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The Wild Robot” will finally be available to stream from home. The animated film will arrive on Peacock on Jan. 24, and is also currently available to rent/purchase on Prime Video, Apple TV and other video-on-demand platforms.

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‘Mufasa: The Lion King’ Review: If Real Beasts Could Talk … Barry Jenkins Pushes Virtual Performances in Impactful Origin Story

Peter Debruge Chief Film Critic Early in “The Lion King,” the adorable yet spoiled African prince Simba goes gallivanting around his father Mufasa’s lands, taunting his future subjects with the song “I Just Can’t Wait to Be King.” In Broadway terms, it’s a classic “I want” number, telling audiences what’s in the character’s heart at that point in the film, before tragedy, exile, love and responsibility shape this carefree cub into a worthy successor. Flash forward to “Mufasa: The Lion King”¬¬ — or rewind, since “Moonlight” director Barry Jenkins’ impressive, emotionally satisfying contribution to the Disney canon serves as a prequel to one of the studio’s most beloved franchises — and we find Mufasa in a very different mindset.

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All but Impossible to Find for Years, Lily Tomlin’s ‘The Search for Signs of Intelligent Life in the Universe’ Is Back

Peter Debruge Chief Film Critic For nearly a decade — since comedy legend Lily Tomlin played a salty septuagenarian in Paul Weitz’s “Grandma” — I’ve been trying to track down a copy of her one-woman show, “The Search for Signs of Intelligent Life in the Universe.” Well, the search is over. Last week, on Friday night, Tomlin sat down with “Frank and Gracie” co-star and frequent collaborator Jane Fonda for the first public screening of the newly restored film, which made its debut at RescueFest — IndieCollect’s first-ever showcase of films restored by the organization — in Los Angeles.Long out of print and nearly always incomplete, the feature version (directed and shot by John Bailey) was released in 1991, six years after Tomlin performed — and perfected — her show live at New York’s Plymouth Theater.

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‘Carry-On’ Review: TSA Poster Boy Taron Egerton and an Evil Jason Bateman Ground Netflix’s Out-There Christmas Thriller

Peter Debruge Chief Film Critic The sort of relatably flawed everyday hero who might have been played by Mel Gibson or Bruce Willis back in the ’80s, Ethan Kopek always wanted to be a cop. Instead, he’s working airport security ¬¬— and not even the essential job of scanning passengers’ baggage for bombs.

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Sundance 2025 Lineup: Jennifer Lopez, Benedict Cumberbatch and a Boatload of First-Timers Head to Penultimate Park City Edition

Peter Debruge Chief Film Critic With snow on the ground and a cloud of uncertainty hanging over its next-to-last edition in Park City, the 41st annual Sundance Film Festival returns to its high-altitude Utah home, where the country’s most important showcase for independent cinema will unspool in person from Jan. 23-Feb. 2, 2025.

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The Best Movies of 2024

(Click here to jump to Peter Debruge’s list.) Luca Guadagnino’s top-spinning marvel of a movie tells the tale of three pretty young tennis pros: their friendships, their rivalries, their love matches, their games. It’s about everything that can happen between three people, but it’s not about anything more than that.

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‘The Lord of the Rings: The War of the Rohirrim’ Review: A Tiresome, Deep-Cut Anime Prequel for Die-Hard ‘Hobbit’ Fans

Peter Debruge Chief Film Critic Long before Peter Jackson took a swing at “The Lord of the Rings,” audiences got a glimpse into the fantasy realm of J.R.R. Tolkien via a trio of late-’70s animated projects: two animated TV specials produced by Rankin/Bass (of which “The Hobbit” remains fairly well-liked) and a dark and ominous big-screen feature from Ralph Bakshi (director of sci-fi psych-out “Wizards”).

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‘The Six Triple Eight’ Review: A Battalion of Black Women Make History in Tyler Perry’s Best Film Yet

Peter Debruge Chief Film Critic Tyler Perry has dedicated the past quarter-century of his career to giving voice to Black women on stage and screen. With “The Six Triple Eight,” the self-made mogul — who leveraged his success to build a production studio on a former U.S. Army base outside Atlanta — has found a story ideally suited to his strengths and interests: how a courageous group of 855 women of color made history during World War 2, becoming the first such unit to serve overseas.

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‘Joker: Folie à Deux’ Gets Max Streaming Release Date

Andrés Buenahora “Joker: Folie à Deux,” Todd Phillips‘ sequel to the Oscar-winning film starring Joaquin Phoenix, will be available to stream on Max on Dec. 13. It will debut on HBO linear on Dec.

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Paul Walter Hauser Gives His Own Movie 3.5 Stars on Letterboxd: ‘What’s Wrong With Giving an Honest Rating?’

Ethan Shanfeld Paul Walter Hauser is an active Letterboxd user — sometimes even critiquing his own movies. On Wednesday night, the actor took to X to respond to a post that reads, “Paul Walter Hauser giving Richard Jewell a 3.5 on Letterboxd, a movie in which he quite literally plays the title character, is one of the funnier things I’ve come across on that app.” Hauser replied: “If I think The Shawshank Redemption and Schindler’s List are 5/5, and Richard Jewell is not a perfect movie/bonafide classic, what’s wrong with giving an honest rating? It’s a good film that is definitely worth watching. A 3.5 out of 5 is not a slight.

