Jujutsu Kaisen: The Culling Game Part 1 has finished airing its seventh episode, and with it has taken a two-week break before the premiere of the eighth. Having waited over two years for the long-awaited continuation and evolution of the series’ story, most fans of Jujutsu Kaisen were quick to jump back in either with the individual episodes’ premieres or the Shibuya Incident compilation film in theaters. Though, a new season of the show also invites new viewers to catch up on the story with all that’s released so far before this new season concludes, presumably sometime in April or May assuming this cour contains around 13 episodes. I’m one of these new faces to the series—though my friends did put on Jujutsu Kaisen 0 in the background once when we hung out—and I’m glad to finally be in the know on what about this series makes people come back for more.
Jujutsu Kaisen doesn’t hit the ground running in the first season with how layered its writing and fight scenes later become, but this feels like a strategic way of showrunning in hindsight. A majority of the characters viewers will be drawn to are introduced or alluded to in the first season and early in the second season, letting us get attached before every single one of them are subjected to cosmic-level horrors that leave the streets bathed in blood. The main protagonist Yuji Itadori is a character that especially surprised me in this regard; Itadori starts off a bit clumsy and goofy, but the later events of the show forcing him to take agency and own what he’s become as a jujutsu sorcerer really struck a chord with me. I also find myself drawn to Toge Inumaki, one of Yuji’s upperclassmen who speaks only in rice ball ingredients to conceal his cursed speech abilities.
Later bits of the show have these really effective moments of quiet that make the viewer feel as vulnerable as the human lives at stake in the series. However, moments of loud, violent chaos are always justified, accompanied by some of the most gorgeous fight scene work I’ve seen in a modern anime (though somehow I’ll still find a way to plug the Ranma 1/2 reboot here). The amount of passion put forth in the animation, voice work, and characterization during these segments always gives this invigorating feeling where I want to root for someone to win that much more, and if they lose? That’s where those moments of quiet seep back in, to make things feel as hopeless and bleak as the antagonists make it out to be.
The passion goes both ways. The following Jujutsu Kaisen has grown this decade has been unlike anything I’ve seen in recent memory, an infectious energy with absolutely electric momentum that keeps you watching until your team’s on their last breath. The exposition can get a little wordy, so it’s important to keep your eyes glued and not miss one bit. In a little while, you’ll find yourself in the midst of the Shibuya incident with the team, questioning just where things will go from here. The Culling Game itself is great so far, it reminds me a lot of the World Martial Arts Tournament from Dragon Ball, though closer to the instances Cell and King Piccolo held. If this part of the Culling Game ends with the same ferocious passion both last season and that arc of Dragon Ball had, we’re in for some great TV this spring.
Jujutsu Kaisen – The Culling Game: Part 1 is now available to stream on Crunchyroll.
Hello everybody, and thank you for even just CLICKING on this article about Iron Lung and its director Mark Fischbach’s success in spite of the system placed before him.
David Syzmanski’s game the film adapts is similarly a self-produced venture, even self-published by Syzmanski on the Steam storefront. There’s something that feels right, that feels full-circle about the film taking a similar approach to its own distribution. No big names or studios were attached to Fischbach’s Iron Lung from pre-production to release, and it shows from the moment the film begins. No vanity cards or companies precede the start of the film, its contents are an uncompromised effort from Mark to pay loving tribute to the indie game. The set of the Iron Lung submarine itself is essentially a one-to-one recreation of its appearance in-game. The film taking place entirely within its confines with one observant, stir-crazy convict makes it feel like a bottle movie along the likes of Hitchcock’s Rear Window. The raw creative control and passion displayed onscreen is palpable and made for the main reason I went to go see the film, and that’s what this article is really about.
Markiplier’s ascent on YouTube has been great to see from the time I was a kid to right now. Now, his ascent in the box office this past weekend has become emblematic of something bigger. Against big names like Sam Raimi releasing his new original Send Help the same weekend, Fischbach was able to gross over $21 million in one weekend from Iron Lung‘s limited release in over 4,000 locations from an initial 50. All of this was possible through word-of-mouth, fan and community support. A majority of people who went to see Iron Lung, especially the night of the premiere, were fans of the Markiplier channel. As a community, though, this film means so much more than just a YouTuber hitting the big screen.
