the elegance of classic Hollywood storytelling. Decades later, the line continues to symbolize bittersweet romance and enduring sacrifice.</p>



<h2><em>The Shining</em> – “Here’s Johnny!”</h2>



<figure class="wp-block-image size-full"><figure class="image"><img loading="lazy" width="1920" height="1080" src="https://ds-images.bolavip.com/news/image?src=https://images.bolavip.com/webp/spen/full/SPEN_20251210_SPEN_79809_a-2-2_4085c80e.webp&amp;width=1920&amp;height=1080" alt="" class="wp-image-79846"></figure><figcaption>IMDb</figcaption></figure>



<p>Jack Nicholson’s terrifying grin as he breaks through the bathroom door is instantly recognizable, even to viewers who’ve never seen the entire film. The scene’s intensity, combined with Nicholson’s improvised line, helped define the psychological horror genre. Its lasting impact can be seen in countless homages and parodies.</p>



<h2><em>Forrest Gump</em> – Running Across America</h2>



<p>Forrest’s spontaneous cross-country run became a defining image of the film, representing resilience, escapism, and personal transformation. Tom Hanks’ understated performance lends authenticity to the character’s journey, turning a simple act into a cultural symbol. The scene continues to inspire both viewers and real-life long-distance runners.</p>



<h2><em>E.T. the Extra-Terrestrial</em> – The Bicycle Across the Moon</h2>



<p>The image of Elliott and E.T. soaring past the moon has become one of Steven Spielberg’s most enduring cinematic signatures. John Williams’ soaring score elevates the moment into pure movie magic, capturing the wonder of childhood imagination. The silhouette is so iconic that it later became a symbol for Spielberg’s own production company.</p>



<h2><em>The Matrix</em> – Neo Dodging Bullets</h2>



<p>Neo bending backward as bullets whirl past him redefined action cinematography in 1999. The scene introduced mainstream audiences to “bullet time,” a visual effect that slowed action while the camera appeared to move at full speed. Its influence on action filmmaking and pop culture remains unmistakable, instantly signaling high-tech combat and reality-bending power.</p>



<h2><em>Jaws</em> – “You’re Gonna Need a Bigger Boat”</h2>



<figure class="wp-block-image size-full"><figure class="image"><img loading="lazy" width="1920" height="1080" src="https://ds-images.bolavip.com/news/image?src=https://images.bolavip.com/webp/spen/full/SPEN_20251210_SPEN_79809_a-1-2_eab782fd.webp&amp;width=1920&amp;height=1080" alt="" class="wp-image-79845"></figure><figcaption>IMDb</figcaption></figure>



<p>Roy Scheider’s stunned delivery of this line after seeing the enormous shark has become one of the most quoted moments in film history. The scene perfectly blends suspense, humor, and escalating danger, showcasing Steven Spielberg’s mastery of pacing. It continues to represent unexpected challenges and is referenced across countless genres and mediums.</p>



<h2><em>Dirty Dancing</em> – The Final Lift</h2>



<p>Johnny lifting Baby during the climactic dance routine is a defining moment of 1980s cinema. The combination of choreography, emotional payoff, and the soaring soundtrack turned the scene into a cultural touchstone. The move has been recreated endlessly, solidifying its place among the most recognizable romantic finales in film.</p>



<h2><em>The Godfather</em> – The Horse’s Head Reveal</h2>



<p>The shocking moment when Jack Woltz awakens to find a severed horse’s head in his bed remains one of the most unforgettable scenes in mafia storytelling. Its disturbing imagery and quiet buildup exemplify the film’s mastery of tension. The scene quickly became synonymous with cinematic intimidation and remains widely referenced more than 50 years later.</p>



<h2><em>Back to the Future</em> – The DeLorean’s First Time-Travel Jump</h2>



<figure class="wp-block-image size-full"><figure class="image"><img loading="lazy" width="1920" height="1080" src="https://ds-images.bolavip.com/news/image?src=https://images.bolavip.com/webp/spen/full/SPEN_20251210_SPEN_79809_a-14_1148d25d.webp&amp;width=1920&amp;height=1080" alt="" class="wp-image-79844"></figure><figcaption>IMDb</figcaption></figure>



<p>When the DeLorean hits 88 miles per hour and vanishes in a flash of light, leaving flaming tire tracks behind, audiences instantly recognized a new sci-fi icon. The scene established the film’s blend of humor, adventure, and futuristic wonder. The DeLorean’s fiery streaks continue to symbolize time travel in popular culture.</p>



<h2><em>The Lion King</em> – Simba Raised on Pride Rock</h2>



<p>The moment Rafiki lifts the newborn Simba before the assembled animals, accompanied by the powerful opening notes of “Circle of Life,” is one of Disney’s most recognizable images. This scene established the film’s epic tone and emotional scope within minutes. Its silhouette alone has become symbolic of animation’s golden era and the universal themes of legacy and heritage.</p>



<h2><em>The Sound of Music</em> – Maria Twirling on the Hillside</h2>



<p>Julie Andrews spinning atop a sunlit mountainside as she sings “The Sound of Music” remains one of the most enduring visuals in musical cinema. The sweeping camera movement and picturesque alpine setting create a sense of joy and openness. Decades later, the shot continues to represent freedom, optimism, and the magic of classic musicals.</p>



<h2><em>Indiana Jones: Raiders of the Lost Ark</em> – The Boulder Chase</h2>



<figure class="wp-block-image size-full"><figure class="image"><img loading="lazy" width="1920" height="1080" src="https://ds-images.bolavip.com/news/image?src=https://images.bolavip.com/webp/spen/full/SPEN_20251210_SPEN_79809_Indiana_23000ddc.webp&amp;width=1920&amp;height=1080" alt="" class="wp-image-79843"></figure><figcaption>IMDb</figcaption></figure>



<p>Indiana Jones sprinting from a massive rolling boulder set a new standard for adventure filmmaking. The sequence immediately defined the character as a daring, quick-thinking hero, blending practical effects with expertly timed suspense. Its influence resonates in action movies, theme park attractions, and countless parodies that pay homage to the iconic moment.</p>



<h2><em>Ghostbusters</em> – “Who You Gonna Call?”</h2>



<p>The scene introducing the Ghostbusters in uniform, proton packs ready, became a defining pop-culture moment of the 1980s. The combination of the team’s confident pose and the now-famous theme lyric created instant recognizability. The imagery still serves as a shorthand for supernatural comedy and team-based heroics.</p>



