2017 to the Future. 2t143q

• The Life of Chuck
• Together
• Splitsville
• Sentimental Value
• Alpha
• The Secret Agent
• A Simple Accident
• Nirvanna the Band the Show the Movie
• Keeper
• Orwell: 2+2=5

...plus 98 more. View the full list on Letterboxd.

Finn Wolfhard and Billy Bryk, directors of Hell of a Summer, share the inspirations behind their new film starring Fred Hechinger.

Hell of a Summer is now playing in theaters—get tickets here.

• Bottle Rocket

  Billy: No other movie makes me want to make movies like this movie makes me want to make movies. For my money, Wes and Owen write the best characters and the best dialogue of all time. I watched this several times during the writing process when I was in a creative rut.

• Shaun of the Dead

  Finn: Maybe the most influential film in my life and for the movie. A character driven romantic comedy disguised as a zombie movie. A lot of inspiration was taken from the dialogue in this film. Its rhythm is so fast and funny and makes the movie feel so alive.

  Billy: One of the most perfect screenplays of all time. It uses capitalization and spacing so brilliantly to emphasize certain visual cues/moments. This makes it reading feel exactly like watching it. Echoing what Finn just said, this is a character driven comedy and was tonally the largest influence on H.O.A.S. Horror/Comedy masterpiece.

• Wet Hot American Summer

  Billy: The quintessential summer-camp comedy. The first draft of our script was tonally closer to this, but as we refined our script, the humor became more grounded. Still, a massive reason we started writing the movie in the first place.

• Scream

  Finn: Subverts slasher tropes in a groundbreaking way. Matthew Lillard is so good in this movie. No movie since has done the meta slasher as well.

• The Thing

  Billy: My favourite horror film. Carpenter is the master. The atmosphere of this movie is so cool (best word I could think of). We kept getting tempted to write a Hell of a Summer sequel set at an outpost in the arctic. This was before we even finished the first film.

• Rushmore

  Billy: Max loves Rushmore like Jason loves Pineway. IMO this is the greatest screenplay ever written. Does H.O.A.S have the best pocketknife gifting scene since Rushmore?? Not for us to say. We stole a couple of shots from this movie and even had a more direct nod to it in a scene that was later cut. It went something like this…

  Chris: What about the girl you liked in your chemistry class?
  Bobby: Mrs. Cross?
  Chris: No. What?
  Bobby: Are you talking about Anya? Because she’s not in chemistry with me.
  Chris: I don’t think so… Is that the one you spilt soup on?
  Bobby: That was Anna. She moved.
  Chris: oh.

• Adventureland

  Finn: Such great performances from Jesse Eisenberg and Kristin Stewart. Took a lot of inspiration from their relationship and put it towards Jason and Claires romance. Ps. Mottola is the goat and the soundtrack is amazing.

• Halloween
• Pineapple Express

  Billy: It’s so irable how much stylistic effort went into making this studio comedy. Tim Orr’s work is beautiful and the production design is amazing. There are so many little jokes hidden in the deep background of scenes. Finn and I miss the days of the beautifully shot mid-budget studio comedy. The fight sequence at Red’s was a massive influence on a fight scene in Hell of a Summer.

• Superbad

  Billy: The funniest movie ever? The sweetest teen sex comedy ever and it’s not particularly close. I wept the last two times I watched this. Perfect movie about friendship. Perfect performances by Jonah Hill and Michael Cera. Also, perfectly crafted!! Studio comedies should be made with the same craftsmanship and attention to detail as prestige dramas.

...plus 4 more. View the full list on Letterboxd.

"My love for horror began at a very young age. My dad is a huge horror fan, and that’s the genre of film that he would sit and watch with my little brother and me growing up. Halloween is his favorite holiday, and Halloween Horror Nights at Universal Studios is our favorite thing to do together – I think I was 11 or 12 when I started going to Horror Nights, and I loved it. I go every year.

So I’ve definitely grown up with a love of the genre and old horror films. Here are seven of my favorites." - Sydney Sweeney

IMMACULATE opens March 22 in theaters. Get tickets now.

• The Silence of the Lambs

  "Silence of the Lambs is one of those movies that sticks with you forever. And it’s not just because of the suspense of it all, but also the characters and the performances – Anthony Hopkins is just incredible; Jodie Foster is incredible. I love the older horror films where you have a psychological thriller, but then you have really good actors in these films as well.

  I was always so fascinated by Jodie, but at the same time I’d watch it and think, 'I want to be an actor so I can play Hannibal Lecter or someone like that.'