Iron Lung is a win for independent filmmakers nationwide. There are dedicated indie film studios helping creators fulfill their visions (Neon, A24, Blumhouse fittingly has some adjacent horror adaptations), but a release like this so successful with no marketing or outside help shows the unrelenting passion behind all involved. The cast and crew aboard Iron Lung, as well as each and every audience member who took the time to head to the theater, bringing as many crewmates with them as possible. It was with their help Iron Lung briefly became the #1 movie in America, exceeding a day’s earnings ahead of any and every major studio release debuting the same weekend.
Iron Lung is out now in theaters. We hope you’ll see it.
by D.S. Foster
Sr. Director of Digital Distribution, Invincible
Glad to see The Secret Agent make it into Best Picture. I sincerely hope it wins that best casting award. Every extra looks like they’ve never seen the internet.
F1 receiving a Best Picture nomination over It Was Just An Accident and Weapons speaks to the sheer strength of Apple’s campaigning. I love me some Brad Pitt and any film that pushes both production technology and the mainstream viewing experience forward… but F1 was not, and very far from being Days of Thunder.
The fact that Avatar: Fire and Ash couldn’t make the cut as this year’s spectacle pick, despite recency bias, underlines the rather cold reception to James Cameron’s latest chapter in his “too big to fail” but mindful sci-fi saga.
Big and joyful admiration for Sentimental Value. The mumblecore crowd wishes they had films that could feel like European art-house cinema. Very glad Joachim Trier made the cut over Guillermo del Toro this year. Shame that Jafar Panahi or Kleber Mendonça Filho couldn’t join him in the accolades.
Speaking of del Toro, I do not understand the love for his vanity-project-adaptation of Frankenstein beyond its wholly embodied performance from Jacob Elordi. To wash technical nominations over Weapons (urban legend 101 and a masterclass in screen geography), The Secret Agent, It Was Just An Accident, Sirat, and No Other Choice is objectively bizarre. In its scope and scale and versicolor palette, Frankenstein lacks the visceral photographic texture that has made del Toro’s visual aesthetics one of Mexican cinemas most immediately identifiable.
What can this cinephile say about Train Dreams other than Joel Edgerton is one of the most underrated and under celebrated actor/filmmakers in contemporary cinema and Train Dreams was a solid meditation on a time and life I have no interest in. As far as I could tell, for boilerplate dramas about laying tracks and railroad construction, this was a movie.
With Frankenstein and Train Dreams, distributing both weakest Best Picture nominees is certainly a feat for NETFLIX. One imagines what they might have been able to accomplish this year had they traded slates with NEON (or as I refer to as, “the superior A24“).
Wicked: For Good justifiably shutout of competition entirely, is… incredibly welcomed. If that’s the price for snubbing The Testament of Ann Lee I’ll take it.
The absence of Marty Supreme in the Original Score category might be the most baffling snub of the season, however, receiving attention in technical categories, unlike Josh Safdie’s almost perfect slice of anxiety, Uncut Gems, is righteous.
Delroy Lindo’s acknowledgement in the Supporting Actor category is long overdue. He should’ve been bestowed the laurels of his profession back in the 90’s, consistently since then… and The Academy seems to adore Sinners far more than its precursors (From Dusk Till Dawn and Ganja & Hess). The sheer number of nominations it received is likely to cause talking heads to spin and none will spin faster than those whose reading of the film was a superficial take-away on critical race theory, rather than an arguably flawed American masterpiece; a musical-survival-horror about fellowship, culture, and community, with vampires in it. For a film like Sinners, that it was even made is what matters and that it was made as well as it was is the cherry on top.
A lot more Bugonia than I was expecting. I love Yorgos Lanthimos, but I’m not Greek and to be fair, you have to have a very Greek I.Q. to fluently comprehend his narrative voice.
Amy Madigan better win in Supporting Actress!!! One of the joys of the awards season is watching an absolute wild card make their way into consensus territory, and for a genre-flick… its even sweeter.
This is only a start and there’s still a long way to go, of course, but for a genre where once its audience had accepted that it could not have nice things, Horror is finally making genuine inroads in terms of recognition in prestige filmmaking. The (expected) snubs of Jennifer Lawrence for Die My Love and Sally Hawkins for Bring Her Back aptly highlight this.
Exposure for The Voice of Hind Rajab and its recognition in International Film is important beyond words.
