Stay Through the Credits

Paul Thomas Anderson points a camera at Cameron Winter alone at a Steinway for 75 minutes, and somehow it's one of the most hypnotic concert films in years. We talk Dylan comparisons, that candlelit 35mm glow, and why a guy from Geese turned out to have this voice hiding inside him the whole time.

Mike Flanagan reimagines Stephen King's "Carrie" as a teen drama about modern high school, and in the process loses most of the horror. We talk about why this telekinetic classic gets so gentle with its villains, the uneven writing that shortchanges Chris Hargensen, and whether sympathy for everyone is the wrong instinct for a story built on rage.

Studios are deciding whether to campaign films like "Michael," "Obsession," and "Wildwood" as dramas or comedies, and the strategy could reshape the whole race. We dig into Sandra Hüller's double German film play for drama actress, Laika's unusual push for "Wildwood" to compete outside animation, and why Robert Pattinson might rack up noms across four different movies.

Sienna Miller and Dominic West play a billionaire couple locked in a scorched-earth divorce in HBO's new legal drama "War." We dig into why creator George Kay makes watching a marriage implode so entertaining, the scene-stealing lawyers who outshine the leads, and the one moment where the show nearly loses its nerve.

Florence Pugh and Hoon Lee anchor Zoe Kazan's ambitious Netflix adaptation of Steinbeck's "East of Eden." We talk about Pugh's chilling turn as the manipulative Cathy Ames, why giving Lee a fuller arc pays off where softening Cathy's menace doesn't, and whether this sprawling generational saga really needed all seven hours to land.

Nathan Fielder spends 174 minutes trying to figure out what actually makes Elizabeth Holmes tick, and then the documentary pulls a move nobody saw coming: it brings in Amanda Seyfried to sit and watch herself play Holmes on screen. We get into the pinprick fantasy, the Abbott and Costello test, and why this might be the strangest, most fascinating true crime documentary of the year.

Dakota Johnson and Anne Hathaway star in the fourth Colleen Hoover adaptation, and Hollywood still hasn't cracked the code. We talk about the bloodiest meet cute of the year, a masturbation scene in a rock carved bathtub, and why a movie built for scandal ends up with zero pulse.

Twenty years after Sofia Coppola's "Marie Antoinette" hit theaters, we're talking about the documentary her late mother Eleanor quietly built from 80 hours of behind the scenes footage. It's a film about Versailles gowns and edible gelatin feasts on the surface, but underneath it's a mother watching her daughter become an artist, and wondering out loud what she gave up to get there.

Tom Cruise plays a fossil fuel titan under mountains of jowly makeup, Alejandro G. Iñárritu wants to make his generation's "Dr. Strangelove," and somewhere in between the two, "Digger" forgets to be funny. We break down why a $125 million climate satire built for maximum importance ends up feeling like a lecture instead of a warning.

With "The Odyssey" leading the pack, we break down the shifting 2027 Oscar race - Julianne Moore's showstopping frontrunner turn, Sandra Hüller's chaotic multi-film campaign, and whether Netflix's "La Bola Negra" can pull off a Best Picture upset. Plus: which fall festival premieres could still shake up the field.