  While Silence of the Lambs is probably my number one favorite, I can never choose what's going to be my second favorite. It depends on my mood, on what kind of horror I'm looking for. So consider the rest a six-way tie." - Sydney Sweeney

• A Nightmare on Elm Street

  "Freddy Krueger haunted my dreams for weeks and weeks after I watched A Nightmare on Elm Street. And like Hannibal, I really think Freddy would be such a cool character to play. How fun, and creepy, and just full-body immersive would that be?" - Sydney Sweeney

• Hereditary

  "Hereditary plays with the theme of grief, and then turns it on its head by adding supernatural elements and a horror spin. I love when films can take reality and make that suspenseful. Ari Aster is a genius and I really hope I get to work with him one day. I was absolutely terrified.

  It's another film where I'm drawn to the acting; Toni Collette was amazing. And the moment when Alex Wolff's character never looked back after he knows he's just accidentally beheaded his little sister... I just thinking 'Oh my God. I would float away.' That one will stick with me forever." - Sydney Sweeney

• The Shining

  "Another old classic I love is Stanley Kubrick’s The Shining. I think it’s one of the best horror films ever made. Jack Nicholson’s character is another one that I think, 'Ooh, as an actor that could be so fun.' The cinematography and the score are absolutely stunning and beautiful. All of it... Stanley’s a genius and amazing. And I love how elevated the whole entire film feels. It’s a beautiful experience to watch.

  The mark of a masterful film, for me: when you hear just a couple of notes from the film played, and it instantly takes you back to the moment you watched it. The Shining’s score by Wendy Carlos does that for me." - Sydney Sweeney

• Us

  "This is a relatively recent film, but I was and remain obsessed with Jordan Peele’s Us. Lupita Nyong’o is phenomenal. It’s just an instantly iconic performance, and so unsettling. I I just wanted to hide my eyes for the entirety of this film. The body language and the movements – it’s incredible." - Sydney Sweeney

• Halloween

  "You cannot not mention John Carpenter's Halloween.

  This is such an OG. It put John Carpenter and Jamie Lee Curtis on the map, and they’re now complete legends. I feel like John Carpenter truly created the slasher icon with Michael Myers and just went for it, and Jamie Lee Curtis was one of the first final girls. It's such a smart movie." - Sydney Sweeney

• Rosemary's Baby

  "Mia Farrow’s performance in Rosemary’s Baby is unforgettable. It provided a lot of inspiration for Immaculate, and you just have to have this on your list. Most of my genre favorites have incredible performances from the actors. And many actors, for whatever reason, don't look at horror films as performance pieces, so it's not always as deep or interesting when you don't see these actors making very distinct and challenging choices.

  I love all of these films; you have Jamie Lee Curtis, Jack Nicholson, Toni Collette, Jodie Foster, all these incredible actors doing this genre of film that is so beautiful and elevated, but horrifying at the same time." - Sydney Sweeney

Osgood Perkins, director of Longlegs and The Monkey, shares a few of his favorite films.

Longlegs is now back in theaters with an exclusive interview with director Osgood Perkins and a sneak peek of THE MONKEY with Theo James. Get tickets here.

• Red Desert

  "The most singularly perfect color palette in any movie anywhere, ever. Put that together with the out of focus title sequence and the kid’s robot toy that stays on when the kid is asleep and the little shop that Monica Vitti’s character is thinking about opening but she has no idea what she’ll sell there and you’ve got as achingly rich a dose of surreal alienation as cinema has to offer, in league with equals like TAXI DRIVER, FISH TANK and THE MAN WHO FELL TO EARTH. " - Osgood Perkins

• Grease

  "Just perfect in its vibration and the beauty of its actors; no one has been more beautiful than Travolta in this picture. Pitch-perfect songs and performances of those songs, rife with double entendre and innuendo and blistering joy. Sandy’s transformation was the basis for an unproduced dream script of mine called MEDUSA and often I wonder if it’s already been done too well for me to try to do it again. A good musical - see LITTLE SHOP OF HORRORS - can be such a spirited way to tell a movie story and maybe every filmmaker ought to take on the challenge at least once." - Osgood Perkins

• Beginners

  "Soulful, artful, funny, sad and happy. A perfectly poised modernist filmic expression of how we manage to feel everything just as much as we can stand to feel it, and no more. Give Christopher Plummer an additional Oscar the next time you see him. " - Osgood Perkins