On Thursday, the Academy officially unveiled their list of nominees for the 98th Annual Academy Awards, presented by Danielle Brooks and Lewis Pullman. Like the previous year, the Oscars are set to be streamed live on both ABC and Hulu at 7pm EST on Sunday, March 15th, 2026. Whether you’re a casual viewer rooting for your favorite movie of 2025 or participating in the annual “Oscars death race”, we’ve compiled a list of all nominees in each category to help you keep score. Here are the nominees in their respective categories:
Best Picture
- Bugonia (Ed Guiney & Andrew Lowe, Yorgos Lanthimos, Emma Stone and Lars Knudsen)
- F1 (Chad Oman, Brad Pitt, Dede Gardner, Jeremy Kleiner, Joseph Kosinski and Jerry Bruckheimer)
- Frankenstein (Guillermo del Toro, J. Miles Dale and Scott Stuber)
- Hamnet (Liza Marshall, Pippa Harris, Nicolas Gonda, Steven Spielberg and Sam Mendes)
- Marty Supreme (Eli Bush, Ronald Bronstein, Josh Safdie, Anthony Katagas and Timothée Chalamet)
- One Battle After Another (Adam Somner, Sara Murphy and Paul Thomas Anderson)
- The Secret Agent (Emilie Lesclaux)
- Sentimental Value (Maria Ekerhovd and Andrea Berentsen Ottmar)
- Sinners (Zinzi Coogler, Sev Ohanian and Ryan Coogler)
- Train Dreams (Marissa McMahon, Teddy Schwarzman, Will Janowitz, Ashley Schlaifer and Michael Heimler)
Best Directing
- Chloé Zhao (Hamnet)
- Josh Safdie (Marty Supreme)
- Paul Thomas Anderson (One Battle After Another)
- Joachim Trier (Sentimental Value)
- Ryan Coogler (Sinners)
Best Actor in a Leading Role
- Timothée Chalamet (as Marty Mauser in Marty Supreme)
- Leonardo DiCaprio (as “Ghetto” Pat Calhoun in One Battle After Another)
- Ethan Hawke (as Lorenz Hart in Blue Moon)
- Michael B. Jordan (as the Smokestack Twins in Sinners)
- Wagner Moura (as Armando Solimões in The Secret Agent)
Best Actress in a Leading Role
- Jessie Buckley (as Agnes Shakespeare in Hamnet)
- Rose Byrne (as Linda in If I Had Legs I’d Kick You)
- Kate Hudson (as Claire “Thunder” Sardina in Song Sung Blue)
- Renate Reinsve (as Nora Borg in Sentimental Value)
- Emma Stone (as Michelle Fuller in Bugonia)
Best Actor in a Supporting Role
- Benicio del Toro (as Sergio St. Carlos in One Battle After Another)
- Jacob Elordi (as the Creature in Frankenstein)
- Delroy Lindo (as Delta Slim in Sinners)
- Sean Penn (as Colonel Steven J. Lockjaw in One Battle After Another)
- Stellan Skarsgård (as Gustav Borg in Sentimental Value)
Best Actress in a Supporting Role
- Elle Fanning (as Rachel Kemp in Sentimental Value)
- Inga Ibsdotter Lilleaas (as Agnes Borg Petterson in Sentimental Value)
- Amy Madigan (as Gladys in Weapons)
- Wunmi Mosaku (as Annie in Sinners)
- Teyana Taylor (as Perfidia Beverly Hills in One Battle After Another)
Best Original Screenplay
- Robert Kaplow (Blue Moon)
- Jafar Panahi w/ Nader Saïvar, Shadmehr Rastin, & Mehdi Mahmoudian (It Was Just An Accident)
- Ronald Bronstein & Josh Safdie (Marty Supreme)
- Eskil Vogt & Joachi Trier (Sentimental Value)
- Ryan Coogler (Sinners)
Best Adapted Screenplay
- Will Tracy (Bugonia, original story by Jang Joon-hwan)
- Guillermo del Toro (Frankenstein, original story by Mary Shelley)
- Chloé Zhao & Maggie O’Farrell (Hamnet, original story by O’Farrell)
- Paul Thomas Anderson (One Battle After Another, original story by Thomas Pynchon)
- Clint Bentley & Greg Kwedar (Train Dreams, original story by Denis Johnson)
Best Animated Feature
- Arco (Ugo Bienvenu, Félix de Givry, Sophie Mas and Natalie Portman)
- Elio (Madeline Sharafian, Domee Shi, Adrian Molina and Mary Alice Drumm)
- KPop Demon Hunters (Maggie Kang, Chris Appelhans and Michelle L.M. Wong)
- Little Amélie or the Character of Rain (Maïlys Vallade, Liane-Cho Han, Nidia Santiago and Henri Magalon)
- Zootopia 2 (Jared Bush, Byron Howard and Yvett Merino)