<h2><em>The Lord of the Rings: The Fellowship of the Ring</em> – Gandalf Faces the Balrog</h2>



<p>Gandalf standing on the Bridge of Khazad-dûm and declaring, “You shall not pass!” is one of modern fantasy’s most unforgettable scenes. The moment blends emotional stakes, striking visual effects, and Ian McKellen’s commanding performance. It remains a cinematic emblem of courage and sacrifice, echoed across the entire trilogy.</p>



<h2><em>Harry Potter and the Sorcerer’s Stone</em> – The Sorting Hat</h2>



<p>The moment Harry sits beneath the Sorting Hat in the Great Hall introduced millions of viewers to the Hogwarts houses and the magical world’s traditions. The candlelit room, the students’ anticipation, and the Hat’s playful personality created an instantly iconic scene. It remains one of the most recognizable introductions to a fantasy universe in modern film.</p>



<h2><em>The Breakfast Club</em> – The Fist Pump</h2>



<p>Judson’s freeze-frame fist pump across the football field became a defining symbol of teenage triumph and emotional breakthrough. Paired with the soaring final notes of “Don’t You (Forget About Me),” the shot captured the spirit of youthful rebellion. It endures as one of the most referenced and celebrated endings in 1980s cinema.</p>



<h2><em>The Avengers</em> – The Hero Circle Shot</h2>



<figure class="wp-block-image size-full"><figure class="image"><img loading="lazy" width="1920" height="1080" src="https://ds-images.bolavip.com/news/image?src=https://images.bolavip.com/webp/spen/full/SPEN_20251210_SPEN_79809_Avengers_6d004c9a.webp&amp;width=1920&amp;height=1080" alt="" class="wp-image-79836"></figure><figcaption>IMDb</figcaption></figure>



<p>The sweeping shot of the original Avengers team assembling during the Battle of New York marked a milestone in superhero storytelling. The rotating camera and unified stance signaled the arrival of a new era of interconnected blockbuster filmmaking. The image quickly became emblematic of ensemble heroism and remains a cornerstone of the Marvel franchise.</p>



<h2><em>The Truman Show</em> – “Good Morning, and in Case I Don’t See Ya…”</h2>



<p>Truman’s signature greeting, delivered with cheerful sincerity, encapsulates the film’s blend of satire and emotional depth. The line becomes even more poignant as he discovers the truth about his artificial world. Its enduring resonance reflects the movie’s exploration of identity, authenticity, and the desire for freedom.</p>



<h2><em>Home Alone</em> – Kevin’s Aftershave Scream</h2>



<p>Kevin McCallister’s iconic scream after applying aftershave is one of the most replayed comedic moments of the 1990s. Macaulay Culkin’s wide-eyed expression and exaggerated yell instantly cemented the character in cinematic history. The scene remains a holiday staple, recognized even by viewers who haven’t seen the full movie.</p>

25 Movie Scenes Everyone Recognizes Instantly

25 Movie Scenes Everyone Recognizes Instantly - Spoiler US

<p>A24 has released the teaser trailer for <strong><em>The Drama</em></strong>, the new film from Norwegian director <strong>Kristoffer Borgli</strong> (<em>Dream Scenario</em>), starring global superstars <strong>Zendaya</strong> and <strong>Robert Pattinson</strong>.</p>



<figure class="wp-block-image size-full"><figure class="image"><img loading="lazy" width="1920" height="1080" src="https://ds-images.bolavip.com/news/image?src=https://images.bolavip.com/webp/spen/full/SPEN_20251210_SPEN_79852_Zendaya-and-Robert-Pattinson-1_6abdae31.webp&amp;width=1920&amp;height=1080" alt="" class="wp-image-79854"></figure><figcaption>Zendaya and Robert Pattinson / IMDb</figcaption></figure>



<p>This film marks the first of three collaborations between <strong>Zendaya</strong> and <strong>Robert Pattinson</strong> set for 2026 (the others being Christopher Nolan’s <em>The Odyssey</em> and <em>Dune: Part Three</em>). Zendaya brings her Emmy-winning dramatic intensity, while Pattinson continues his run of playing complex, volatile characters.</p>



<h2>Release Date</h2>



<p><em>The Drama</em> is scheduled to arrive in theaters on <strong>April 3, 2026</strong>, from A24. Given the film’s blend of Hollywood star power and auteur-driven indie spirit, expect it to be one of the most talked-about movies of the spring season.</p>



<h2>Plot</h2>



<p>The film centers on an engaged couple, <strong>Emma Harwood (Zendaya)</strong> and <strong>Charlie Thompson (Robert Pattinson)</strong>, whose seemingly happy relationship is violently disrupted just days before their wedding. Their connection is put to the test when <strong>one partner discovers unsettling and unexpected truths about the other</strong>, sending their entire wedding week “off the rails.”</p>



<figure class="wp-block-image size-full"><figure class="image"><img loading="lazy" width="1920" height="1080" src="https://ds-images.bolavip.com/news/image?src=https://images.bolavip.com/webp/spen/full/SPEN_20251210_SPEN_79852_Zendaya-and-Robert-Pattinson-3_3a5f88ad.webp&amp;width=1920&amp;height=1080" alt="" class="wp-image-79859"></figure><figcaption>Zendaya and Robert Pattinson / IMDb</figcaption></figure>



<h2>A24’s Marketing Genius: Fake Engagement Ad</h2>



<p>The promotional campaign for Kristoffer Borgli’s The Drama officially went viral after studio A24 executed a masterful publicity stunt in <strong>The Boston Globe</strong>. On December 8, 2025, A24 requested that the newspaper’s Living/Arts team <strong>hold their regular <em>TV Critic’s Corner</em></strong> column so that a specific advertisement could be placed next to the highly popular relationship advice column, <strong>“Love Letters.”</strong> The result, published the following day, was a mock engagement announcement featuring a photo of Zendaya and Robert Pattinson, but named after their characters, Emma Harwood and Charlie Thompson.</p>

Zendaya and Robert Pattinson Bring ‘The Drama’ in First Teaser Trailer

Zendaya and Robert Pattinson Bring 'The Drama' in First Teaser Trailer - Spoiler US



        


<p><strong>“Gladiator II”</strong> has enjoyed a strong debut, delivering epic spectacle to global audiences and securing a healthy box office total alongside generally favorable reviews. However, the film now faces a powerful public critique from the star of the original masterpiece, <strong>Russell Crowe.</strong> </p>



<p>The actor, who won an Oscar for his unforgettable role as <strong>Maximus Decimus Meridius</strong>, has delivered disapproving commentary, asserting that those behind the sequel failed to grasp the very foundation that made the 2000 classic resonate.</p>