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‘Nosferatu’ Review: Robert Eggers’ Obsessive Take on Vampire Classic Looks Gorgeous, but Lacks Bite

Peter Debruge Chief Film Critic With the reverential early-horror tribute that is “Nosferatu,” Robert Eggers has crafted more than just a remake, but somehow less than a fully satisfying filmgoing experience. Visually striking as it is, with compositions that rival great Flemish paintings, the obsessive director’s somber retelling of F.W. Murnau’s expressionistic vampire movie is commendably faithful to the 1922 silent film and more accessible than “The Lighthouse” and “The Witch,” yet eerily drained of life.

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‘Spellbound’ Review: Alan Menken Brings Vintage Disney Vibes to Skydance’s Second Animated Feature

Peter Debruge Chief Film Critic The kid’s gonna be fine. It’s the parents who are not all right in “Spellbound,” a straight-to-Netflix computer-animated fairy tale with a smart concept (what’s a girl to do when her home life is shattered?) and its heart in the right place. If only the movie were transparent about its premise from the outset, as opposed to burying the explanation — as a real-world relevant twist — till nearly the end.

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Corsican Crime Drama ‘The Kingdom,’ Cannes Hit, Lands at Vertigo for U.K., Ireland (EXCLUSIVE)

Naman Ramachandran Vertigo Releasing has acquired U.K. and Ireland distribution rights to “The Kingdom,” directed by Corsican filmmaker Julien Colonna. The organized crime thriller and coming-of-age drama is set for theatrical release in spring 2025.

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‘Wicked’ Review: Cynthia Erivo and Ariana Grande Give Iconic Turns in the Year’s Must-See Musical

Peter Debruge Chief Film Critic In “The Wizard of Oz,” there can be no doubt which witch is the worst witch: That would be the one with the army of flying monkeys, who melts upon contact with water. But in “Wicked,” the green-skinned spell-caster turns out to be far more sympathetic than Glinda, her ostensibly “good,” oppressively pink rival.

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‘The Last Showgirl’ Trailer: Discover Why Pamela Anderson Is Earning the Best Reviews of Her Acting Career

Emiliana Betancourt What happens if you stay in Vegas? That’s the question at the center of Gia Coppola‘s “The Last Showgirl,” which has debuted its first trailer from Roadside Attractions. Set against the backdrop of Sin City, the film sees Pamela Anderson starring as Shelley, a veteran showgirl who finds herself at a crossroads with her stage production on its last legs. Kiernan Shipka, Brenda Song, Billie Lourd, Dave Bautista and Jamie Lee Curtis also star.

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‘My Old Ass’ Hits No. 1 on Prime Video Upon Streaming Debut

My Old Ass” was one of the biggest hits at the Sundance Film Festival at the start of the year and is now a No. 1 hit on Prime Video upon its streaming debut on Nov. 7.

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Warner Bros. Wanted to Dismiss ‘Juror No. 2’ to Streaming, but the Film Proves Clint Eastwood Is Still Built for Theaters

Peter Debruge Chief Film Critic If the Warner Bros. logo was a badge, as opposed to a shield, Clint Eastwood would be the man behind it: the tough, rule-bending guy who sticks to his guns, à la Harry Callahan. So why is the studio doing him dirty on “Juror No.

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Canada’s Oscar Entry ‘Universal Language’ Sets Release Date (EXCLUSIVE)

Oscilloscope Laboratories has set a Feb. 12 release date for Matthew Rankin‘s “Universal Language,” Canada’s Oscar entry. Represented in international markets by Best Friend Forever, “Universal Language” won the inaugural Audience Award at the Cannes Directors’ Fortnight.

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‘Juror No. 2’ Review: Clint Eastwood’s Modest Moral Drama Gets Us Thinking Outside the (Jury) Box

Peter Debruge Chief Film Critic If you think jury duty’s a drag, consider how much worse sitting in judgment of others could be if, on the first day of the trial, you were to discover the defendant’s been accused of a terrible crime for which you were in fact the one responsible. That’s the hook of Clint Eastwood’s latest — and some fear last — feature, “Juror No. 2,” a slightly preposterous but thoroughly engaging extension of the 94-year-old filmmaker’s career-long fascination with guilt, justice and the limitations of the law.

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‘Wallace & Gromit: Vengeance Most Fowl’ Review: Feathers Returns in What Could Have Been a Perfectly Charming Short

Peter Debruge Chief Film Critic A scoundrel from Wallace and Gromit’s past resurfaces in “Vengeance Most Fowl,” causing fresh trouble for the eccentric English inventor and his underappreciated canine. As the spiffy sequel’s play-on-word title implies, the culprit is none other than Feathers McGraw, that diamond-thieving master of disguise last seen in 1993’s Oscar-winning short “The Wrong Trousers,” who seizes on another of Wallace’s inventions to engineer his escape from the local zoo in the stop-motion duo’s second feature in as many decades.

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‘Here’ Review: Robert Zemeckis Turns Back the Clock on Tom Hanks and Robin Wright, and It Ain’t Pretty

Peter Debruge Chief Film Critic In Hollywood, most movies tell stories. But not “Here.” Adapted from a conceptual graphic novel by Richard McGuire where the perspective is the same on every page — the living room of a century-old American house — while windows within each frame reveal actions from different years, if not entirely separate epochs, “Here” is about an idea.

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