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Michaela Zee A24 has released the official trailer for the apocalyptic comedy “Y2K,” starring Jaeden Martell, Rachel Zegler and Julian Dennison. Per the official logline: “On the last night of 1999, two high school juniors crash a New Years Eve party, only to find themselves fighting for their lives in this dial-up disaster comedy.” The trailer shows several homicidal machines in “Y2K,” including a Tamagotchi drilling a whole in a someone’s head, a VHS player hurling tapes at high school students, and a pink toy jeep lighting someone on fire. “Y2K” marks “Saturday Night Live” veteran Kyle Mooney’s directorial debut.

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‘Blink Twice’ Review: Zoë Kravitz Proves She’s a Total Filmmaker In a #MeToo-Meets-‘Midsommar’ Thriller Starring a Sinister Channing Tatum

Owen Gleiberman Chief Film Critic “Blink Twice” opens with a blurry close-up shot of a frog, which then comes into glistening focus. The sound is eerie; the image is sinister, fascinating, mysterious and trippy. That describes the movie as well.

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Will The People Who Say They Love Cinema the Most Come Back to the Movies?

Owen Gleiberman Chief Film Critic The summer movie season is now all but over, the tea leaves are in, and everyone in the industry is working hard to read them. Sizing up the future of movies, should we be hopeful? Fearful? Somewhere in between? To recap the signs: There were many big hits this summer (“Deadpool & Wolverine,” “Inside Out 2,” “Despicable Me 4,” “Twisters,” “Bad Boys: Ride or Die,” “Kingdom of the Planet of the Apes,” “A Quiet Place: Day One”), and that’s reason to celebrate. News flash: People still like to go to the movies! But…the total box-office receipts lagged behind those of 2023, so there’s reason to be wary.

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‘The Deliverance’ Review: Lee Daniels Directs a Demonic-Possession Movie in Which the Real Demons Are Personal (and Flamboyant)

Owen Gleiberman Chief Film Critic As a filmmaker, Lee Daniels tends to get slagged off on for being flamboyantly garish and over-the-top. Some of that is deserved, but the truth is that when he’s cooking on all cylinders Daniels is a gifted filmmaker. “The Deliverance” is the sixth feature he has directed, and I’ve been a fan of three of them: “Precious” (2009), his extraordinary tale of a stunted inner-city teenager’s escape from her domestic hell; “The Paperboy” (2012), a bold and unnerving Southern gothic noir; and “The United States vs.

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Is It Time We Retired the Idea of the Chick Flick?

Owen Gleiberman Chief Film Critic This weekend, the jaw-dropping commercial triumph of “It Ends with Us,” a romantic soap opera with dark undercurrents starring Blake Lively (it’s just about the only hit film this summer that isn’t an escapist fantasy), ought to give the entire movie industry pause. It should tell the industry that it needs to be making different kinds of movies.

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‘Furiosa’ Sets Max Streaming Release Date

Lexi Carson The latest movie in the “Mad Max” franchise will soon be ready to watch at home. “Furiosa: A Mad Max Saga” is coming to Max on August 16.

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‘It Ends with Us’ Review: Blake Lively Stars in a Romantic Soap Opera That Turns Dark and Stays Convincing

Owen Gleiberman Chief Film Critic “Soap opera” is a term that conjures cliché images. In hindsight it’s a rather sexist phrase, like the studio-system category of “women’s pictures.” Soap operas have always dealt, at times in depth, with women’s experiences. When the phrase came into vogue, in the 1960s, soap operas were what housewives watched on network television in the afternoon (I’d watch my mother get absorbed into them).

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‘Elizabeth Taylor: The Lost Tapes’ Review: Nanette Burstein’s HBO Documentary Reveals How Elizabeth Taylor’s Life Became a Parable

Owen Gleiberman Chief Film Critic If you had to pinpoint the start of the 1960s — that is, the counterculture revolution — two events are almost universally agreed on as the era’s formative earthquakes. One was the assassination of John F. Kennedy.

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‘Trap’ Review: Josh Hartnett Plays a Serial Killer in an M. Night Shyamalan Thriller Where Each Twist is More Contrived Than the Last

Owen Gleiberman Chief Film Critic As a filmmaker, M. Night Shyamalan has been a household name for 25 years, starting in 1999, when he ruled the end of the summer with “The Sixth Sense.” You can basically divide the Shyamalan oeuvre into four periods. There was the era when he was an A-list visionary who some compared to Spielberg (a period that includes his finest film, “Unbreakable,” as well as “Signs” and “The Village”).

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‘Shine On — The Forgotten Shining Location’: A Documentary Meditation on Stanley Kubrick’s Rooms of Fear

Owen Gleiberman Chief Film Critic Stanley Kubrick’s “The Shining” is a movie that lives in its own special sphere. Simply put, I think it may be the most fascinating horror film ever made…that’s not scary. The most fascinating horror film ever made that is scary is “Psycho”; that’s because it’s the ultimate film to watch yourself watching.

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‘Kingdom of the Planet of the Apes’ Gets Hulu Streaming Premiere Date

Todd Spangler NY Digital Editor The latest simian saga in the Planet of the Apes film franchise is set to ride onto Hulu next month. “Kingdom of the Planet of the Apes,” from director Wes Ball, will hit Hulu in the U.S. on Aug.

