We Need to Talk about Film Directors and Their Relationship with AI | Special Features

Graphic illustrating the relationship between major filmmakers and artificial intelligence. Two circular black-and-white portraits of Steven Soderbergh and Martin Scorsese are at either side of the letters 'AI' in a dashed-line box. On a vibrant red-orange-blue gradient background.
Graphic by author — Source portraits (Modified under CC license): Steven Soderbergh (Adam Chitayat / WikiPortraits) and Martin Scorsese (Montclair Film),

Hollywood has long waged a war with generative artificial intelligence, i.e., the “group of AI algorithms and models that are capable of producing new content, including texts, images, videos and problem-solving strategies, with human-like creativity and adaptability,” as defined in a journal article from the National Science Review in 2025. Generative artificial intelligence has often been criticized for using publicly available images, audio, and writing as training data to create its output, which many naturally consider to be stealing human work. There have naturally been notable strikes in Tinseltown over protecting human-created design, performance, or writing, as well as protecting the human jobs and roles that AI threatens to change or completely erase. But, back when the Screen Actors’ Guild and the Writers Guild of America were striking, they were noticeably without their brothers and sisters in the director’s chair from the DGA (Directors Guild of America), so to speak. That’s because DGA reached an agreement with the Alliance of Motion Picture and Television Producers (AMPTP) without ensuring the other parties had seats at the table. So, while the DGA ensured that its members would not be replaced by technological advances, other Hollywood creatives had to pound the pavement and strike. It was a huge story at the time in 2023, and the DGA came under heavy fire for the way they went about it. Now, three years later, individual directors are again making decisions on their own that may have an impact on the entire industry. Though this time around, notable directors are opening the door for generative AI in ways that feel anathema to the collaborative creative processes involved with filmmaking. As if that wasn’t bad enough, we’re not just talking about a few notable directors. Rather, we’re now starting to talk about some of the biggest names in Hollywood. It’s shocking, and we need to talk about why this is happening and what it means both for their legacy and for Hollywood as a whole.

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The Pitt – Season Two (2026) | TV REVIEW

Noah Wyle and Katherine LaNasa in THE PITT (Season 2 – Episode 12) — Photograph by Warrick Page/HBO Max.

One of the biggest new TV hits of 2025 was HBO Max’s The Pitt, an American medical drama. Given its central star, Noah Wyle, and its creator, R. Scott Gemmill, both having worked on Michael Crichton’s medical drama classic ER, the ER parallels were unmistakable. The show was praised for a great many things, including a focus on realism, its 24-esque real-time season formula, and for how it felt like a return to a TV-season model that many of us are nostalgic for. Only eight months after the final episode of season one aired, the second season debuted in January 2026. It was a quick turnaround for the show, which, as the second season was being rolled out, had awards from multiple ceremonies thrown its way. Although the second season took some bold swings concerning challenging our relationship with its central character, the second season was largely more of the same (albeit with new cases and storylines), and, in the case of a television show executed at this high a level, that was mostly a welcome sight. It wasn’t without some notable missteps, though, and some of these were directly tied to the nature of its formula.

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Making Sense of the New Oscars Rules | Special Features

Yesterday, the Academy of Motion Picture Arts and Sciences (AMPAS) announced what changes are being made for the upcoming 99th Academy Awards in a lengthy news update and press release. These are significant rule changes in certain categories that, in one case, frankly, needed an update. There are also more technical adjustments to be found in the press release, as well as an attempt to rule out the influence of artificial intelligence on what is considered award-worthy. Do note that while a Best Stunt Design category has previously been announced, this new category will not be a part of the Oscars until the 100th ceremony in 2028; these rule changes do not take into account said category. So, today, I’m going to go through the most significant changes and answer whether these award rule changes make sense, so that you can better understand their reasoning for changing things and be better prepared for the upcoming 99th Academy Awards, which will take place on March 14th, 2027.

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Scream 7 (2026) | REVIEW

Neve Campbell hiding from the Ghostface killer in SCREAM 7 — PHOTO: Paramount Pictures (Still image from trailers).

Directed by Kevin Williamson — Screenplay by Kevin Williamson and Guy Busick.

When Matt Bettinelli-Olpin and Tyler Gillett (often referred to as Radio Silence) took over the reins to this long-beloved slasher franchise from the late, great master of horror Wes Craven — starting with 2022’s Scream legacy sequel — they did a good job of steering the film series in the right direction by creating two films (also including Scream VI) that successfully introduced a new core group of characters, inserted the effective meta-genre commenary that Craven’s films were known for, and earned strong box office returns and critical reception. That goodwill was dealt a significant blow when, after Radio Silence had already exited the seventh film in the series due to scheduling conflicts, the rebooted series’ lead, Melissa Barrera, was, shockingly, fired for pro-Palestinian posts on social media. Following this, co-lead Jenna Ortega announced that she would not return for the seventh film, and director Christopher Landon left the project (and was replaced by original Scream screenwriter Kevin Williamson). Recently, boycotts have been announced, and protests have been organized. The very public behind-the-scenes drama has led to a troubled production, and, among the fanbase, there were concerns that this seventh entry would suffer for it. After having seen the film, I can say that, well, ultimately, it’s not just drama behind the camera that’s holding Scream 7 back.

