‘Nuclear’ Review: Oliver Stone’s New Documentary Makes a Powerful Case for Nuclear Power

Taylor Swift's latest LP has broken the Spotify record for most-steamed album in a single day.

Haleigh Breest, the woman accusing Oscar-winning Crash director Paul Haggis of raping her in 2013, finished her direct testimony Friday with a last round of friendly questioning from one of her lawyers, Zoe Salzman — and then faced a more combative interrogation lasting almost three hours without a break.

Spike Lee is gearing up for a big documentary series that's set to tell the real story of Colin Kaepernick.Lee was in attendance at the star-studded 2nd Annual Academy Museum Gala, held at the Academy Museum of Motion Pictures in Los Angeles on Saturday, and he spoke with ET's Cassie DiLaura about his forthcoming project.«I'm working on my multi-series documentary on Colin Kaepernick for ESPN,» Lee shared. «It's story, not the false narratives.»«Six years the National Football League has stopped him from playing,» Lee continued.

Syd Barrett is to be the subject of a new documentary titled Have You Got It Yet? The Story of Syd Barrett And Pink Floyd.According to Deadline, the upcoming film was co-directed by Roddy Bogawa and the late graphic designer Storm Thorgerson. The latter was the co-founder of Hipgnosis, the London-based firm that specialised in creating album cover art for rock acts.The company made the iconic artwork for Pink Floyd’s ‘Dark Side Of The Moon’ (1973), ‘Wish You Were Here’ (1975) and more.

EXCLUSIVE: Mercury Studios has completed work on a documentary about the co-founder of one of the greatest rock n’ roll bands of all time.

Owen Gleiberman Chief Film Critic If, like me, you consider “All the President’s Men” to be one of the most exciting movies ever made, it’s remarkable to consider that it came out in 1976, just four years after the Watergate break-in. The saga of Richard Nixon’s corruption and downfall had saturated the culture, yet every moment in “All the President’s Men” tingled with discovery. That’s why it’s a film you can watch again and again. When a big-screen journalistic drama gets built around a news story that epic, it needs to give you a version of that feeling. “Spotlight,” the Oscar-winning 2015 drama about The Boston Globe’s unraveling of the child sex abuse scandals within the Catholic Church, wasn’t as great as “All the President’s Men,” yet it, too, was laced with a sense of discovery. It’s there in how the film anatomized not just the horrific behavior of abusive priests but the omertà of the Church.

Owen Gleiberman Chief Film Critic The “Halloween” series, which comes to an end this weekend (and if you believe that, I have a set of very rusty kitchen knives I’d like to sell you), has always been the least pretentious of horror franchises. A towering killer in a rubber mask pops out of the shadows to slash one victim after the next. Horror doesn’t get much more basic than that. But, of course, the “Halloween” series has always had a pretentious side too — the side that began with Donald Pleasance droning on about eee-vil, and the side that has extended, over the latest trilogy, to the top-heavy handwringing of Laurie Strode’s self-actualized guilt and despair. As for Michael Myers, who started out as a small-town killer, he has been turned, more and more explicitly, into A Force Larger Than Himself. And in “Halloween Ends,” that trend now culminates in a movie where Michael, in a certain way, is barely in the movie; he’s the film’s totem, its mascot, its looming emblem of evil. “Halloween Ends” doesn’t finish off the franchise by being the most scary or fun entry in the series. (It should have been both, but it’s neither.) Instead, it’s the most joylessly metaphorical and convoluted entry.

EXCLUSIVE: Thirty years since the original film changed Asian and Asian American representation in cinema, a sequel to The Joy Luck Club is in development with author Amy Tan and Oscar winning screenwriter Ron Bass continuing from the former’s New York Times bestselling novel.

Lewis Capaldi has joined forces with his celebrity pal Niall Horan to bring out a new documentary where the pair road trip around Ireland - and it will be on our screens this weekend.

Kanye West has released a new 30-minute documentary titled LAST WEEK. The film, uploaded to YouTube on Monday (October 10), depicts West taking meetings and attending a children's basketball game with his family and ex-wife Kim Kardashian. Watch above.

Owen Gleiberman Chief Film Critic In “Is That Black Enough for You?!?,” Elvis Mitchell’s highly pleasurable and eye-opening movie-love documentary about the American Black cinema revolution of the late ’60s and ’70s, Billy Dee Williams, now 85 but still spry, tells a funny story about what it was like to play Louis McKay, the dapper love object and would-be savior of Billie Holiday in “Lady Sings the Blues.” The year was 1972, and African-American audiences had rarely (if ever) been given the chance to gawk at a movie star of color who was not just this sexy but this showcased for his sexiness. Louis was like Clark Gable with a dash of Marvin Gaye; when he was on that promenade stairway, Williams says that he just about fell in love with himself. That’s how unprecedented the whole thing was. The actor recalls how the lighting was fussed over (we see a shot in which Louis appears bathed in an old-movie glow), and how unreal that was to him on the set. At the time, Black actors didn’t get lighting like that. But Black audiences drank it in with a better-late-than-never swoon, even as they knew that this was a representation they’d been denied for more than half a century.