<h2>The Undermining of a Hero’s Integrity</h2>



<p>Crowe’s primary contention with “Gladiator II” is the film’s failure to understand the fundamental character of Maximus. Speaking to <strong>Triple J (via The Playlist)</strong>, Crowe did not mince words about the sequel, saying the creative team in the <strong>“engine room [is] not actually understanding what made the first one special.”</strong> He stressed that the original film’s success was never about the action or spectacle, but its <strong>“moral core,”</strong> which he believes the sequel compromises entirely.</p>



<figure class="wp-block-gallery has-nested-images columns-default is-cropped">
<figure class="wp-block-image size-large"><figure class="image"><img loading="lazy" width="1280" height="720" data-id="79818" src="https://ds-images.bolavip.com/news/image?src=https://images.bolavip.com/webp/spen/full/SPEN_20251209_SPEN_79808_Paul-1_63c4fe5f.webp&amp;width=1280&amp;height=720" alt="" class="wp-image-79818"></figure><figcaption>Source: IMDb</figcaption></figure>
</figure>



<p>His most pointed criticism targets the plot twist suggesting that Paul Mescal’s Lucius is the illegitimate son of Maximus. This revelation, which was never implied in the first film, dismantles the purity of Maximus’s character, whose entire drive for vengeance was rooted in the fierce, uncorrupted loyalty to his murdered wife and son. Crowe struggled openly with the idea that the sequel would imply such an affair with Lucilla, dismissing the idea outright: <strong>“Makes no sense to me.”</strong></p>



<p>The actor’s frustration is rooted in his personal effort to maintain the character’s integrity during the filming of the 2000 classic. Crowe revealed he had to engage in a <strong>“daily fight on that set”</strong> to maintain the sanctity of Maximus’s moral compass, often pushing back against attempts to diminish his character. He specifically cited suggestions for sex scenes, arguing, <strong>“you’re taking away his power”</strong> and asking: <strong>“What are you talking about? It’s crazy.”</strong></p>



<p>Ultimately, by introducing a twist like Lucius’ parentage and implying infidelity, the sequel risks trading the profound tragedy and virtue of Maximus’s story for dramatic convenience. Crowe maintains that the film sacrificed the one essential element that gave the first movie its lasting power: <strong>the uncorrupted moral integrity that defined the fallen General.</strong></p>

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“Makes No Sense to Me”: Russell Crowe Slams ‘Gladiator 2’ - Spoiler US



        


<p>Sometimes even the most celebrated filmmakers want nothing to do with a movie they directed. Whether it was studio interference, budget cuts, creative clashes, or a final product that simply didn’t reflect their vision, <strong>these directors chose to publicly distance themselves from their own work.</strong> Here, we look at 15 cases where the people behind the camera openly disowned their films and the surprising stories behind each disavowal.</p>



<h2>David Fincher – <em>Alien 3</em> (1992)</h2>



<figure class="wp-block-gallery has-nested-images columns-default is-cropped">
<figure class="wp-block-image size-large"><figure class="image"><img loading="lazy" width="1280" height="720" data-id="79771" src="https://ds-images.bolavip.com/news/image?src=https://images.bolavip.com/webp/spen/full/SPEN_20251209_SPEN_79753_Disown1_42e26d81.webp&amp;width=1280&amp;height=720" alt="" class="wp-image-79771"></figure><figcaption>Source: IMDb</figcaption></figure>
</figure>



<p>Fincher has said he had no creative control over <em>Alien 3</em>, calling the experience “a lesson in adversity.” The studio constantly rewrote the script during shooting, leaving him to direct scenes that didn’t make sense. To this day he refuses to view the film as his own work.</p>



<h2>David Lynch – <em>Dune</em> (1984)</h2>



<figure class="wp-block-gallery has-nested-images columns-default is-cropped">
<figure class="wp-block-image size-large"><figure class="image"><img loading="lazy" width="1280" height="720" data-id="79772" src="https://ds-images.bolavip.com/news/image?src=https://images.bolavip.com/webp/spen/full/SPEN_20251209_SPEN_79753_Disown2_9ad56769.webp&amp;width=1280&amp;height=720" alt="" class="wp-image-79772"></figure><figcaption>Source: IMDb</figcaption></figure>
</figure>



<p>Lynch has openly admitted he never should have taken the job due to the lack of final cut. He felt forced into compromises that betrayed the story he wanted to tell. He still considers it the one film he cannot stand behind creatively.</p>



<h2>Stanley Kubrick – <em>Fear and Desire</em> (1953)</h2>



<figure class="wp-block-gallery has-nested-images columns-default is-cropped">
<figure class="wp-block-image size-large"><figure class="image"><img loading="lazy" width="1280" height="720" data-id="79773" src="https://ds-images.bolavip.com/news/image?src=https://images.bolavip.com/webp/spen/full/SPEN_20251209_SPEN_79753_Disown3_2d43627d.webp&amp;width=1280&amp;height=720" alt="" class="wp-image-79773"></figure><figcaption>Source: IMDb</figcaption></figure>
</figure>



<p>Kubrick was so embarrassed by his first feature that he tried to pull it from circulation for decades. He believed it exposed his inexperience and lacked artistic merit. Even after becoming a celebrated auteur, he still preferred the film remain unseen.</p>



<h2>Tony Kaye – <em>American History X</em> (1998)</h2>



<figure class="wp-block-gallery has-nested-images columns-default is-cropped">
<figure class="wp-block-image size-large"><figure class="image"><img loading="lazy" width="1280" height="720" data-id="79774" src="https://ds-images.bolavip.com/news/image?src=https://images.bolavip.com/webp/spen/full/SPEN_20251209_SPEN_79753_Disown4_ed9325cb.webp&amp;width=1280&amp;height=720" alt="" class="wp-image-79774"></figure><figcaption>Source: IMDb</figcaption></figure>
</figure>



<p>Kaye fought with the studio over Edward Norton’s involvement in the editing process. He disliked the final cut and tried to replace his name with “Humpty Dumpty.” When the studio refused, he publicly disowned the film entirely.</p>



<h2>Paul Schrader – <em>Dominion: Prequel to the Exorcist</em> (2005)</h2>



<figure class="wp-block-gallery has-nested-images columns-default is-cropped">
<figure class="wp-block-image size-large"><figure class="image"><img loading="lazy" width="1280" height="720" data-id="79775" src="https://ds-images.bolavip.com/news/image?src=https://images.bolavip.com/webp/spen/full/SPEN_20251209_SPEN_79753_Disown5_c169bec7.webp&amp;width=1280&amp;height=720" alt="" class="wp-image-79775"></figure><figcaption>Source: IMDb</figcaption></figure>
</figure>