Best International Feature Film
- The Secret Agent (Brazil)
- It Was Just An Accident (France)
- Sentimental Value (Norway)
- Sirāt (Spain)
- The Voice of Hind Rajab (Tunisia)
Best Documentary Feature Film
- The Alabama Solution (Andrew Jarecki and Charlotte Kaufman)
- Come See Me in the Good Light (Ryan White, Jessica Hargrave, Tig Notaro and Stef Willen)
- Cutting through Rocks (Sara Khaki and Mohammadreza Eyni)
- Mr. Nobody against Putin (TBA)
- The Perfect Neighbor (Geeta Gandbhir, Alisa Payne, Nikon Kwantu and Sam Bisbee)
Best Documentary Short Film
- All the Empty Rooms (Joshua Seftel and Conall Jones)
- Armed Only with a Camera: The Life and Death of Brent Renaud (Craig Renaud and Juan Arredondo)
- Children No More: “Were and Are Gone” (Hilla Medalia and Sheila Nevins)
- The Devil Is Busy (Christalyn Hampton and Geeta Gandbhir)
- Perfectly a Strangeness (Alison McAlpine)
Best Live Action Short Film
- Butcher’s Stain (Meyer Levinson-Blount and Oron Caspi)
- A Friend of Dorothy (Lee Knight and James Dean)
- Jane Austen’s Period Drama (Julia Aks and Steve Pinder)
- The Singers (Sam A. Davis and Jack Piatt)
- Two People Exchanging Saliva (Alexandre Singh and Natalie Musteata)
Best Animated Short Film
- Butterfly (Florence Miailhe and Ron Dyens)
- Forevergreen (Nathan Engelhardt and Jeremy Spears)
- The Girl Who Cried Pearls (Chris Lavis and Maciek Szczerbowski)
- Retirement Plan (John Kelly and Andrew Freedman)
- The Three Sisters (Konstantin Bronzit)
Best Music (Original Score)
- Bugonia (Jerskin Fendrix)
- Frankenstein (Alexandre Desplat)
- Hamnet (Max Richter)
- One Battle After Another (Jonny Greenwood)
- Sinners (Ludwig Goransson)
Best Music (Original Song)
- “Dear Me” from Diane Warren: Relentless (Diane Warren)
- “Golden” from KPop Demon Hunters (EJAE, Mark Sonnenblick, Joong Gyu Kwak, Yu Han Lee, Hee Dong Nam, Jeong Hoon Seo and Teddy Park)
- “I Lied to You” from Sinners (Raphael Saadiq and Ludwig Goransson)
- “Sweet Dreams of Joy” from Viva Verdi! (Nicholas Pike)
- “Train Dreams” from Train Dreams (Nick Cave & Bryce Dessner; lyrics by Nick Cave)
Best Sound
- F1 (Gareth John, Al Nelson, Gwendolyn Yates Whittle, Gary A. Rizzo and Juan Peralta)
- Frankenstein (Greg Chapman, Nathan Robitaille, Nelson Ferreira, Christian Cooke and Brad Zoern)
- One Battle After Another (José Antonio García, Christopher Scarabosio and Tony Villaflor)
- Sinners (Chris Welcker, Benjamin A. Burtt, Felipe Pacheco, Brandon Proctor and Steve Boeddeker)
- Sirāt (Amanda Villavieja, Laia Casanovas and Yasmina Praderas)
Best Production Design
- Frankenstein (Tamara Deverell and Shane Vieau)
- Hamnet (Fiona Crombie and Alice Felton)
- Marty Supreme (Jack Fisk and Adam Willis)
- One Battle After Another (Florencia Martin and Anthony Carlino)
- Sinners (Hannah Beachler and Monique Champagne)
Best Cinematography
- Frankenstein (Dan Laustsen)
- Marty Supreme (Darius Khondji)
- One Battle After Another (Michael Bauman)
- Sinners (Autumn Durald Arkapaw)
- Train Dreams (Adolpho Veloso)
Best Makeup and Hairstyling
- Frankenstein (Mike Hill, Jordan Samuel and Cliona Furey)
- Kokuho (Kyoko Toyokawa, Naomi Hibino and Tadashi Nishimatsu)
- Sinners (Ken Diaz, Mike Fontaine and Shunika Terry)
- The Smashing Machine (Kazu Hiro, Glen Griffin and Bjoern Rehbein)
- The Ugly Stepsister (Thomas Foldberg and Anne Cathrine Sauerberg)
Best Costume Design
- Avatar: Fire and Ash (Deborah L. Scott)
- Frankenstein (Kate Hawley)
- Hamnet (Malgosia Turzanska)
- Marty Supreme (Miyako Bellizzi)
- Sinners (Ruth E. Carter)
Best Film Editing
- F1 (Stephen Mirrione)
- Marty Supreme (Ronald Bronstein and Josh Safdie)
- One Battle After Another (Andy Jurgensen)
- Sentimental Value (Olivier Bugge Coutté)
- Sinners (Michael P. Shawver)
