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“I need to start figuring out what the f— to say,” Paul Thomas Anderson recently said when it came to his biggest project yet, a $115 million Warner Bros. summer tentpole with a cast featuring Leonardo DiCaprio, Sean Penn, Regina Hall, Teyana Taylor, Wood Harris, Alana Haim, Benicio del Toro, and Chase Infiniti. The promotion has not begun yet ahead of its August 8 release, but the film, which runs just under three hours, held its first test screening in Phoenix, Arizona at the Harkins Theatres Norterra 14 with the director in attendance and we have the first details.

Speaking with a lucky attendee at the screening, Anderson confirmed the film––which is titled One Battle After Another––is nearly finished, helping squash those unsubstantiated reports of the film being delayed. As early rumors hinted, it is indeed a modern take on Thomas Pynchon’s 1990 novel Vineland. While Donald Trump isn’t mentioned,...

Billie Lourd loves trying new things.

It doesn't matter if that means traveling, food, fashion, you name it. But, up first in 2018, that up-for-adventure-attitude has landed her on a panel of judges for the 3rd annual Moët Moment Film Festival, an initiative from one of the premiere sponsors of the Golden Globes that calls for 21+ filmmakers to submit 30-60 second films through the end of awards season (March 15) when 10 finalists will be selected. Though the public will pick a People's Choice winner, the judges — Lourd alongside Laura Dern, Anke Hofmann (HFPA), Kisha Imani Cameron (Ghetto...

The singer-turned-actor talks about his parents' influence on his new album, his role in The Hunger Games – and his other passion: upholstery and interior design

Funny, I think, you compile a list of questions for a man known for his interracial heritage and for creating music that partakes equally of genres black and white, anticipating a conversation that will range back and forth across the racial faultlines of modern America – as indeed it does – and the first thing he mentions is your skin colour.

"You obviously didn't come here from the UK with that tan, now did you?" says Lenny Kravitz, shaking hands with a friendly smile. This being British press day in La, I guess that Kravitz has spent the morning talking to a succession of sun-starved and jet-lagged London journos, making my Hamiltonian mid-winter La hue more noticeable by contrast.

"Huh?" I say, wondering for a second if...

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“My momma always said, .Life was like a box of chocolates. You never know what you’re gonna get..” That line was immortalized by Tom Hanks in the award-winning movie “Forest Gump” in 1994. Librarian of Congress James H. Billington today selected that film and 24 others to be preserved as cultural, artistic and historical treasures in the National Film Registry of the Library of Congress.

Spanning the period 1912-1994, the films named to the registry include Hollywood classics, documentaries, animation, home movies, avant-garde shorts and experimental motion pictures. Representing the rich creative and cultural diversity of the American cinematic experience, the selections range from Walt Disney.s timeless classic “Bambi” and Billy Wilder.s “The Lost Weekend,” a landmark film about the devastating effects of alcoholism, to a real-life drama between a U.S. president and a governor over the desegregation of the University of Alabama. The selections also...

I’m never one to put significant stock in the film-based choices made by any kind of committee — be it an awards group, critics circle, soup kitchen line, etc. — but the National Film Registry is a little different. Not that they’re any different than those aforementioned organization types, but because the government assemblage preserves works deemed “culturally, historically or aesthetically significant.” No small potatoes.

Their latest list — created for both public awareness and the opportunity to grumble, as I’ll do in a second — has been unveiled, and the selections are none too out-of-left-field. The biggest of these 25 would have to be Forrest Gump, a choice I fully understand but completely disagree with on an opinion and moral scale. The only other true objection I can raise is toward El Mariachi, film school-level junk from a director whose finest works are the direct result of working with those more talented.