<p>Schrader’s subdued psychological version didn’t satisfy producers, who replaced him and reshot the movie with a different director. When his original cut was later released, he made it clear his preferred version was the one audiences never initially saw. He has since distanced himself from the final theatrical film.</p>



<h2>Kevin Smith – <em>Cop Out</em> (2010)</h2>



<figure class="wp-block-gallery has-nested-images columns-default is-cropped">
<figure class="wp-block-image size-large"><figure class="image"><img loading="lazy" width="1280" height="720" data-id="79776" src="https://ds-images.bolavip.com/news/image?src=https://images.bolavip.com/webp/spen/full/SPEN_20251209_SPEN_79753_Disown6_54e9b3ff.webp&amp;width=1280&amp;height=720" alt="" class="wp-image-79776"></figure><figcaption>Source: IMDb</figcaption></figure>
</figure>



<p>Smith clashed heavily with star Bruce Willis throughout production. He later said the movie was one of the worst experiences of his career. He often jokes that he barely claims it as part of his filmography.</p>



<h2>Joel Schumacher – <em>Batman &amp; Robin</em> (1997)</h2>



<figure class="wp-block-gallery has-nested-images columns-default is-cropped">
<figure class="wp-block-image size-large"><figure class="image"><img loading="lazy" width="1280" height="720" data-id="79777" src="https://ds-images.bolavip.com/news/image?src=https://images.bolavip.com/webp/spen/full/SPEN_20251209_SPEN_79753_Disown7_29ada216.webp&amp;width=1280&amp;height=720" alt="" class="wp-image-79777"></figure><figcaption>Source: IMDb</figcaption></figure>
</figure>



<p>Schumacher apologized multiple times for the movie’s campy tone. He said he was pressured to make it more toy-friendly and less dramatic. Looking back, he considered it a film that never aligned with his instincts as a director.</p>



<h2>David O. Russell – Accidental Love (2015)</h2>



<figure class="wp-block-gallery has-nested-images columns-default is-cropped">
<figure class="wp-block-image size-large"><figure class="image"><img loading="lazy" width="1280" height="720" data-id="79780" src="https://ds-images.bolavip.com/news/image?src=https://images.bolavip.com/webp/spen/full/SPEN_20251209_SPEN_79753_Disown8_4c5cbcef.webp&amp;width=1280&amp;height=720" alt="" class="wp-image-79780"></figure><figcaption>Source: IMDb</figcaption></figure>
</figure>



<p>Russell abandoned the movie mid-production due to budget problems and studio interference. It was eventually finished without him and released under a pseudonym. He has never claimed ownership of the final product.</p>



<h2>Guillermo del Toro – Mimic (1997)</h2>



<figure class="wp-block-gallery has-nested-images columns-default is-cropped">
<figure class="wp-block-image size-large"><figure class="image"><img loading="lazy" width="1280" height="720" data-id="79781" src="https://ds-images.bolavip.com/news/image?src=https://images.bolavip.com/webp/spen/full/SPEN_20251209_SPEN_79753_Disown9_1aed16af.webp&amp;width=1280&amp;height=720" alt="" class="wp-image-79781"></figure><figcaption>Source: IMDb</figcaption></figure>
</figure>



<p>Del Toro has said Miramax interfered heavily with his ideas, leaving him devastated during production. He believed the final cut lost the emotional depth he wanted. It remains the one movie he openly regrets making.</p>



<h2>Richard Donner – Superman II (1980)</h2>



<figure class="wp-block-gallery has-nested-images columns-default is-cropped">
<figure class="wp-block-image size-large"><figure class="image"><img loading="lazy" width="1280" height="720" data-id="79782" src="https://ds-images.bolavip.com/news/image?src=https://images.bolavip.com/webp/spen/full/SPEN_20251209_SPEN_79753_Disown10_3e9fce05.webp&amp;width=1280&amp;height=720" alt="" class="wp-image-79782"></figure><figcaption>Source: IMDb</figcaption></figure>
</figure>



<p>Donner was fired halfway through production and replaced by another director. When the film was released, he felt it no longer reflected his intended tone. Only decades later did he get to release a “Donner Cut,” which he considers the real version.</p>



<h2>David Lean – Ryan’s Daughter (1970)</h2>



<figure class="wp-block-gallery has-nested-images columns-default is-cropped">
<figure class="wp-block-image size-large"><figure class="image"><img loading="lazy" width="1280" height="720" data-id="79783" src="https://ds-images.bolavip.com/news/image?src=https://images.bolavip.com/webp/spen/full/SPEN_20251209_SPEN_79753_Disown11_44f30067.webp&amp;width=1280&amp;height=720" alt="" class="wp-image-79783"></figure><figcaption>Source: IMDb</figcaption></figure>
</figure>



<p>After harsh critical reviews, Lean expressed regret over the project. He felt the film’s pacing and tone were misunderstood and blamed himself for losing perspective. The backlash led him to distance himself from the movie for years.</p>



<h2>Walter Hill – Supernova (2000)</h2>



<figure class="wp-block-gallery has-nested-images columns-default is-cropped">
<figure class="wp-block-image size-large"><figure class="image"><img loading="lazy" width="1280" height="720" data-id="79784" src="https://ds-images.bolavip.com/news/image?src=https://images.bolavip.com/webp/spen/full/SPEN_20251209_SPEN_79753_Disown12_e0c87400.webp&amp;width=1280&amp;height=720" alt="" class="wp-image-79784"></figure><figcaption>Source: IMDb</figcaption></figure>
</figure>



<p>Hill left the project during post-production due to studio demands. The film underwent massive re-editing and reshoots without his involvement. When released, Hill disowned it and requested his name be removed.</p>



<h2>Terry Gilliam – The Brothers Grimm (2005)</h2>



<figure class="wp-block-gallery has-nested-images columns-default is-cropped">
<figure class="wp-block-image size-large"><figure class="image"><img loading="lazy" width="1280" height="720" data-id="79785" src="https://ds-images.bolavip.com/news/image?src=https://images.bolavip.com/webp/spen/full/SPEN_20251209_SPEN_79753_Disown13_5b076eab.webp&amp;width=1280&amp;height=720" alt="" class="wp-image-79785"></figure><figcaption>Source: IMDb</figcaption></figure>
</figure>