Best Visual Effects
- Avatar: Fire and Ash (Joe Letteri, Richard Baneham, Eric Saindon and Daniel Barrett)
- F1 (Ryan Tudhope, Nicolas Chevallier, Robert Harrington and Keith Dawson)
- Jurassic World Rebirth (David Vickery, Stephen Aplin, Charmaine Chan and Neil Corbould)
- The Lost Bus (Charlie Noble, David Zaretti, Russell Bowen and Brandon K. McLaughlin)
- Sinners (Michael Ralla, Espen Nordahl, Guido Wolter and Donnie Dean)
Best Casting
- Hamnet (Nina Gold)
- Marty Supreme (Jennifer Venditti)
- One Battle After Another (Cassandra Kulukundis)
- The Secret Agent (Gabriel Domingues)
- Sinners (Francine Maisler)
And with that, our list of nominees for the 98th annual Academy Awards comes to a close. Did your favorite of the year make it in, or are you taking interest in any new titles you saw? This year’s frontrunner is Ryan Coogler’s Sinners with a record-breaking 16 total nominations, blowing past the likes of All About Eve, Titanic, and La La Land which previously held the record with 14 total nominations each. Additionally, this round of Oscars brings a new category for the first time since 2001, Best Casting. As the clock ticks towards the ceremony on March 15th, we’ll keep you posted on all the show’s latest happenings and developments. Happy viewing! We’ll see you there.
Nearly three years ago, we published our review of Blumhouse’s first Five Nights at Freddy’s film ahead of the Halloween season. As someone who got into the franchise in its infancy, I was looking forward to seeing how they would scale up for the second film. After all, the second game in the series itself was one I remember improving upon and expanding on almost every concept explored in the first game, a feat I’d consider the sequel a better game overall for. Going into the sequel of the film adaptation, I was really hoping it would be sized up in all the best ways in that regard, right down to ending on my favorite song The Living Tombstone has produced of the franchise, It’s Been So Long.
At least they got that last one right.
As a game, Five Nights at Freddy’s 2 puts all the control at the player’s fingertips to man their station and put up a fight against an overwhelming amount of new and old faces. The new mechanics introduced are genius in how they both add strategy and aid in the story’s first attempt at some serious worldbuilding. As a movie, Five Nights at Freddy’s 2 feels multiple steps back from its predecessor, which is already a bad sign since, as stated in our original review’s title, Five Nights at Freddy’s isn’t perfect itself. Though, we also mentioned in the title that it’s okay it’s not perfect. Every franchise (even specifically video game adaptation franchise) has some growing pains it and its audience need to bear before hitting the ground running.
So can someone please explain why it feels like nothing happens in this film? Be warned we’re getting into spoiler territory with this review. I’m sorry, I try to keep these reviews mostly free of spoilers, but I need to fully rip into this one because it’s just so baffling to me.
Michael Afton (Freddy Carter) being separated as a character from Mike Schmidt (Josh Hutcherson) is a fine change. That doesn’t bother me so much as his motivations are just outright stated with no definitive reasoning. Was there any conditioning or psychological torture that led him to be so accepting and willing to carry William Afton’s (Matthew Lillard) legacy on? Are we just supposed to accept Vanessa’s (Elizabeth Lail) evil brother she never mentioned has been waiting this whole time for more people to come to the original abandoned flagship location? I know that sentence just went on and on horrendously, but that’s seriously the ACTUAL justification we’re fed and meant to accept.
