Rohan Naahar is a News Writer for Collider. From Francois Ozon to David Fincher, he'll watch anything once. He has covered everything from Marvel to the Oscars, and Marvel at the Oscars. He also ...

No less imaginative is the importation of the story from Europe to midcentury America. This allows the film to include among its sights rollicking nightclubs, decadent parties, and grand movie palaces ...

The Organless Corpse is a required puzzle in Resident Evil Requiem's Care Center, required to complete Grace's "Find the 3 Quartz" objective. To learn more about the game up to this point, see the ...

In “The Bride!” Maggie Gyllenhaal fails to breathe new life into a classic source material. Landing in theaters March 6, actress and filmmaker Maggie Gyllenhaal’s sophomore directorial project trips ...

Frankenstein and his Bride become an undead Bonnie and Clyde in Maggie Gyllenhaal’s riot grrl take on the story. Credit: Courtesy of Warner Bros. Mary Shelley (Jessie Buckley) is dead, but she has ...

Maggie Gyllenhaal's "The Bride!" is a big, brash swing at a new "The Bride of Frankenstein" that struggles to cohere its many parts. But I'll say this for it: It's alive. Just months after Guillermo ...

With just $13.5 million globally against an $80 million production budget, Maggie Gyllenhaal's film is shaping up to be one of the bigger flops of 2026. For Warner Bros., it ends a streak of nine ...

It isn’t much of a hot take to suggest this, but the only classic Universal monster movie better than James Whale’s 1931 Frankenstein is his 1935 sequel, The Bride of Frankenstein. In fact, the only ...

Jessie Buckley in 'The Bride!' Warner Bros. It was a complete rejection by moviegoers around the world this weekend as Maggie Gyllenhaal‘s $80 million bride of Frankenstein monster movie The Bride!

Pixar's latest movie, Hoppers, is exceeding expectations at the North American box office after being hailed by critics as one of the studio's best movies yet. The movie has also been awarded a ...

Director Maggie Gyllenhaal tells IndieWire about developing a visual language that brings a monstrous magic to IMAX. When Maggie Gyllenhaal started prep on “The Lost Daughter,” one of the first things ...