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Mission: Impossible – The Final Reckoning (2025) | REVIEW

Tom Cruise as Ethan Hunt hanging on to an airborne upside-down yellow biplane in MISSION: IMPOSSIBLE – THE FINAL RECKONING — PHOTO: Paramount Pictures (Still image from trailers).

Directed by Christopher McQuarrie — Screenplay by Christopher McQuarrie and Erik Jendresen.

When Mission: Impossible first took the leap from being a 1960s and 1970s TV series to being a cinematic franchise capable of rivalling both the most iconic spy thriller films and action extravaganzas in 1996, it was Tom Cruise’s first film as a producer. Now, 29 years later, Cruise has become Hollywood’s biggest movie star, and the film series is supposedly (if the marketing and promotion are to be believed) about to conclude with the aptly titled Mission: Impossible – The Final Reckoning, the eighth film in the series. The film features both some of the best sequences in the entire film series, but also one of the messiest opening acts of any of the films.

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Asteroid City (2023) | REVIEW

Jason Schwartzman’s Augie Steenbeck leaning out of a window in Wes Anderson’s ASTEROID CITY — PHOTO: Focus Features / Universal Pictures International.

Directed by Wes Anderson — Screenplay by Wes Anderson — Story by Wes Anderson and Roman Coppola.

Everyone who has ever seen one Wes Anderson film knows exactly what a Wes Anderson film looks like. His signature style has made him a lot of fans and admirers over the years, and it has also earned him some notable imitators. Nowadays, with the advent of AI, automatically generated images, and the like, a trend of recreating fake film trailers in the style of Wes Anderson has surfaced. You can now go online and find several videos hyping up fake Wes Anderson-style films with AI-generated images of well-known actors that don’t exactly look right (I even saw one for a fake American adaptation of the iconic Danish Olsen Gang films). With the emergence of such artificiality leading to so many conflicting emotions, might I suggest that you check out the real thing? Asteroid City, Wes Anderson’s eleventh feature-length film, is well worth seeking out. As a matter of fact, I think it might be one of his best. 

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‘Hijack,’ ‘The Crowded Room,’ ‘Ted Lasso,’ ‘Silo,’ ‘Jury Duty,’ and ‘Black Mirror’ (2023) | Bite-Sized Reviews

(L-R) Jason Sudeikis in Ted Lasso (Apple TV+), Idris Elba in Hijack (Apple TV+), Rebecca Ferguson in Silo (Apple TV+), Tom Holland in The Crowded Room (Apple TV+), Ronald Gladden in Jury Duty (Amazon Studios), and Aaron Paul in Black Mirror (Netflix).

In this edition of Additional Bite-Sized Reviews, I take a look at six series or seasons that I recently finished, four of which are Apple TV+ releases. The outliers are Netflix’s latest season of Black Mirror and the Amazon surprise hit of the year titled Jury Duty, but the remaining four series do a good job of showcasing how Apple’s series library is growing rapidly. Are any of these worth your time? Well, let’s have a look.

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Mission: Impossible – Dead Reckoning, Part One (2023) | REVIEW

Hayley Atwell and Tom Cruise driving a yellow Fiat 500 through Rome in MISSION: IMPOSSIBLE – DEAD RECKONING, PART ONE — Photo: Paramount Pictures.

Directed by Christopher McQuarrie (M:I – Fallout) — Screenplay by Christopher McQuarrie and Erik Jendresen.

During, and in the immediate aftermath of, the COVID-19 pandemic, certain films tried and failed to bring loads of people back into theaters. When all else — including a pretty good and underappreciated Christopher Nolan film — failed to win back the moviegoing audience, Tom Cruise, in true Ethan Hunt fashion, accepted the mission to ‘save cinema.’ And, well, he sort of did. His and Joseph Kosinski’s Top Gun Maverick (in which Cruise’s hero, in a way, sets out to prove that human beings are more capable than unmanned fighter aircrafts) was such a hit that Steven Spielberg reportedly proclaimed that Tom Cruise, now 61 years of age, “saved Hollywood’s ass,” and that his film might have “saved the entire theatrical distribution.” “Is there anything Tom Cruise can’t do?” you might ask. He seems adamant to test that question out with the awe-inspiring stunts that he insists on doing each and every time he headlines a major motion picture nowadays. Now, with Mission: Impossible – Dead Reckoning, Part One, Tom Cruise, the savior of the theatrical industry, is back as Ethan Hunt, the IMF agent and so-called living manifestation of destiny, and this time he wants to fight back against AI and algorithms (some might even suggest he’s up against streaming algorithms, thus taking that saving cinema allegory even farther). That’s right, it’s the second Tom Cruise film in a row to be about a man fighting back against technological advancements, and, once again, it doesn’t disappoint. This movie is a lot of fun. 

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