• The Lady from Shanghai

  "One of the formative influences in my early days as a person who thought he might one day make movies. So dry and so punchy. The closeup of Hayworth in the carriage in the opening scene is like a hot brand on the hide of movies for all time. Glorious set-pieces and even more glorious dialogue. No wonder they kicked Mr. Welles to the curb: he could do it better than anyone, and with a smirk on his face that promised that nothing should be taken too, too seriously, and especially not the business of making movies in Hollywood. Gorgeous." - Osgood Perkins

• Napoleon Dynamite

  "Hopefully every new generation of eager film fans gets shown this by that weird and interesting someone in their life. Seldom have I beheld such an unflinching dose of pure originality. A movie that asks, more insistently as the picture goes on: “who says can’t we just shoot what we like and say what we feel and make it look like we think it should look?” And if there is a better, more apropos final song in a movie that more purely and soulfully and plaintively says what the movie has said without saying it, I doubt I’ve seen it." - Osgood Perkins

Pablo Berger, director of Robot Dreams, shares the inspirations behind his Academy Award-nominated film.

Robot Dreams is now available to watch at home on Digital.

• Robot Dreams
• City Lights

  "Chaplin invented 'dramedy.' Laughs and tears. If you don’t cry at the end of this film, probably you are dead." - Pablo Berger

• Singin' in the Rain

  "Technicolor dreams. I always have a permanent smile while watching it. The perfect film." - Pablo Berger

• La Strada

  "Visual poetry. The eyes of Giullieta Massina express more than words. I love all Fellini's films." - Pablo Berger

• Napoleon

  "Abel Gance writes with images like no one before or after him. Pure cinema. " - Pablo Berger

• Spirited Away

  "Miyazaki blends Japanese folklore with Alice in Wonderland, creating a work of art. His filmography is the oracle of animation." - Pablo Berger

• Yoyo

  "A film to be discovered by many cinephiles. Pierre Étaix is a master of visual storytelling." - Pablo Berger

Theda Hammel, director of Stress Positions, shares the inspirations behind her new film starring John Early.

Stress Positions is now playing in theaters—get tickets here.

• Stress Positions
• Peeping Tom

  "A house (inherited from the previous generation) rigged for surveillance and torture — with a cinema on the top floor." - Theda Hammel

• "Lea Seydoux as a construct come to life. 'Cinematic ectoplasm.' Not even remotely a news media satire. Something riskier — an allegory." - Theda Hammel

• Sullivan's Travels

  "Joel McCrae wants to see the world, but can’t because of his position. 'A universal law that says Stay put. As you are, so shall you remain.'" - Theda Hammel

• Death in Venice

  "A friend of mine pointed out that the credits start to roll before they’ve even finished dragging Dirk Bogarde off the beach." - Theda Hammel

• Let Them All Talk

  "Devastating consequences of a writer’s failure to use her imagination." - Theda Hammel

• Morocco

  "A place which doesn’t exist, and has never existed, referred to here as 'Morocco.'" - Theda Hammel

• His Girl Friday

  "Our loved one’s attempts to remake themselves as decent or normal must be sabotaged at all costs." - Theda Hammel

• Theorem

  “It is increasingly clear that a film only ever tells the story of its own genesis (shooting, preparation, production). The originality of Teorema is that it lays this little-known phenomenon bare. How? By no longer voicing — implicitly — the method of its fashioning, but by becoming — a rarer thing — the metaphorical of its own viewing.” (Serge Daney) - Theda Hammel

• The Apple of My Eye

  "The only film I’ve ever seen that gives an accurate of second generation Greek identity (and no one in it is Greek.) Proof that it was possible as recently as 2016 to make a comedy in the tradition of classic Hollywood." - Theda Hammel

...plus 2 more. View the full list on Letterboxd.

"I’ve tried to make a list of films that somehow had a relevance for making PERFECT DAYS, even if the film did not have any models and wasn’t based in any way on the experience of other movies.” — Wim Wenders

PERFECT DAYS opens February 7 in theaters. Get tickets now.

• Perfect Days
• Tokyo Story

  "That was the first film by Ozu that I saw. It drastically changed my
  perception of what films could be: not just a description of the physical
  world, but a transcendence of everyday life. We take it for granted that
  movies present 'characters' or 'heroes,' that they give an image of
  'mankind,' certainly of 'family life' or 'life' in general, that they can tell
  'His Story' with a capital H, but also just plain 'stories.' But we do rarely
  ask ourselves what men and women really represent in movies, and
  what kind of life those moving pictures actually expose. In Ozu’s kingdom I learned that films can get very close to 'real life' and that they can reveal the very soul and being of people. And that these people are not 'functions' of a story, but the other way round: these people, as they live their life, create their own story. Which is a fundamental difference. In life, as well as in movies.