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‘Faye’ Review: An Enticing Portrait of Faye Dunaway Looks at Where Acting Meets Life Meets ‘Difficulty’

Owen Gleiberman Chief Film Critic Connecting an actor’s onscreen personality with his or her offscreen reality tends to be a dicey proposition. But in “Faye,” an addictive and essential portrait of Faye Dunaway, it turns out to be the right thing to do. Dunaway, now in her early 80s, is interviewed throughout this HBO documentary, and there’s a knowing snap to her self-reflections that grabs you.

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Box Office: ‘Twisters’ Aims to Stir Up $55 Million Debut

Rebecca Rubin Senior Film and Media Reporter “Twisters” may do some damage at the box office. The movie, a standalone sequel to the 1996 disaster epic “Twister,” is expected to generate a sizable $50 million to $55 million when it touches down in 4,000 North American theaters over the weekend. “Minari” filmmaker Lee Isaac Chung directed “Twisters,” which stars Daisy Edgar-Jones, Glen Powell and Anthony Ramos as storm chasers who find themselves in the fight of their lives as multiple tornadoes converge over central Oklahoma.

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Nicolas Cage’s Psychological Thriller ‘The Surfer’ Sells to Lionsgate, Roadside Attractions After Cannes Premiere

Rebecca Rubin Senior Film and Media Reporter Lionsgate and Roadside Attractions have acquired North American rights to “The Surfer,” a psychological thriller starring Nicolas Cage that premiered at Cannes Film Festival. The movie will be released in theaters on a yet-to-be-determined date in 2025.

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‘How to Come Alive with Norman Mailer’ Review: A Haunting Doc Captures the Majesty of the Mailer Experience, and Its Dark Side Too

Owen Gleiberman Chief Film Critic Norman Mailer is the kind of writer people now tend to look at and appraise by saying, “He could never get away with that today.” And maybe that’s true. In Mailer’s case, however, the that they’re referring to could be any of the following things: his confrontational public statements; his misbehavior on talk shows; his ardent bad-boy meditations on subjects like sexuality and violence; his propensity to drink and drug and fight (he liked to literally butt heads with people at parties); and great lyrical swaths of his writing. Forget what Mailer could or could not get away with today.

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You’ve Got Male: How ‘The Bikeriders’ Taps into Our New Ambivalence About the Primal Masculine Mystique

Owen Gleiberman Chief Film Critic I was late catching up to Jeff Nichols’ “The Bikeriders,” and though the film has gotten some good reviews, like Peter Debruge’s rave in Variety, it’s fair to say that the collective response to it has been mixed to muted. “The Bikeriders” hasn’t exactly set off a chain reaction of retro biker fever.

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Missed It in Theaters? You Can Now Stream ‘Kingdom of the Planet of the Apes’ Online at Home

Rudie Obias editor If you purchase an independently reviewed product or service through a link on our website, Variety may receive an affiliate commission. One of the biggest movies of the year is now streaming. “Kingdom of the Planet of the Apes” surpassed box office expectations with a $394.7 million worldwide box office haul.

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‘Sorry/Not Sorry’ Review: Louis C.K. Is Ready to Forgive Himself. Are We?

Owen Gleiberman Chief Film Critic The title of “Sorry/Not Sorry,” a documentary about the Louis C.K. scandal, makes the film sound like a hot-button exposé with the potential to be as controversial as the case itself. The offscreen infamy of Louis C.K.

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‘The Substance’ Trailer: Demi Moore and Margaret Qualley Get Bloody, Crash Cars in Cannes-Winning Body-Horror Nightmare

Clayton Davis Senior Awards Editor Demi Moore and Margaret Qualley learn the price of perfection — and the pressure of the male gaze — in the first red band trailer for director Coralie Fargeat’s Cannes body-horror sensation “The Substance.” The film tells the story of a former Hollywood star (Moore) whose career decline lands her in Jane Fonda-style fitness-show territory. Upon being fired, she’s offered a revolutionary medical treatment named The Substance, promising to deliver a younger, enhanced version of herself.

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Remembering Shelley Duvall: In ‘The Shining’ and the Movies of Robert Altman, She Showed Us the Quirkiness of Our Normality

Owen Gleiberman Chief Film Critic When Shelley Duvall was cast to play Wendy Torrance in Stanley Kubrick’s “The Shining” (1980), the film she would become most famous for, it was overwhelmingly the most mainstream movie she’d ever done — but more to the point, it was the most mainstream character. Duvall, who died July 11 at 75, had spent the better part of a decade playing vibrant kooks and eccentrics in Robert Altman movies (and in case you think “kook” sounds pejorative, there was never anything pejorative about it when Shelley Duvall played one).

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The Ho-Hum Box Office of Kevin Costner’s ‘Horizon’ Carries a Message: Don’t Turn Movies Into Television

Owen Gleiberman Chief Film Critic It’s an old saw in Hollywood that you shouldn’t put your own money into a movie. But I’ve always had a powerful respect for anyone who does. Clearly, it’s a sign of their commitment — that they care enough about what they’re doing to have some skin in the game.

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