Clayton Davis A24 and Apple Original Films have released the first trailer for “Causeway,” their new drama starring Academy Award winner Jennifer Lawrence.  Lawrence stars as Lynsey, a military engineer who returns to the United States from Afghanistan after suffering a debilitating brain injury after an IED explosion.   After premiering at the Toronto International Film Festival in September, Lawrence, who also serves as one of the film’s producers, garnered rave reviews for her performance. The film hopes to find a pathway into a crowded lead actress field.  

Owen Gleiberman Chief Film Critic The movie format where a character beloved by kids becomes a CGI creature, who is then plugged into a live-action universe, is one of the most casually technically astonishing of all popcorn genres — and, as often as not, one of the most stunted. It almost doesn’t matter if the hero is Garfield or Stuart Little, Alvin and the Chipmunks or Sonic the Hedgehog: The way this genre has descended from the noisy bravura of “Who Framed Roger Rabbit,” the actors tend to be reduced to one-note stooges who get stuck in too many green-screen reaction shots, whereas the critter at the center — the animated star — is, almost inevitably, a preening chatterbox who wears out his welcome by pelting the live-action players, and the audience, with too many bad punchlines.

New York University's firing of Professor Maitland Jones Jr., following student complaints about poor grades has lit a fuse under parents who say the lowering of academic standards in U.S. school is doing students no favors.

Christian Bale says he only has a career because Leonardo DiCaprio has passed up so many film roles. The 48-year-old actor added “any role that anybody gets” is only because Leo, 47, doesn’t want them as he always gets first choice of Hollywood movie parts. Christian told the new issue of GQ magazine: “I would suspect that almost everybody of similar age to him in Hollywood owes their careers to him passing on whatever project it is.

Owen Gleiberman Chief Film Critic Every horror movie is about pain, but only the “Hellraiser” series is about sadomasochism — the electricity and agony of it, the higher calling of it. “Hellraiser,” a reboot of the franchise that began in 1987 and has given us nine sequels (time flies when you’re having fun imagining yourself being tortured for fun), is a movie that honors the subversive tug of Clive Barker’s 1986 novella “The Hellbound Heart.” But it takes a long time for the new “Hellraiser” to get to what devotees of the series would call the good stuff. When it does, however, the movie doesn’t hold back. Flesh is torn and frayed, flesh is peeled and sliced, flesh gets split wide open with mystical mechanical devices. The film’s brutal final act may put you in mind of such queasy landmarks of cinematic mutilation as “Audition,” “The Cell,” the “Saw” series, the 2018 remake of “Suspiria,” and David Cronenberg’s recent return to body horror “Crimes of the Future.”

Brent Lang Executive Editor Academy Award nominees Andrea Berloff and John Gatins have formed a creative partnership with Netflix to write feature films for the streaming service. “From gripping dramas based on true stories to spectacle action adventure and comedies, Andrea Berloff and John Gatins have created stories that deeply connect with audiences across genres,” Kira Goldberg and Ori Marmur, Vice Presidents of Netflix Studio Film, said in a joint statement. “We’re thrilled to start this creative partnership with these two acclaimed and versatile writing talents.” Berloff is best known for co-writing the script to “Straight Outta Compton,” the hit film about NWA’s rise and dissolution. She earned an Academy Award nomination for her work. Her other credits include “World Trade Center,” a drama about 9/11 that was directed by Oliver Stone,” and “Blood Father,” a crime thriller that was directed by Jean-Francois Richet. For Netflix, she co-wrote the soon-to-be-released “The Mother,” which will star Jennifer Lopez.

Owen Gleiberman Chief Film Critic “Hot Take: The Depp/Heard Trial” sounds like the tawdriest of TV-movies, with any vestige of shame left on the cutting-room floor. It definitely is that, yet it’s worth noting that this exact sort thing has been around for decades. It just didn’t used to come off the assembly line quite so quickly. In the ’70s, ’80s, and ’90s, the landscape was littered with made-for-TV movies that jumped on tabloid-ready stories — The Jacksons! Jim Jones! The Menendez brothers! The Beverly Hills madam! The rape of Richard Beck! — and squeezed out whatever juice was left in them. “Hot Take” isn’t much different. It feeds on our collective desire, which is apparently limitless, to see adequate-but-not-never-good-enough actors acting out the infamous scenes we’ve read or heard about, bringing those squalid episodes to life. Except that the whole problem with this form is that the dramatized version rarely ends up looking half as real as what was in our imaginations.

Prince‘s estate denied Sinead O’Connor use of ‘Nothing Compares 2 U’ for her new documentary, it has been revealed.Nothing Compares, a new film directed by Kathryn Ferguson, will chronicle O’Connor’s rise to fame in the early ‘90s. In addition to input from people close to the singer, the documentary will include a new interview with O’Connor herself.A great part of this success came from her decision to cover ‘Nothing Compares 2 U’ in 1990, with the song partially giving the film its title.However, the cover won’t appear in the film, with Prince’s half-sister and co-heir telling Billboard that the estate refused the request because “I didn’t feel she deserved to use the song.”Sharon Nelson added: “Nothing compares to Prince’s live version with Rosie Gaines that is featured on the ‘Hits 1‘ album and we are re-releasing that album on vinyl on November 4th.“I didn’t feel [Sinéad] deserved to use the song my brother wrote in her documentary so we declined. His version is the best.”Director Ferguson then added: “Initially we had intended to use the song, but we received a refusal (which as the rights holders, was their prerogative).“In the end we were very happy with that section of the film.