<p>Gilliam fought constantly with the Weinsteins over script changes and casting. He felt creatively suffocated throughout the process. By release day, he had emotionally walked away from the film.</p>



<h2>Michael Bay – Transformers: Revenge of the Fallen (2009)</h2>



<figure class="wp-block-gallery has-nested-images columns-default is-cropped">
<figure class="wp-block-image size-large"><figure class="image"><img loading="lazy" width="1280" height="720" data-id="79788" src="https://ds-images.bolavip.com/news/image?src=https://images.bolavip.com/webp/spen/full/SPEN_20251209_SPEN_79753_Disown14_a929b4e5.webp&amp;width=1280&amp;height=720" alt="" class="wp-image-79788"></figure><figcaption>Source: IMDb</figcaption></figure>
</figure>



<p>Bay has repeatedly criticized the movie’s rushed schedule due to the writers’ strike. He said the script was unfinished and the story suffered. He considers it one of the weakest films he has ever directed.</p>



<h2>William Friedkin – <em>The Guardian</em> (1990)</h2>



<figure class="wp-block-gallery has-nested-images columns-default is-cropped">
<figure class="wp-block-image size-large"><figure class="image"><img loading="lazy" width="1280" height="720" data-id="79790" src="https://ds-images.bolavip.com/news/image?src=https://images.bolavip.com/webp/spen/full/SPEN_20251209_SPEN_79753_Disown15_37ecec87.webp&amp;width=1280&amp;height=720" alt="" class="wp-image-79790"></figure><figcaption>Source: IMDb</figcaption></figure>
</figure>



<p>Friedkin faced constant studio pressure to make the film more commercial. He did not like the final shape of the project and felt it was far from his original idea. He later said he wished it had never been released.</p>

15 Directors Who Publicly Disowned Their Own Movies

Is It or Isn’t It? The 10 Most Debated Christmas Movies

15 Directors Who Publicly Disowned Their Own Movies - Spoiler US

<p>The <strong>83rd Annual Golden Globe Awards</strong> announced their nominations today, December 8, 2025, confirming major frontrunners, celebrating a diverse field of international cinema, and delivering a handful of shocking snubs.</p>



<figure class="wp-block-image size-full"><figure class="image"><img loading="lazy" width="1920" height="1080" src="https://ds-images.bolavip.com/news/image?src=https://images.bolavip.com/webp/spen/full/SPEN_20251208_SPEN_79646_1-2-1_e3291ca4.webp&amp;width=1920&amp;height=1080" alt="" class="wp-image-79649"></figure><figcaption>Leonardo DiCaprio in ‘One Battle After Another’ / IMDb</figcaption></figure>



<p>The biggest winner of the morning was <strong>Paul Thomas Anderson’s</strong> political thriller, <strong><em>One Battle After Another</em></strong>, which dominated the film categories with <strong>nine nominations</strong>. Hot on its heels were the Norwegian drama <strong><em>Sentimental Value</em></strong> with eight nominations and <strong>Ryan Coogler’s</strong> vampire blockbuster, <strong><em>Sinners</em></strong>, with seven.</p>



<figure class="wp-block-image size-full"><figure class="image"><img loading="lazy" width="1920" height="1080" src="https://ds-images.bolavip.com/news/image?src=https://images.bolavip.com/webp/spen/full/SPEN_20251208_SPEN_79646_Golden-Globes-1_eebe8796.webp&amp;width=1920&amp;height=1080" alt="" class="wp-image-79650"></figure><figcaption>Ariana Grande and Cynthia Erivo in Wicked: For Good (2025)</figcaption></figure>



<p>Golden Globes history has been made! <strong>Cynthia Erivo and Ariana Grande</strong> are the first pair of actors from a single film to receive two nominations apiece for the same respective roles (Elphaba and Glinda), achieved across the two-part cinematic adaptation of <em>Wicked</em>.</p>



<h2>Golden Globes Nominations – TELEVISION</h2>



<h3 id="h-best-television-series-drama-nbsp"><strong>Best Television Series – Drama&nbsp;</strong></h3>



<p>The Diplomat, Netflix<br>The Pitt, HBO Max<br>Severance, Apple TV<br>Slow Horses, Apple TV<br>The White Lotus, HBO</p>



<h3 id="h-best-television-series-musical-or-comedy"><strong>Best Television Series – Musical or Comedy</strong></h3>



<p>Abbott Elementary, ABC<br>The Bear, FX<br>Hacks, HBO Max<br>Nobody Wants This, Netflix<br>Only Murders in the Building, Hulu<br>The Studio, Apple TV</p>



<h3 id="h-best-television-limited-series-or-motion-picture-made-for-television-nbsp"><strong>Best Television Limited Series, Anthology Series, or Motion Picture Made for Television&nbsp;</strong></h3>



<p>Adolescence<br>All Her Fault<br>The Beast in Me<br>Black Mirror<br>Dying for Sex<br>The Girlfriend</p>



<h3 id="h-best-performance-by-an-actor-in-a-television-series-drama"><strong>Best Actor in a Television Series – Drama</strong></h3>



<p>Sterling K. Brown, Paradise<br>Diego Luna, Andor<br>Gary Oldman, Slow Horses<br>Mark Ruffalo, Task<br>Adam Scott, Severance<br>Noah Wyle, The Pitt</p>



<h3 id="h-best-performance-by-an-actress-in-a-television-series-drama-nbsp"><strong>Best Actress in a Television Series – Drama&nbsp;</strong></h3>



<p>Kathy Bates, Matlock<br>Britt Lower, Severance<br>Helen Mirren, Mobland<br>Bella Ramsey, The Last of Us<br>Keri Russell, The Diplomat<br>Rhea Seehorn, Pluribus</p>



<h3 id="h-best-performance-by-an-actor-in-a-television-series-musical-or-comedy-nbsp"><strong>Best Actor in a Television Series – Musical or Comedy&nbsp;</strong></h3>



<p>Adam Brody, Nobody Wants This<br>Steve Martin, Only Murders in the Building<br>Glen Powell, Chad Powers<br>Seth Rogen, The Studio<br>Martin Short, Only Murders in the Building<br>Jeremy Allen White, The Bear</p>



<h3><strong>Best Actress in a Television Series – Musical or Comedy</strong></h3>



<p>Kristen Bell, Nobody Wants This<br>Ayo Edebiri, The Bear<br>Selena Gomez, Only Murders in the Building<br>Natasha Lyonne, Poker Face<br>Jenna Ortega, Wednesday<br>Jean Smart, Hacks</p>