  The elderly man in TOKYO STORY, played by Chishu Ryū, was called
  'Hirayama,' by the way, and this is why we gave the same name to our
  central character in PERFECT DAYS." — Wim Wenders

• An Autumn Afternoon

  "This is Ozu’s last film. It is amazingly funny and light and continues Ozu’s
  life-long obsession of noticing and representing each and every change
  in Japanese society, almost like a seismograph. Here, too, Chishu Ryū is
  the main character, and he is also called Hirayama…" — Wim Wenders

  + ANY OTHER FILM BY YASUJIRO OZU, between the late Twenties
  and the early Sixties.

• Nomadland

  "A true wonder of a film, largely because of who s McDormand
  represents in the film: a real person, a free woman, a nomad. High up on
  my list of my favorite road movies. She’s definitely a distant cousin to
  Hirayama…" — Wim Wenders

• Salt of the Earth

  "Another miracle. Realized against all odds by a blacklisted director,
  written by a blacklisted writer, produced by a blacklisted producer. The story is based on a zinc miners’ strike that actually took place in New
  Mexico in 1951. Again, the great and moving event of the film is its
  'leading lady,' Mexican actress Rosaura Revueltas, who makes you
  believe you are watching a documentary on her life. (And that is why the
  film came to my mind: we also made PERFECT DAYS in that spirit of
  shooting a fictional character as if she/he was a real person and we were
  doing a documentary on him.)." — Wim Wenders

• A Woman Under the Influence

  "Words fail me to describe the performance of Gena Rowlands as the
  mother and housewife who has a drinking problem. And her husband,
  played by Peter Falk, is just as real and strong and lost. It is both
  disturbing and deeply gratifying how closely this drama comes to the
  reality of an affliction that is so common to so many families worldwide:
  alcohol." — Wim Wenders

• Au Hasard Balthazar

  "Now the hero of this film is not a person, but a donkey, and the women
  and men in it are all the “ing cast”. If there is a filmic masterpiece
  on the subject of violence, it is this one. That topic obviously has a long
  tradition in the history of cinema. But Bresson’s film does not have to
  depict violence as such in order to make us FEEL what it is. No film has
  taught me so much about comion like this film about a life of a
  donkey. This is essential viewing, if you are willing to let a movie change
  the way you see the world. (No wonder that Paul Schrader in his book
  “Transcendental Style in Films” names Ozu and Bresson in one breath.)" — Wim Wenders

• Fahrenheit 451

  "This is certainly one of my all-time favorite movies, and one of the rare
  masterpieces in the sci-fi genre along with 2001 and BLADE RUNNER. I
  mention the film in this list mainly because of its love for books.
  Hirayama in PERFECT DAYS seems as happy reading at the end of
  every work day as the 'book people' in the magnificent ending of
  FAHRENHEIT 451. Like them, Hirayama could easily 'become' one of
  his books, I feel, and quote for instance “Wild Palms” by William Faulkner
  by heart." — Wim Wenders

• Ikiru

  "This is a movie about a bureaucrat who knows he’s about to die, but
  wants to do something good before he dies, and actually live, at least
  once. (That’s how the title translates: “To Live”.) Takashi Shimura plays
  this character in such a heartbreaking way that this old man and his will
  to leave something meaningful behind, will always stay engraved in your minds. Well, his life of doing a routine job is the opposite idea of how our
  main man Hirayama lives his “routine” in PERFECT DAYS. In this
  regard, the two films couldn’t be further apart. I better leave it to you to
  find out what they might have in common, after all…" — Wim Wenders

• Easy Rider

  "I bring this film into this list here strictly for its – at the time –
  revolutionary use of music. I was electrified when I first saw EASY
  RIDER as a film student, and as this experience coincided with me
  editing my first film that same year, SUMMER IN THE CITY, I found
  myself placing my favorite songs to my material in the editing room,
  amazed how each and every song would change the meaning of a
  scene. 50 years later, PERFECT DAYS was a remote cousin to my
  earlier Road Movies. As Hirayama himself isn’t all that talkative, I felt that
  some of the songs he is putting into the cassette recorder of his crummy
  old van on his way to work, could contribute to telling his story; so we
  wrote most of the songs into the script already. (And that’s my salute to
  EASY RIDER...) The frontispiece of our script were the lyrics to Nina
  Simone’s song “Feeling Good”, because I felt these words described the
  ability of Hirayama to live in the HERE AND NOW better than anything
  else. Finally, we ended the film with that song. 'It’s a new day, it’s a new
  dawn, it’s a new life for me. And I’m feeling good!'" — Wim Wenders

Thea Hvistendahl, director of Handling the Undead, shares the inspirations behind her new film starring Renate Reinsve and Anders Danielsen Lie.

