Street Fighter deserved better reviews. The film wasn’t exactly a “Perfect!” victory. It ran a little long and relied too heavily on flashbacks. But I think it understands what makes Street Fighter special. Here’s my spoiler-free reaction.

David Fincher CUT 60 pages from Quentin Tarantino’s Cliff Booth screenplay. That’s a pretty significant change to a script written by one of Hollywood’s most recognizable filmmakers. Fincher is directing The Further Mis-Adventures of Cliff Booth for Netflix, with Brad Pitt returning to the role that earned him an Oscar in Once Upon a Time in Hollywood. What’s interesting to me is how different these two filmmakers are. Tarantino is known for his lengthy dialogue and unconventional storytelling, while Fincher tends to be meticulous about pacing and structure. I’m a fan of both directors, and I’m curious to see how their creative styles come together. Especially with Tarantino writing the screenplay but handing over directing duties. The bigger question for me is how much of Tarantino’s original vision will make it into the finished film. Would you rather see Fincher’s interpretation of Cliff Booth or Tarantino direct his own screenplay?

Michael Rosenbaum reveals why he walked away from Smallville after seven seasons. Speaking about his departure from the series, Rosenbaum explained that his original contract was for six seasons, but he agreed to return for a seventh. When Warner Bros. approached him about signing another three-year deal, however, the studio reportedly wasn’t willing to offer him a salary increase. Rosenbaum felt that after helping make Smallville a success, he deserved to be compensated accordingly. Rather than accept the offer, he chose to leave. He also admitted that revisiting the series for his Talkville podcast has given him a new appreciation for the show, even the seasons he wasn’t part of. Interestingly, he thought Season 8 was particularly strong, although he wasn’t nearly as enthusiastic about Season 9. I’ve always considered Rosenbaum’s Lex Luthor one of the definitive interpretations of the character, and his absence fundamentally changed the dynamic of Smallville. While I would have loved to see him remain throughout the series, I can understand why he wasn’t willing to commit another three years without being appropriately compensated.

Ben Affleck thinks the AI industry is doing a terrible job convincing people to embrace its technology. Discussing concerns about artificial intelligence replacing workers, Affleck questioned why anyone would be surprised that people are worried about losing their livelihoods. He also criticized the industry’s dramatic predictions about AI’s future, arguing that some of the people making these claims have a history of getting their predictions wrong. Rather than treating every warning about AI as an inevitable outcome, Affleck believes we need a more measured approach, including holding companies accountable when their technology causes harm. I think he raises a legitimate concern. It’s difficult to convince people that a technology will improve their lives when so much of the conversation revolves around replacing their jobs or making them obsolete. And while AI has enormous potential, I don’t think technological progress should come at the expense of human responsibility. Innovation and accountability shouldn’t be mutually exclusive.

You Can See Everything might muddy the waters for Clayface at the box office. A24’s Elizabeth Holmes documentary opened to $15.6 million in just 855 theaters and could give DC Studios’ Clayface some unexpected competition this weekend. I saw You Can See Everything over the weekend, and it’s the best documentary I’ve seen this year. I highly recommend checking it out, preferably knowing as little as possible. As for Clayface, I have friends who attended an early screening a couple of months ago, and they had very positive things to say. Apparently, it’s genuinely scary, which is exactly what I’m hoping for. Clayface releases on October 23rd.

Ben Affleck isn’t worried about AI becoming Skynet and taking over the world. Instead, he’s concerned about something far more immediate: humans giving artificial intelligence control over decisions that could cost people their lives. Discussing the technology’s potential dangers, Affleck questioned the exaggerated claims surrounding AI, particularly when those warnings come from companies promoting their own products. He also raised concerns about allowing AI to select military targets or make critical security decisions without sufficient human oversight. I think Affleck makes an important distinction. We spend so much time debating whether artificial intelligence will eventually become self-aware that we sometimes overlook the consequences of how people are using it right now. The real danger doesn’t necessarily require machines to turn against humanity. It can begin when humans surrender responsibility for decisions they should be making themselves.

Ben Affleck’s Batman movie would have pushed the Dark Knight to his breaking point. In his new memoir Bloodlines, Joe Manganiello reveals that Affleck envisioned his canceled solo Batman film as a superhero version of David Fincher’s The Game. Deathstroke, believing Batman had murdered his son, would systematically dismantle Bruce Wayne’s life. That included murdering Commissioner Gordon, taking Alfred hostage, invading the Batcave, and nearly killing Batman and Batgirl. The film would have culminated in a brutal showdown between Batman and Deathstroke through the streets of Gotham, inspired by the Batman: Arkham Asylum video game. I have to admit, this sounds like an incredibly ambitious Batman movie. I’ve always appreciated Affleck’s interpretation of the character, and the idea of Deathstroke attacking Bruce Wayne psychologically as well as physically is particularly compelling. While I understand why Affleck ultimately stepped away, his unrealized Batman film remains one of the DC projects I most wish we’d gotten to see.