<h3><strong>Best Supporting Actor on Television</strong></h3>



<p>Owen Cooper, Adolescence<br>Billy Crudup, The Morning Show<br>Walton Goggins, The White Lotus<br>Jason Isaacs, The White Lotus<br>Tramell Tillman, Severance<br>Ashley Walters, Adolescence</p>



<h3 id="h-best-performance-by-an-actress-in-a-supporting-role-in-a-musical-comedy-or-drama-television-series"><strong>Best Supporting Actress on Television</strong></h3>



<p>Carrie Coon, The White Lotus<br>Erin Doherty, Adolescence<br>Hannah Einbinder, Hacks<br>Catherine O’Hara, The Studio<br>Parker Posey, The White Lotus<br>Aimee Lou Wood, The White Lotus</p>



<h3 id="h-best-performance-by-an-actor-in-a-limited-series-anthology-series-or-a-motion-picture-made-for-television"><strong>Best Actor in a&nbsp;Limited Series, Anthology Series, or a Motion Picture Made for Television</strong></h3>



<p>Jacob Elordi, The Narrow Road to the Deep North<br>Paul Giamatti, Black Mirror<br>Stephen Graham, Adolescence<br>Charlie Hunnam, Monster: The Ed Gein Story<br>Jude Law, Black Rabbit<br>Matthew Rhys, The Beast in Me</p>



<h3 id="h-best-performance-by-an-actress-in-a-limited-series-anthology-series-or-a-motion-picture-made-for-television"><strong>Best Actress in&nbsp;a Limited Series, Anthology Series, or a Motion Picture Made for Television</strong></h3>



<p>Claire Danes, The Beast in Me<br>Rashida Jones, Black Mirror<br>Amanda Seyfried, Long Bright River<br>Sarah Snook, All Her Fault<br>Michelle Williams, Dying for Sex<br>Robin Wright, The Girlfriend</p>



<h3 id="h-best-performance-in-stand-up-comedy-on-television"><strong>Best Performance in Stand-Up Comedy on Television</strong></h3>



<p>Brett Goldstein, The Second Best Night of Your Life<br>Bill Maher, Is Anyone Else Seeing This?<br>Kumail Nanjiani, Night Thoughts<br>Sarah Silverman, PostMortem<br>Kevin Hart, Acting My Age<br>Ricky Gervais</p>



<h2>Golden Globes Nominations – FILM</h2>



<h3 id="h-best-original-song-motion-picture"><strong>Best Original Song – Motion Picture</strong></h3>



<ul><li>“Dream as One,” Avatar: Fire and Ash</li><li>“Golden,” KPop Demon Hunters</li><li>“I Lied to You,” Sinners</li><li>“No Place Like Home,” Wicked: For Good</li><li>“The Girl in the Bubble,” Wicked: For Good</li><li>“Train Dreams,” Train Dreams</li></ul>



<h3 id="h-cinematic-and-box-office-achievement-in-motion-picture"><strong>Cinematic and Box Office Achievement</strong></h3>



<ul><li>Avatar: Fire and Ash</li><li>F1: The Movie</li><li>KPop Demon Hunters</li><li>Mission: Impossible — The Final Reckoning</li><li>Sinners</li><li>Weapons</li><li>Wicked: For Good</li><li>Zootopia 2</li></ul>



<h3><strong>Best Motion Picture – Non-English Language&nbsp;</strong></h3>



<ul><li>It Was Just an Accident, France</li><li>No Other Choice, South Korea</li><li>The Secret Agent, Brazil</li><li>Sentimental Value, Norway</li><li>Sirāt, Spain</li><li>The Voice Of Hind Rajab, Tunisia</li></ul>



<h3><strong>Best Motion Picture – Animated&nbsp;</strong></h3>



<ul><li>Arco, Neon</li><li>Demon Slayer: Kimetsu No Yaiba – The Movie: Infinity Castle, Aniplex,</li><li>Crunchyroll, Sony Pictures Entertainment</li><li>Elio, Pixar</li><li>KPop Demon Hunters, Netflix</li><li>Little Amélie or The Character of Rain, Gkids</li><li>Zootopia 2, Walt Disney Studios</li></ul>



<h3 id="h-best-director-motion-picture"><strong>Best Director – Motion Picture</strong></h3>



<ul><li>Paul Thomas Anderson, One Battle After Another</li><li>Ryan Coogler, Sinners</li><li>Guillermo del Toro, Frankenstein</li><li>Jafar Panahi, It Was Just An Accident</li><li>Joachim Trier, Sentimental Value</li><li>Chloé Zhao, Hamnet</li></ul>



<h3 id="h-best-screenplay-motion-picture-nbsp"><strong>Best Screenplay – Motion Picture&nbsp;</strong></h3>



<ul><li>Paul Thomas Anderson, One Battle After Another</li><li>Josh Safdie &amp; Ronald Bronstein, Marty Supreme</li><li>Ryan Coogler, Sinners</li><li>Chloé Zhao &amp; Maggie O’Farrell, Hamnet</li><li>Jafar Panahi, It Was Just an Accident</li><li>Joachim Trier &amp; Eskil Vogt, Sentimental Value</li></ul>



<h3><strong>Best Original Score:</strong></h3>



<ul><li>Frankenstein</li><li>Sinners </li><li>One Battle After Another</li><li>Sirat </li><li>Hamnet </li><li>F1</li></ul>



<h3><strong>Best Supporting Actor</strong></h3>



<ul><li>Paul Mescal, Hamnet </li><li>Sean Penn, One Battle After Another</li><li>Stellan Skarsgard, Sentimental Value </li><li>Benicio Del Toro, One Battle After Another </li><li>Jacob Elordi, Frankenstein </li><li>Adam Sandler, Jay Kelly</li></ul>



<h3 id="h-best-actress-in-a-supporting-role-in-any-motion-picture-nbsp"><strong>Best&nbsp;Supporting Actress</strong></h3>



<ul><li>Emily Blunt, The Smashing Machine</li><li>Elle Fanning, Sentimental Value</li><li>Ariana Grande, Wicked: For Good</li><li>Inga Ibsdotter Lilleaas, Sentimental Value</li><li>Amy Madigan, Weapons</li><li>Teyana Taylor, One Battle After Another</li></ul>



<h3 id="h-best-actor-in-a-motion-picture-musical-or-comedy-nbsp"><strong>Best Actor&nbsp;in a Musical or Comedy&nbsp;</strong></h3>



