Matthew Monagle

There are two diverging narratives surrounding Paul Feig’s 2016 Ghostbusters remake. On the one hand, fans of the original films were irrationally upset to see Hollywood give their (suddenly untouchable) films an all-female cast. For them, the film was a deserved flop. On the other hand, countless stories were written about a new generation of female Ghostbusters fans who were thrilled to see the movie reach out to new audiences. These fans believe the movie did more than enough to warrant sequels. And while the box office numbers and critical scores didn’t signal the slam-dunk hit that most fans were looking for, it sounds like the producers side in the second camp, with Ivan Reitman promising earlier this year that he was hard at work weaving together a cohesive universe from the games, movies, and animated films.

Rejoice, parents: you’ll soon have a new Christmas movie to add to your family’s holiday rotation. If your family was anything like my own, you probably grew tired of placating screaming nieces and nephews with the same ratty DVD copies of A Christmas Story, Elf, or Home Alone. That makes any new holiday movie  —  regardless of quality  —  a welcome change of pace. Arthur Christmas? Fine. Rise of the Guardians? It’ll do in a pinch. Rare Exports: A Christmas Tale? Maybe save that one for the time in the evening when the uncles break out the adults-only eggnog. But a Melissa McCarthy Christmas comedy? That could be quite a boon for tired family members everywhere.

A few weeks before Wonder Woman hit theaters, film critics took to social media to share their early reactions of the newest movie in the DC Cinematic Universe. And while critics had plenty of great things to say about the film’s overall tone and Gal Gadot in particular, one sentiment above all others kept bubbling to the surface: this movie was funny. When fans got a chance to see the movie for themselves, they were pretty quick to agree. Gadot’s fish-out-of-water take on Diana Prince, combined with Chris Pine’s deadpan delivery as the superhero’s straight man, makes Wonder Woman one of the funniest comic book movies to date.

Based on how this weekend’s box office numbers shaped up, odds are good that you either saw Wonder Woman this weekend or you avoided the theater altogether. It was a record-setting few days for everyone’s favorite warrior princess  —  sorry, Xena  —  but things were decidedly less rosy if your movie was… well, literally anything else. Here are the box office estimates as of Sunday afternoon:

There are troubled productions, and then there are troubled productions, and then there is Terry Gilliam’s The Man Who Killed Don Quixote. A Monty Python alumnus and the visionary filmmaker behind projects like 12 Monkeys, Brazil, and Fear and Loathing in Las Vegas, Gilliam has been working on his modern day retelling of Don Quixote for over 20 years. The film was originally set to go into pre-production back in 1998, but setbacks and a series of freak accidents  —  all covered in the acclaimed documentary Lost in La Mancha  —  tanked that production and have kept Gilliam in production limbo ever since. The Daily Beast put together a detailed history of the film earlier this year; it seriously makes Apocalypse Now sound like a Troma Entertainment production by comparison.

We’re less than a week away from Universal’s latest attempt to launch a Dark Universe, and fans are still uncertain as to what’s in store for their favorite iconic horror characters. With stars like Tom Cruise and Russell Crowe on board, will The Mummy be more action-packed than horrific? Does Cruise have another hit franchise on his hands  —  to go along with the Mission: Impossible and Jack Reacher films  —  or will fans wish that this particular mummy had remained dead?

Since 2003, HBO’s Real Time With Bill Maher has been a divisive source of comedy and political commentary. If you believe the old adage that there’s no such thing as bad publicity, then the last few years have been particularly kind to the series; Maher has come under attack for his comments on an Ann Coulter protest at the University of California at Berkeley or his decision to give alt-right poster child Milo Yiannopoulos the chance to spread his message of intolerance to the masses. And while Maher has survived and even thrived at the center of controversy, his recent use of a racial slur on the show may be the final straw for even his most ardent supporters.

Audiences have grown accustomed to seeing a slew of screenwriter credits on summer blockbusters. A few studios, like Universal and Paramount, have put together writers’ rooms for their biggest franchises; some films also have a host of different writers who either worked to develop the story or hammered out the final screenplay itself. Therefore, fans probably won’t bat an eye when they see three different writers’ names pop up in the Wonder Woman opening credits, but to hear one of the film’s producers tell it, that’s only part of the story. The road to bring Wonder Woman to the big screen involved a whole host of writers who didn’t end up mentioned in the final product.

With all the new pieces in play in Star Wars: The Force Awakens, it sure seems like Lucasfilm is setting the Star Wars universe up to go somewhere special. Once Kathleen Kennedy and company made the decision to blow up the preexisting Star Wars canon, we watched firsthand as they began the process of stitching together a new continuity. There were Star Wars books explaining the events that followed Return of the Jedi, new television shows that wove together the old and new trilogies, and even video games fleshing out some of the new planets and species we’d seen in The Force Awakens.

One of the odd concerns of opening your cinematic universe with two of its biggest crossover events  —  Batman v Superman: Dawn of Justice and Justice League  —  is deciding where to place the standalone movies. Take Wonder Woman, for example. Rather than move forward in the modern era, Wonder Woman circled back to World War I to introduce the character of Diana Prince and her family history. Do you do the same thing with movies like Aquaman and Flash? Walk audiences through their origin stories and get to know some of the supporting characters in their universe? Or do you move forward after the events of Justice League and pick people up along the way?

Even by its normally prestigious standards, this was a pretty exciting year for the Cannes Film Festival. Surprise selections, an atypically fun jury, and countless debates about Netflix and the future of film exhibition all combined to make headlines all around the world. Oh, and there were also a handful of the most highly anticipated films of 2017 receiving serious recognition from the festival. You know, no big deal.

It’s been a few years since Charlie Sheen has appeared in a feature film of any type, but to hear the actor say it, he’s already lined up his big comeback project. For a while now, Sheen has been talking up the possibility of a Major League sequel that brings back the cast and crew of the original film. And now it sounds like the actor has put in the work and might be closer than ever to getting that film made with a bunch of familiar faces.