As Olivia Wilde prepares for her sophomore feature film directorial debut with “Don’t Worry Darling,” she aspires to match, or even surpass, the extremely positive audience reaction from her first feature, “Booksmart.” However, despite Wilde’s artistic credibility, the discourse following the film’s premiere at the Venice Film Festival, both public and critical, primarily concerns the drama between the main cast and director rather than the content of the film. Although there is no specific person to blame for the complete mess that was this film’s premiere, the different scandals all lead back to one common factor: Olivia Wilde herself. Although she could be to blame for the spectacle, one can't help but wonder if it would all be as big of a deal if the director was a man.

“The Northman” is a masterful film for Eggers that showcases his capabilities with a greater budget than his previous works. Despite going from A24’s niche distribution to major studio backing from Focus Features, Eggers maintains the artistic flourishes that made his first two films worthy of acclaim. This film is an unforgettable experience that will stay with viewers for some time after watching.

The Seahawk’s staff writers Eriq Dixon and Boyce Rucker share their own predictions for the 2022 Oscars. Being impassioned film-watchers, their dialogue promotes the deservance of respective films, performances, screenplays and their cultural significance. They focus here on the “Big Five” award categories, including Best Picture, Best Actor, Best Actress, Best Screenplay (Original or Adapted) and Best Director, in making their predictions.

“Deep Water” is an underwhelming and unfulfilling thriller that offers no suspense or closure. It’s hard to invest in when its characters and story fall flat. The film drowns in mediocrity as it fails to capitalize on the opportunities to make it strong, particularly in Affleck and de Armas.

Going through “Euphoria” withdrawal? Not to worry, there are plenty of other options to hold us over until the show returns. Whether we watch “Euphoria” for its adolescent themes, striking visuals,...

"Turning Red" may not be Pixar’s most amazing film despite what it does offer. It’s childishly entertaining, easy on the eyes and features memorable characters that are sure to win the hearts of many. However, because the story fails to make any real attempt at a subtle approach to its theme, it loses emotional impact. It’s truly unfortunate that “Turning Red” is only a good movie when it could have been a great one.

“The Batman” is not just one of the best Batman movies in years, but one of the best noir stories in recent memory. With due respect to what came before, Reeves adapts elements of the Batman mythos with sleek precision and care. Pattinson is riveting as the world’s greatest detective, portraying him as a broken man beneath a hard-boiled shell. If one were to watch “The Batman” without seeing its predecessors, they might think this is the first Batman film ever made, as it gives a deeper understanding of the character than ever before.

The opening of “Moonfall” seems to offer a movie that isn’t great, but something worth the watch before reality sets in midway through. It is at least entertaining in the sense that it is something to laugh at, but even this is not enough to move past the antsy boredom audiences are likely to feel by the end.

Reboots can be tiresome, especially as we approach the second Batman recasting over the past decade, but they can also lead to the most invigorating visions. It is true that movie studios and screenwriters should focus on more original ideas, but movie reboots are not something that should be dismissed immediately. Reboots such as “Batman Begins,” “Spider-Man: Homecoming,” and “Rise of the Planet of the Apes” show us that reboots can be the best thing for a franchise when done correctly. Instead of viewing each reboot with dismay once they come to our attention, we can view it with curiosity. If we ever find ourselves disappointed or unimpressed by a reboot, then we can always go back to the original.

Eleven years after the release of its fourth installment, Wes Craven’s “Scream” franchise makes a triumphant return in “Scream” (2022). As a series known for its metacommentary and satirical spin on horror clichés and stereotypes, the new entry uses this feature to great advantage and maintains a unique freshness. Directing duo Matt Bettinelli-Olpin and Tyler Gillett inherited the franchise from Craven, who passed away in 2015. While the film is dedicated to Craven, the two introduce new characters and ideas to the franchise that remain faithful to the late filmmaker's legacy. As being part of a cross-generational franchise, the film blends together Generation Z culture elements and classical conventions of slasher horror films. The result is an installment that is nostalgic, yet fresh and presents enough twists to not become a cliché itself.

“The Matrix Resurrections” does not recapture the intrigue and mystery of the 1999 film, but it does recognize this in a meta fashion and it shows that it is still a world worth exploring. The film will be divisive among long-time fans, but it stands apart as an interesting approach to the matrix canon.