Handling the Undead is now playing in theaters—get tickets here.

• Handling the Undead
• Ratcatcher

  "Lynne Ramsay’s debut film is absolutely mesmerizing and heartbreaking in how it deals with the inner life of its young protagonist and how that’s mainly conveyed through her intensely beautiful cinematography, the mise-en-scene, and the editing. She’s a true inspiration in finding poetry in pain and the mundane and she’s a true master at visual storytelling. We even copied one of her shots in Handling The Undead." - Thea Hvistendahl

• Solaris

  "Another major inspiration for Handling The Undead. More on a thematic level and how the characters react in the meeting with their presumably dead loved ones. A love that is so strong that you’re willing to see beyond reason to get them back. I also find Solaris to be a great reference for the genre space of Handling The Undead, they’re the same kind of horror - a melancholic horror based in pure human emotions." - Thea Hvistendahl

• Morvern Callar

  "All Lynne’s films are masterpieces and I love all of them. This film served as a great visual reference for the isolation of the characters and how to convey that through framing. Her attention to detail is marvelous and it does so much. Another wonderful film about grief and how to grab onto your life from there." - Thea Hvistendahl

• Cure

  "What an amazing movie. It blew my mind. The execution, the tension, the unsettling feeling that infuses the whole film, and it’s also extremely well crafted and gorgeous to look at. I love it so much. And the horror comes from people, it’s so dark, and that's really what I love most in the horror genre." - Thea Hvistendahl

• Innocence

  "This film changed my world in many ways. It opened up the horror genre to me. When I understood that even this counts as a horror I was sold. It’s such an unnerving film and a tense experience to watch, as well as extremely beautiful. What I took from this film is that withholding information from the audience creates so much unease, but it also activates the audience in a really interesting way. Her imagery is intensely beautiful as well and she manages to say so much more by saying less. It’s a really poetic film that serves as a great metaphor for girlhood and I’m in awe of what she created." - Thea Hvistendahl

• Let the Right One In

  "Another modern masterpiece and originating from the same author as Handling The Undead. The camera work and storytelling in this film is on another level. It’s unnerving and vulnerable at the same time, which makes it even more heartbreaking to watch. What we took from this film was how the framing emphasized his loneliness and isolation and in general how cinematic the whole piece is in its storytelling." - Thea Hvistendahl

• Shame

  "Another favorite of mine. I’m starting to realize all these films have a melancholic undertone in them, which is also very strong in Shame. As a reference, I find this piece a true gem of visual storytelling and how the framing and especially the bodywork of the actors tell us so much without words. It’s a heart-wrenching story with an excellent score." - Thea Hvistendahl

• Evolution

  "Another unsettling horror/mystery from Lucile Hadžihalilović and yet again she creates a fascinating tale with little dialogue and mesmerizing imagery." - Thea Hvistendahl

• The Spirit of the Beehive

  "Such a beautiful film with an amazing young actress leading the film. This is also a film infused with melancholy and mystery, and it’s wonderfully shot. A true gem." - Thea Hvistendahl

...plus 2 more. View the full list on Letterboxd.

Justine Triet, director of Anatomy of a Fall recently stopped by the Criterion office to choose her top picks from the Criterion Closet. Here's what the five-time Academy Award-nominated filmmaker chose.

Anatomy of a Fall is available to watch at home—watch now.

• An Unmarried Woman
• The Truth
• The Story of a Cheat

  Part of Eclipse Series 22: Presenting Sacha Guitry

• The Pearls of the Crown

  Part of Eclipse Series 22: Presenting Sacha Guitry

• Désiré

  Part of Eclipse Series 22: Presenting Sacha Guitry

• Quadrille

  Part of Eclipse Series 22: Presenting Sacha Guitry

• Warrendale

  Part of Eclipse Series 24: The Actuality Dramas of Allan King

• A Married Couple

  Part of Eclipse Series 24: The Actuality Dramas of Allan King

• Come On Children

  Part of Eclipse Series 24: The Actuality Dramas of Allan King

• Dying at Grace

  Part of Eclipse Series 24: The Actuality Dramas of Allan King

...plus 4 more. View the full list on Letterboxd.

