There's an argument to be made that people wouldn't be all that interested in Coyote vs. Acme if it weren't for the way David Zaslav tried to kill it. By trying to shelve the project, Warner Bros. Discovery only drew attention to its habit of disappearing nearly completed movies in order to cash in on tax write-offs.

Coyote vs. Acme's generally positive reviews are on the money; it really is one of the best Looney Tunes movies in years. In theory, this suggests that the movie might do well at the box office and become a case study in WBD making terrible decisions. Ironically, though, all of the drama surrounding the live-action / animated …

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The version of The X-Files: I Want to Believe that premiered in 2008 was not exactly the movie co-writer / director Chris Carter intended to make. Carter wanted to bring agents Mulder and Scully back to the big screen with a grisly story about faith and the supernatural. But executives at 20th Century Fox felt that Carter's ideas were too dark, and he was pushed to turn the project into a PG-13 feature. Now, almost two decades after I Want to Believe's theatrical debut, Carter is back with a new director's cut of the film for Hulu that's much closer to his original vision.

"We got to tell a good X-Files story," Carter said of the original …

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Imagine a trio of bumbling, English lads who fantasize about becoming megastars while knocking back a few pints in a grimy pub somewhere in London. Picture the guys chortling and trying to one-up each other's idealized visions of the future with a series of increasingly glitzy fantasies in which their fame leads to access to groupies and lavish parties on luxurious boats. Imagine these men are actually characters in a film - one filled with hyperkinetic smash cuts to action sequences in which they're fighting or running from armed goons. This movie might be the sort of feature you'd expect from directors like Edgar Wright or Guy Ritchie. But …

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The appeal of free ad-supported streaming television (FAST) channels has always been the way they make it easier to (re)discover classic films and series. But Roku's latest experiment in the FAST space has less to do with traditionally produced entertainment and is entirely focused on giving viewers access to a constant source of AI-generated content.

This week, Roku added four new channels to its library of streamable programming. Along with dedicated feeds for old episodes of Mad TV, Whose Line Is It Anyway?, and a variety of Black sitcoms, the platform also debuted a 24/7 stream filled with projects from Colin Petrie-Norris' AI startup, …

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