Guillermo del Toro believes the human imperfections in art are what make it beautiful. I agree. Discussing the growing use of AI-generated content, the Oscar-winning filmmaker argued that art is about more than the finished product. It’s also about the human effort, creativity, and emotion behind it. He pointed to Wes Anderson’s films as an example, explaining that their appeal isn’t simply their meticulous visual style, but the underlying sense of loss and humanity that makes them emotionally resonant. GUILLERMO DEL TORO: “If you want to watch a movie made by an app, you deserve it.” Del Toro is one of my favorite filmmakers, and I think he makes an important distinction. Technology can imitate an artist’s visual style, but reproducing the appearance of something isn’t necessarily the same as understanding what makes it meaningful. Art doesn’t have to be perfect. Sometimes it’s the imperfections, the personal experiences, and the human choices behind a work that make it extraordinary. And that’s something I never want cinema to lose.

A24’s You Can See Everything is proving to be one of the most intriguing theatrical releases of the year. The unconventional documentary from Nathan Fielder and Lance Oppenheim follows Theranos founder Elizabeth Holmes in the final weeks before she entered federal prison. But the filmmakers aren’t simply revisiting one of Silicon Valley’s most notorious scandals. They’re exploring the complicated personal lives behind it, including Holmes’ relationship with her husband, Billy Evans. I saw the film over the weekend, and I was genuinely surprised by how much I enjoyed it. The second half takes a turn I absolutely wasn’t expecting, and there are some unexpected people involved in the project whose appearances caught me completely off guard. Without spoiling anything, I’ll just say the film becomes something very different from what I initially anticipated. I’ve always appreciated A24’s willingness to take creative risks, and this is another example of why. I highly recommend seeing it, preferably knowing as little as possible going in.

Apu is back. After nearly a decade of silence, the beloved Kwik-E-Mart owner has returned to The Simpsons, with Indian-American actor Sunil Malhotra taking over the role previously voiced by Hank Azaria. Azaria stepped away from the character following criticism of Apu’s portrayal and its reliance on Indian stereotypes. Executive producer Matt Selman has also confirmed that Apu and his family will play a more prominent role in future episodes. I think this is a welcome development. Apu has been an important part of Springfield for decades, and while I understand the concerns surrounding his original portrayal, I never believed removing the character entirely was the best solution. I’m glad the creative team found a way to acknowledge those concerns while allowing Apu to evolve. Sometimes the best way forward isn’t to erase a character, but to give that character an opportunity to grow.

Street Fighter has knocked out the competition at the box office. Despite mixed reviews, the latest adaptation of Capcom’s iconic video game franchise debuted at No. 1 with $31 million domestically and $51.1 million worldwide. But the weekend’s biggest surprise might be A24’s You Can See Everything, which earned an impressive $15 million from just 855 theaters. Meanwhile, the survival thriller Whalefall struggled to make a splash, opening with approximately $8 million. I personally loved Street Fighter, so I’m glad to see it take the top spot. But with an estimated $82 million production budget, its long-term success is far from guaranteed. What’s particularly encouraging is that audiences are showing up for very different kinds of films, from video game adaptations to unconventional documentaries. Hollywood needs that kind of variety, and I hope studios continue giving audiences more choices rather than relying on the same formulas.

Guillermo del Toro chose to employ more than 1,000 artists rather than use AI to save money. Discussing the 3D conversion of his film, del Toro revealed that he personally helped finance the process and insisted on using the same traditional techniques employed on Pacific Rim. Every frame was painstakingly converted by artists working by hand, making creative decisions rather than relying on AI-generated shortcuts. And for del Toro, the decision wasn’t simply about preserving artistic integrity. It was also about protecting the people and craftsmanship behind filmmaking. Those artists will now have the opportunity to pass their skills on to the next generation. I’ve always admired del Toro, not just for his extraordinary imagination, but for his commitment to the artists who bring his visions to life. As AI becomes increasingly prevalent in Hollywood, I think it’s important to recognize filmmakers who are willing to invest in human creativity. Because preserving the future of cinema also means preserving the people who make it possible.

Ben Affleck won’t even take Martin Scorsese’s call. Affleck revealed that he’s reached a point in his career where even the opportunity to work with a legendary filmmaker like Scorsese wouldn’t necessarily convince him to accept a role. He acknowledged that passing on such an opportunity might mean missing out on a great film, but he wouldn’t have any lasting regrets. I actually admire that perspective. Hollywood places enormous value on ambition and professional success, but Affleck recognizes that constantly chasing the next opportunity comes at a personal cost. And after decades in the entertainment industry, he’s earned the right to decide what matters most. Sometimes the biggest career move is knowing when to say no.