At 23, Dylan O'Brien is finding himself at a movie franchise. EDGE spoke to the young actor about starring in "The Maze Runner," the hit adventure film based on another YA franchise.
After a slow summer, Hollywood is mixing things up a bit, hoping that you'll come back to the movie theaters for fall. I think they have the right idea. Here are 16 new releases that you should see between now and the holiday season.
The results are in from her extensive study, says Geena Davis: women and girls are few and far between in films, and those there have no job other than to be thin and pretty.
Wiliam J. Mann has written novels, and he's written biographies; he's explored dramatic fiction, and he's produced well-researched histories. Now he brings both those fields of expertise together in the real-life murder mystery "Tinseltown."
"The Mystery of Eleanor Rigby" is comprised of 3 films that tell the same story from multiple points-of-view. Like "Boyhood," it is being hailed as an innovative film going experience. EDGE spoke to writer/director Ned Benson about his project.
Kevin Smith's latest film, "Tusk," grew out of a riff he had on a podcast - what if a man can be turned into a walrus? Such is the basis of the snarky writer/director's horror comedy. EDGE spoke to Smith about how this odd idea came to fruition.
The plot is so threadbare you can practically see right through it... and you do. The pasteboard characters don't help any. And the action? Poorly directed, poorly shot, poorly edited. In short, a waste of time.
"The Equalizer" offers Denzel Washington as a nice working class guy that moonlights as a homicidal killer providing his own kind of justice.
Simon Pegg stars in "Hector and the Search for Happiness," a feel-good movie with enough sexism, racism and mushy sentimentality to offend just about everyone.
Children always want to be taken seriously. With its latest offering the animation studio Laika once again smartly obliges.
This is one filthy, hilarious movie. Get ready to shudder and laugh in equal measure.
As envisioned by screen writer Hossein Amini in his big-screen adaptation, Patricia Highsmith's 1964 novel is a study in daddy issues and sexual jealousy. It's also an essay in bad choices that feels creatively depleted from the get-go.