"This does mean I'm going to have to buy a multi-region Blu-ray player..."

Mark Jenkin, director of Enys Men and Bait recently stopped by the Criterion Closet to choose his top picks from the Criterion Closet. Here's what he could fit in the bag.

Enys Men is now playing in theaters—get tickets here.

• Three Colours: Blue
• Three Colours: White
• Three Colours: Red
• Mikey and Nicky
• I Knew Her Well
• Baal
• Humanité
• Short Cuts
• Mirror
• Head

...plus 7 more. View the full list on Letterboxd.

"By no means is this a complete list of my favorite films, just what influenced/came up for this particular project. These are the ones that surfaced in the fast process of putting together this artifact." - Rebeca Huntt

• The Illinois Parables
• Level Five
• La Jetée
• The Dreamers
• The Conformist
• Daughters of the Dust
• She's Gotta Have It
• An Oversimplification of Her Beauty
• Random Acts of Flyness: They Won’t Go When I Go (Director’s Cut)
• Japón

...plus 24 more. View the full list on Letterboxd.

Nicolas Cage delivers one of the most acclaimed performances of his career in PIG, directed by Michael Sarnoski. Here, he shares some of the films that have inspired him.

PIG is now available on Digital.

• Pig
• Like Father, Like Son

  "This is a heartbreaking family drama by Kore-eda who is arguably the greatest living director in the world right now. The level of performance from all the actors resonates with complete truthfulness. Nothing feels forced. Everything is on point and organic."

• The Third Murder

  "Another Kore-eda film which stars Yakusho in a brilliant bit of film acting. This movie is full of twists and turns and you never see where Yakusho is going. A perfectly masterful and unpredictable performance in the master filmmaker's movie."

• Climax

  "Hands down the best anti drug movie ever made. A cautionary tale with an absolutely superb and stunning turn by Sofia Boutella. She is compelling, raw, fragile, and shocking in her expressions. She is also my favorite dancer. Nothing she does feels anything other than authentic in this movie."

• Noriko's Dinner Table

  "A shocking and unsettling film about family. Sion Sono directs all of his actors towards complex and disturbing portrayals of loss and anger that only family can uncover."

• Ordinary People

  "The best American family drama since East Of Eden by Elia Kazan. Robert Redford is masterful with his direction and pulls out career bests from Donald Sutherland, Timothy Hutton, Judd Hirsch, and Mary Tyler Moore. The level of performance is what I aspire to in of heartfelt emotion"

• The Shining

  "The table scene with Scatman Crothers is some of the most effortless and organic acting I have ever seen - when Scatman is describing Shining to Danny he is one hundred percent sincere. A flawless and magical performance which deserves great regard."

A new look at Joachim Trier's SENTIMENTAL VALUE. Starring Renate Reinsve, Inga Ibsdotter Lilleaas, Stellan Skarsgård, and Elle Fanning. Premiering in Competition tomorrow at Cannes 2025.

ALPHA. The third film from Julia Ducournau. Premieres in Competition at Cannes Film Festival today, in theaters October.

The best horror movie of the year.
TOGETHER. us 7.30.

Your world will get bigger and brighter.

THE LIFE OF CHUCK. From the hearts and souls of Mike Flanagan and Stephen King. In Select Cities 6.6, Everywhere 6.13.

them.

Alison Brie and Dave Franco in the horror movie of the year. TOGETHER. In theaters 7.30.

Who is Chuck?

From the hearts and minds of Mike Flanagan and Stephen King. THE LIFE OF CHUCK. In theaters June.

Mr. Perkins would like to say a few words to you...

Get tickets to THE MONKEY.

André Holland is THE ACTOR.

From Academy Award-nominated director Duke Johnson and executive producer Charlie Kaufman comes an unforgettable cinematic odyssey. Starring André Holland and Gemma Chan. In select theaters March 14.

"In all my years as a licensed mortician, I've never seen anything like this."

Director Osgood Perkins and star Theo James watch THE MONKEY with real morticians. In theaters Friday. Get tickets here.

Finn Wolfhard and Billy Bryk invite you to Camp Pineway. Get ready for a HELL OF A SUMMER.

Starring Fred Hechinger, Abby Quinn, D'Pharaoh Woon-A-Tai, and many more. In theaters April 18.