Nothing in this movie feels like it matters. The toy animatronics are tearing up the whole neighborhood targeting childrens’ families, and Vanessa is still the only officer on the scene? With how much the adults of the town seem to condemn Fazfest, heightened police activity should be a given. Oh, sorry I forgot the adults in this movie are useless and don’t do anything. Mike doesn’t take what Abby (Piper Rubio) says seriously, and even the opening scene with the marionette features a million unhelpful adults who won’t take Charlotte (Audrey Lynn-Marie) seriously. This movie feels like it’s actively AGAINST progressing the plot in any satisfying way. Every beat of the antagonists’ plot continues on without a hitch until the last act where Mike rushes through the FNAF 2 gameplay loop and rushes back to his house to fight the toy animatronics and Michael Afton with Vanessa. And then the classic animatronics from the first film/game show up to defend the Schmidt family (from the “franchise location” as they call it in this film) before they shut down and the childrens’ spirits… go to heaven or something? It felt like a hamfisted attempt at resolving an unfinished business storyline that either didn’t fully develop or I didn’t care about at all.
Letting Scott Cawthon (the creator of the game series) in the writer’s room is something I hope to myself isn’t the core problem with this film series, but the signs are just horrible. He has such a specific flavor of making-this-up-as-we-go that plagues specifically his work in the franchise that no one else can replicate. Good for him still having creative control, but I just don’t think he knows how to write a compelling narrative for the big screen at all. I still want to see a Five Nights at Freddy’s 3, but Scott either needs to step his game up next time, or collect his paycheck and get out now.
Five Nights at Freddy’s 2 is now playing in theaters, and is available for purchase/rental on digital platforms.
Viewers who tuned into The Game Awards 2025 this past Thursday were treated to an exclusive preview of the Street Fighter film adaptation, directed by Kitao Sakurai and set to release October 16th of 2026. Though following the premiere, the audience could never have anticipated what happened next. One by one, the announcer called the majority of the cast onstage accompanied by their respective characters’ voice clips from the original games.
As someone who’s watched the Game Awards for years, I’ve never seen any reveal go quite like this. The event, hosted by Geoff Keighley, often calls in surprise celebrity guests to surprise fans—last year Harrison Ford made a memorable appearance joining Troy Baker onstage as the two Indiana Jones actors stood side-by-side for the first time. But this? Never before did a near-full cast of their work storm the stage to present an award following their long-awaited first look. A few names were omitted, however; I was personally a bit bummed seeing Eric André (who portrays Don Sauvage) skipped the ensemble appearance. The energy he brings to any live event fills the room, whether through his spontaneity or other such chaos, and I felt he would be a perfect fit for the Game Awards stage. Kitao Sakurai, the director of the film, even directed Bad Trip starring the Adult Swim talk show host, and even served as director on said Adult Swim show.
Even still, it felt like the cast appearance had something (someone?) for everyone. One of my friends was overjoyed to see Cody Rhodes and Roman Reigns together on the stage, who play Guile and Akuma respectively. The film’s casting feels really solid for the most part, with even some of the unconventional picks firing on all cylinders in terms of how they hold themselves in the trailer and how they appear relative to their game counterparts.
After throwing some shade at the cast of the upcoming Mortal Kombat II, the cast would go on to present the award for Best Ongoing Game to Hello Games’ No Man’s Sky (2016), which has continued releasing multiple updates every year to build its world, the most recent one being Breach from October of 2025.
Street Fighter is one of the earliest names in gaming to have gotten a film adaptation, with animated and live-action features both releasing in 1994. However, this new crack at the IP started with the Philippou brothers of RackaRacka on YouTube, though more recently the two have directed Talk To Me and Bring Her Back for A24. Incidentally, the two turned down the direction opportunity in order to work on the latter. Kitao Sakurai was announced as the new director in February of 2025, and looking at his work directing The Eric Andre Show, in which things break and people get hurt every other minute, it’s safe to say he’s a great pick for a combat-focused film like Street Fighter seems to be.
Kitao Sakurai’s Street Fighter will be released in theaters by Paramount Pictures on October 16th, 2026.
Get Some Strange!