<ul><li>Timothée Chalamet, Marty Supreme</li><li>George Clooney, Jay Kelly</li><li>Leonardo DiCaprio, One Battle After Another</li><li>Ethan Hawke, Blue Moon</li><li>Lee Byung Hun, No Other Choice</li><li>Jesse Plemons, Bugonia</li></ul>



<h3 id="h-best-actress-in-a-motion-picture-nbsp-musical-or-comedy-nbsp"><strong>Best&nbsp;Actress&nbsp;in a Musical or Comedy&nbsp;</strong></h3>



<ul><li>Rose Byrne, If I Had Legs I’d Kick You</li><li>Cynthia Erivo, Wicked: For Good</li><li>Kate Hudson, Song Sung Blue</li><li>Chase Infiniti, One Battle After Another</li><li>Amanda Seyfried, The Testament of Ann Lee</li><li>Emma Stone, Bugonia</li></ul>



<h3 id="h-best-actor-in-a-motion-picture-drama"><strong>Best Actor&nbsp;in Drama</strong></h3>



<ul><li>Joel Edgerton, Train Dreams</li><li>Oscar Isaac, Frankenstein</li><li>Dwayne Johnson, The Smashing Machine</li><li>Michael B. Jordan, Sinners</li><li>Wager Moura, The Secret Agent</li><li>Jeremy Allen White, Springsteen: Deliver Me from Nowhere</li></ul>



<h3 id="h-best-actress-in-a-motion-picture-nbsp-drama"><strong>Best Actress&nbsp;in Drama</strong></h3>



<ul><li>Jessie Buckley, Hamnet</li><li>Jennifer Lawrence, Die My Love</li><li>Renate Reinsve, Sentimental Value</li><li>Julia Roberts, After the Hunt</li><li>Tessa Thompson, Hedda</li><li>Eva Victory, Sorry, Baby</li></ul>



<h3 id="h-best-motion-picture-drama-nbsp"><strong>Best Motion Picture – Drama</strong>&nbsp;</h3>



<ul><li>Frankenstein, Netflix</li><li>Hamnet, Focus Features</li><li>It Was Just An Accident, Neon</li><li>The Secret Agent, Neon</li><li>Sentimental Value, Neon</li><li>Sinners, Warner Bros.</li></ul>



<h3 id="h-best-motion-picture-musical-or-comedy-nbsp"><strong>Best Motion Picture – Musical or Comedy&nbsp;</strong></h3>



<ul><li>Blue Moon, Sony Pictures Classics</li><li>Bugonia, Focus Features</li><li>Marty Supreme, A24</li><li>No Other Choice, Neon</li><li>Nouvelle Vague, Netflix</li><li>One Battler After Another, Warner Bros.</li></ul>

Golden Globes 2026 Nominations Revealed!

Golden Globes 2026 Nominations Revealed! - Spoiler US

<p>The Rolling Stone list honors actors who brought unforgettable intensity, complexity, and sheer talent to the screen. The list, which names <strong>17 outstanding performances</strong>, confirms the frontrunners for the upcoming Academy Awards while providing crucial recognition to international and independent stars.</p>



<h2>The Most Talked-About Triumphs</h2>



<figure class="wp-block-image size-full"><figure class="image"><img loading="lazy" width="1920" height="1080" src="https://ds-images.bolavip.com/news/image?src=https://images.bolavip.com/webp/spen/full/SPEN_20251207_SPEN_79620_1.webp&amp;width=1920&amp;height=1080" alt="" class="wp-image-79621"></figure><figcaption>IMDb</figcaption></figure>



<p><strong>Daniel Day-Lewis – <em>Anemone</em></strong>: The biggest surprise of the year was the inclusion of <strong>Daniel Day-Lewis</strong>, who was honored for his intense performance in <em>Anemone</em>. His work marked a rare return to acting after his 2017 retirement, co-writing and starring in the psychological drama directed by his son, Ronan Day-Lewis. Critics noted that the sheer force and command of his performance, particularly as a man confessing painful past sins, remains undiminished.</p>



<figure class="wp-block-image size-full"><figure class="image"><img loading="lazy" width="1920" height="1080" src="https://ds-images.bolavip.com/news/image?src=https://images.bolavip.com/webp/spen/full/SPEN_20251207_SPEN_79620_1-1-1_4de01521.webp&amp;width=1920&amp;height=1080" alt="" class="wp-image-79622"></figure><figcaption>IMDb</figcaption></figure>



<p><strong>Michael B. Jordan – <em>Sinners</em></strong>: Michael B. Jordan was recognized for his raw, acclaimed <strong>dual performance</strong> as twin brothers Smoke and Stack in <strong>Ryan Coogler’s</strong> visceral crime drama. Critics hailed the roles as his most nuanced to date, with his mastery of distinct physicality and a thick Southern drawl cementing him as a major dramatic contender this season.</p>



<figure class="wp-block-image size-full"><figure class="image"><img loading="lazy" width="1920" height="1080" src="https://ds-images.bolavip.com/news/image?src=https://images.bolavip.com/webp/spen/full/SPEN_20251207_SPEN_79620_1-2_f78c37c5.webp&amp;width=1920&amp;height=1080" alt="" class="wp-image-79623"></figure><figcaption>IMDb</figcaption></figure>



<p><strong>Jessie Buckley – <em>Hamnet</em></strong>: Buckley was honored for her intensely emotional and “volcanic” portrayal of <strong>Agnes Hathaway</strong>, William Shakespeare’s wife, in Chloé Zhao’s adaptation. Her performance, centered on profound grief and a mystical connection to nature, has been consistently cited as a career-best, further cementing her status as an awards favorite.</p>



<figure class="wp-block-image size-full"><figure class="image"><img loading="lazy" width="1920" height="1080" src="https://ds-images.bolavip.com/news/image?src=https://images.bolavip.com/webp/spen/full/SPEN_20251207_SPEN_79620_1-3_f8040f07.webp&amp;width=1920&amp;height=1080" alt="" class="wp-image-79624"></figure><figcaption>IMDb</figcaption></figure>



<p><strong>Jennifer Lawrence – <em>Die My Love</em></strong>: The Oscar winner was honored for her intense lead role in <em>Die My Love</em>, based on the literary sensation. Lawrence is garnering universal praise for her emotional commitment in the harrowing film about a woman’s struggle with mental illness.</p>



