Attention replicants: the year 2049 is just days away, at last, and the longest shoot of Denis Villeneuve’s life is soon to see the light. Still skeptical about a Blade Runner reboot? This VICE Talks Films behind-the-scenes shoot may sway you; it just all looks so very cool.

Oh hai, Mark. Tommy Wiseau’s The Room now has its own star-studded tribute, The Disaster Artist, courtesy of James Franco. As well as directing, he also takes the lead role of Tommy Wiseau, one of cinema’s greatest unintentional trash stars. On Letterboxd, The Room has been called “the Citizen Kane of bad movies”, the “5-star film trapped in the body of a zero-star film”, and also, possibly, a film that passes the Bechdel Test. You have so … many … questions about The Room. We have so few answers.

Big-time directors love them a little Brian Selznick. The author and illustrator’s novel The Invention of Hugo Cabret became Martin Scorsese’s Hugo, and now Todd Haynes’ adaptation of Selznick’s Wonderstruck is about to hit screens, with Julianne Moore and Michelle Williams amongst the adult cast. Early Letterboxd reviews call it “completely magical” and “hypnotic in the most delightful way”.

Liam Neeson is going off the rails! The accidental action hero stars in crime conspiracy train thriller The Commuter, out in early 2018. Hey, didn’t he just say he was going to quit action films (“Guys, I’m sixty-f*cking-five”)? And didn’t he also say two years ago that he only had two more years in him? Never stop, Liam Neeson. Never. Stop.

The first trailer for Wes Anderson’s Isle of Dogs is out and it looks absolutely, barkingly delightful. (Unlike the trailer for Peter Rabbit, which has taken Beatrix Potter’s gentle classic and turned it into some sort of woodland animal frat party.) We love dogs too, Wes.

“Art house torture p*rn. F*ck off with using women this way, seriously. As a man who loves horror movies I have to give them a lot of (often unearned) leeway in how women are treated. It is something I don’t find particularly honorable about myself, but I accept it. However, this is one of two movies (Hostel 2 being the other) that’s one-scene treatment of an actress as a human made me so violently angry, in this case causing me to reject completely what is otherwise an interesting, if highly pretentious movie (not the case with Hostel 2, it sucked anyway)… This is not a mirror for us as humans, rather only a mirror for the filmakers’ toxic participation in our society’s ongoing degradation of women. Unacceptable.” —J

“The most appropriate use of an exclamation point in movie title history. Subtlety is nowhere to be found here. Mother! is an assault on your senses. It is the living embodiment of extra and it is all the better for it. Its metaphors are blatant, but why shouldn’t they be? What reason is there to beat around the (burning) bush? Aronofsky has a point to make, and he is making it loud and clear.” —Chris Vallée

“In place of rapey anal jokes (unless you count the title), we’ve got an extended fingering gag! They may dress like it, but none of the characters or the makers of this repellent trash [has] any class or clue about acting like a gentleman. For a second time, Matthew Vaughn tries to sell us on the idea of Colin Firth’s Harry Hart being a firm believer of ‘manners maketh man’, but these are empty words… And just because it’s Elton John dropping violently lairy F-bombs doesn’t make them funnier, it only confirms what a sad, ugly spectacle this is, and what a shameful one for the likes of Firth, Jeff Bridges and Julianne Moore to even be involved with in the first place—though I’ve got to hand it to Moore, she makes a great supervillain, one the film frankly doesn’t deserve.” —Timothy Evans

“Honestly 3.8 stars but the extra is to make up for all the super harsh reviews! Are you looking for an award-winning drama? Why the hate? This was a f*cking rodeo and I loved it. I have my own spoilery dislikes, but I enjoy seeing well dressed assassins with big names. And cool gadgets! I love the way the film sets up your expectations and then delivers a payoff. It’s not predictable if it’s delivered before I know it’s coming.” —EmilyAnn

“Watching this movie for the first time in a decade is super-weird. It feels like the culmination of a bunch of ’90s trends—anti-government paranoia, end-of-history philosophizing, leather trench coats—but at the same time was really refreshing cinematically because it didn’t feel like action movies at the time.

“…A lot of the wish-fulfilment feels more sour these days, especially the more sheeple-ish rhetoric. Like South Park nihilism, Matrix condescension seems like an out for alienated dudes upset they didn’t get the girlfriend or life they were promised. Still, between this and LOTR, Hugo Weaving makes you wish they handed out an academy award for making the most of stilted dialogue. And man, the movie is still burned into my memory from dozens of times rewatching the DVD.” —Greg Brown

“Muppet Caper is definitely a lesser Muppet movie for me, but there is still a lot to like here. It’s shaggier and less consistently funny than Take Manhattan, and it also doesn’t have the raw, heart-on-its-sleeve emotion of The Muppet Movie, but more so than any of the other films, it has that unique, anarchic strangeness that defined The Muppet Show. Perhaps that’s the result of this being the only feature that was directed by Jim. Stuff like the repeated absurdity of Kermit and Fozzie playing identical twins are all-time great gags, and more than make up for the stretches where the movie is just a little bit dull. All of that being said, the human-proportioned Miss Piggy riding a motorcycle is one of the most horrifying images ever committed to celluloid.” —David Daut

“Very, very odd. Structured like a slasher, shot like a noir, and written like a very, very sick comedy. Gorgeous cinematography, exceedingly silly jokes, and some legitimately disgusting gore moments add up to a strange package, but definitely a satisfying one.” —Death Pincus: The Ev That Eats

“Belongs right up there alongside The Sweet Smell of Success as a meditation on the nature of power and the public in mid-twentieth century America. Andy Griffith’s performance is shockingly visceral and utterly convincing—it’s as if he put so much into this role that he had to spend the rest of his career just recovering in the chill out room of television.” —Khoi Vinh

News of Linda Hamilton’s return to the Terminator franchise as Sarah Connor has us pretty excited. Deadpool director Tim Miller will direct the new film, part one of a planned new trilogy, and Arnie has long been on board. On that note, Rookie is calling for contributions to her Lady Terminators list, “an expansive list of women who are both the immoveable object and the unstoppable force”.

What do Aronofsky’s Mother!, Campion’s In The Cut, Hardy’s The Wicker Man and Tarkovsky’s Solaris have in common? They are four of only 19 films to have earned an F from CinemaScore since it started keeping records of moviegoers’ opening night reactions 30 years ago. Alongside predictable horror films, the F score movies feature Oscar winners, marquee stars and seemingly conventional multiplex set-ups. What goes wrong? CinemaScore’s secret algorithm unveils a “misleading auterism”—combined with misleading marketing—that ultimately confuses audiences. Read more in Kevin Lincoln’s story for Vulture.

Fancy watching a Japanese comedy but don’t know where to start? Letterboxd user Matteo, who lives in Japan, compiled this handy list with the help of a bunch of cinema lovers. “Humor is very personal, and since the list was made by several people it is by no means a list of ‘the best/greatest Japanese comedies of all time’,” says Matteo, but it’s a good opportunity to discover Japanese films in a genre they’re usually not known for outside the archipelago.

We always enjoy a good F-bomb from George Clooney. DAD.