Andy Muschietti’s The Flash is a movie with real heart — but every time the conversation comes up, he can’t stop defending the one part everyone knows failed: the visuals. No one doubts his passion or the performances that carried the film, but the CGI was a mess then, and it’s even harder to ignore now. Pride’s one thing. Denial’s another.
Why Matt Reeves’ Expanding Batman Saga Needs to Merge With James Gunn’s DCU
Matt Reeves is busy expanding his Gotham empire with The Batman Part II, The Penguin season two, and more villain spinoffs. James Gunn insists it’ll never touch the DCU, but the math doesn’t add up. Audiences want clarity, executives want streamlining, and Gunn already cracked the multiverse door with Peacemaker. Sooner or later, these worlds are colliding — the only question is whether it happens on Reeves’ and Gunn’s terms, or in a boardroom mandate.
Sinners Is More Tarantino Fairy Tale Than Southern Gothic Horror
Ryan Coogler’s Sinners is being sold as a horror film, but let’s not kid ourselves — it isn’t. Horror is supposed to terrify, to drip with dread, to make you feel unsafe. Sinners never gets there. The vampires are polite, the finale swerves into a Tarantino-style shootout with the KKK, and along the way the script spends more time joking about oral sex than it does building fear. Domestically, it’s a box office hit with nearly $280 million, but overseas it fizzled. Because here’s the truth: Sinners isn’t horror. It’s a gothic-flavored drama that mistakes style and sex talk for scares.
The Wizard of Oz at the Sphere Could Pass $1 Billion
The Wizard of Oz is pulling in $2 million a day at Las Vegas’s Sphere, turning an 86-year-old movie into the year’s most profitable “blockbuster.” With $200 tickets, 16K screens, and 4D effects, it’s less film revival than spectacle—and it may reshape how Hollywood thinks about the big screen.
Superman won the battle – Man of Steel won the war
Superman 2025 made smarter money moves, but Man of Steel still stands taller in the long run. Profit margins may win a battle, but home video, licensing, and timing made Snyder’s film the real financial heavyweight.
The Conjuring Shows Hollywood’s Hypocrisy in Real Time
The Conjuring universe has raked in billions by selling itself as “based on a true story.” But when a 2017 report exposed disturbing allegations about Ed and Lorraine Warren—the very couple the franchise is built on—Hollywood shrugged and kept the money machine rolling. Twelve years, eight films, and one ugly truth buried under box office receipts.
Akira Collapses, Batman Rises, Bond Gets Dune’d, Bay Reloads, and Cameron Fires at Nolan | HWAD 06.28.25
On today’s episode of Hollywood After Dark, we break down the end of Taika Waititi’s Akira, the return of Michael Bay to Transformers, Villeneuve joining Bond, Batman’s sequel script, and Cameron calling out Nolan’s Oppenheimer.
WB Loses Akira Rights After 22 Years of Doing Nothing
Taika Waititi’s live-action Akira is officially dead. Warner Bros. lost the rights after over two decades of development hell, and the project has reverted to Kodansha. But maybe—just maybe—that’s the best thing that could’ve happened.
The Batman Part II Script Is Done—and That’s Bad for Superman
Superman is supposed to relaunch the DC Universe, but Matt Reeves just handed in his Batman Part II script—and suddenly all eyes are on Gotham again. With The Penguin thriving on HBO Max and Superman marketing falling flat, DC may be watching its flagship hero get overshadowed before he even gets off the ground.
Why Warner Bros. Is Terrified of Jurassic World (and You Should Be Too)
Warner Bros. is betting big on Amazon’s early screening of Superman—but is it a clever marketing move or a red flag? Between Jurassic competition, DC baggage, and CG dogs, it’s a gamble worth watching.
Hollywood After Dark 