<figure class="wp-block-image size-full"><figure class="image"><img loading="lazy" width="1920" height="1080" src="https://ds-images.bolavip.com/news/image?src=https://images.bolavip.com/webp/spen/full/SPEN_20251207_SPEN_79620_1-15_71f26d80.webp&amp;width=1920&amp;height=1080" alt="" class="wp-image-79643"></figure><figcaption>IMDb</figcaption></figure>



<p><strong>Jacob Elordi – <em>Frankenstein</em></strong>: Elordi earned recognition for his physically demanding and nuanced portrayal of The Creature in Guillermo del Toro’s epic gothic horror adaptation. The acknowledgment solidifies the young actor’s successful transition from teen star to critically acclaimed auteur collaborator.</p>



<figure class="wp-block-image size-full"><figure class="image"><img loading="lazy" width="1920" height="1080" src="https://ds-images.bolavip.com/news/image?src=https://images.bolavip.com/webp/spen/full/SPEN_20251207_SPEN_79620_1-6_4123e54e.webp&amp;width=1920&amp;height=1080" alt="" class="wp-image-79626"></figure><figcaption>IMDb</figcaption></figure>



<p><strong>Keanu Reeves – <em>Good Fortune</em></strong>: Reeves was recognized for his highly praised comedic turn as a well-meaning angel in Aziz Ansari’s directorial debut, demonstrating a surprising, yet welcome, shift in genre for the action star.</p>



<h2>Ensemble and Supporting Excellence</h2>



<p>Rolling Stone’s list highlighted several pairs and ensembles whose chemistry and combined talent elevated their films:</p>



<figure class="wp-block-image size-full"><figure class="image"><img loading="lazy" width="1920" height="1080" src="https://ds-images.bolavip.com/news/image?src=https://images.bolavip.com/webp/spen/full/SPEN_20251207_SPEN_79620_1-7_ce774fb6.webp&amp;width=1920&amp;height=1080" alt="" class="wp-image-79627"></figure><figcaption>IMDb</figcaption></figure>



<p><strong>Sean Penn and Teyana Taylor – <em>One Battle After Another</em></strong>: The list celebrated the potent dynamic between <strong>Sean Penn</strong> and breakthrough star <strong>Teyana Taylor</strong> in Paul Thomas Anderson’s political thriller. Their contrasting performance were deemed essential to the film’s chaotic success.</p>



<figure class="wp-block-image size-full"><figure class="image"><img loading="lazy" width="1920" height="1080" src="https://ds-images.bolavip.com/news/image?src=https://images.bolavip.com/webp/spen/full/SPEN_20251207_SPEN_79620_1-9_9dad66c2.webp&amp;width=1920&amp;height=1080" alt="" class="wp-image-79628"></figure><figcaption>IMDb</figcaption></figure>



<p><strong>Michael Fassbender and Cate Blanchett – <em>Black Bag</em></strong>: The combination of two Oscar heavyweights was cited for their complex, high-stakes, morally ambiguous partnership in the Steven Soderbergh-directed espionage thriller.</p>



<figure class="wp-block-image size-full"><figure class="image"><img loading="lazy" width="1920" height="1080" src="https://ds-images.bolavip.com/news/image?src=https://images.bolavip.com/webp/spen/full/SPEN_20251207_SPEN_79620_1-10_be744074.webp&amp;width=1920&amp;height=1080" alt="" class="wp-image-79629"></figure><figcaption>IMDb</figcaption></figure>



<p><strong>Liev Schreiber and Vincent D’Onofrio – <em>Caught Stealing</em></strong>: The veterans were praised for their scene-stealing turns as the Drucker brothers, two homicidal Hasidic mobsters in Darren Aronofsky’s <em>Caught Stealing</em>, proving the power of supporting roles to elevate a film.</p>



<h2>Standouts in International and Indie Film</h2>



<p>The list also validated crucial performances from international and independent films:</p>



<figure class="wp-block-image size-full"><figure class="image"><img loading="lazy" width="1920" height="1080" src="https://ds-images.bolavip.com/news/image?src=https://images.bolavip.com/webp/spen/full/SPEN_20251207_SPEN_79620_1-11_aebb7b1c.webp&amp;width=1920&amp;height=1080" alt="" class="wp-image-79630"></figure><figcaption>IMDb</figcaption></figure>



<p><strong>Lee Byung-hun – <em>No Other Choice</em></strong>: The Korean star earned recognition for his lead role in Park Chan-wook’s acclaimed thriller, highlighting the strength of South Korean cinema this year.</p>



<figure class="wp-block-image size-full"><figure class="image"><img loading="lazy" width="1920" height="1080" src="https://ds-images.bolavip.com/news/image?src=https://images.bolavip.com/webp/spen/full/SPEN_20251207_SPEN_79620_1-12_93a8a300.webp&amp;width=1920&amp;height=1080" alt="" class="wp-image-79631"></figure><figcaption>IMDb</figcaption></figure>



<p><strong>Joel Edgerton – <em>Train Dreams</em></strong>: Edgerton’s sensitive lead performance in the historical drama based on the Denis Johnson novella was recognized, providing a boost to the indie film’s quiet, powerful campaign.</p>



<figure class="wp-block-image size-full"><figure class="image"><img loading="lazy" width="1920" height="1080" src="https://ds-images.bolavip.com/news/image?src=https://images.bolavip.com/webp/spen/full/SPEN_20251207_SPEN_79620_1-13_57664ec2.webp&amp;width=1920&amp;height=1080" alt="" class="wp-image-79632"></figure><figcaption>IMDb</figcaption></figure>



<p><strong>Amy Madigan – <em>Weapons</em></strong>: Madigan’s chilling, memorable performance in the horror film <em>Weapons</em> received recognition, underscoring the critics’ willingness to honor powerful acting in the genre space.</p>



<figure class="wp-block-image size-full"><figure class="image"><img loading="lazy" width="1920" height="1080" src="https://ds-images.bolavip.com/news/image?src=https://images.bolavip.com/webp/spen/full/SPEN_20251207_SPEN_79620_1-14_b2539717.webp&amp;width=1920&amp;height=1080" alt="" class="wp-image-79633"></figure><figcaption>IMDb</figcaption></figure>



<p><strong>Margaret Qualley – <em>Honey Don’t!</em></strong>: Qualley was honored for her role in the comedy, confirming her continued versatility and artistic risk-taking.</p>



<p>The Rolling Stone list serves as the definitive final word on the best acting of the year, confirming the diversity and high caliber of talent competing for Hollywood’s top prizes.</p>

Rolling Stone Reveals the 17 Best Movie Performances of 2025

Rolling Stone Reveals the 17 Best Movie Performances of 2025 - Spoiler US

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