👋 Your watchlist just got better.

• 📺 The Paper | 9.4

• 🎥 Conjuring: Last Rites | 9.5

• 🎥 Splitsville | 9.5

Plus, don’t sleep on our interview with icon Gary Oldman.

TRENDING

• 🐶 Bill Murray, Eugene Levy, Steve Martin reflect on John Candy in new doc.

• 🤼 Nic Cage training for The Wrestler before passing it to Mickey Rourke.

• 👢 Kurt Russell Joins Taylor Sheridan's 'Yellowstone' Spinoff 'The Madison.’

• 🕴️ De Niro wore +70 custom suits in Casino, designed by Giorgio Armani.

• ♾️ The Paper’s Domhnall Gleeson visited on set by Krasinski and Carell.

• 🚶 Treadmill screening of The Long Walk — 3MPH for the whole movie.

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FEATURE

 💔 Coen Bros: The Death of Creative Symbiosis

The Coen Brothers phenomenon officially dissolved after 2018's "The Ballad of Buster Scruggs," leaving fans wondering what happened to cinema's most distinctive duo.

After 35 years of collaborative genius that produced "Fargo," "No Country for Old Men," and "The Big Lebowski," Joel and Ethan went their separate ways, and the results have been... underwhelming.

The duo started directing separately in the 2020s, resulting in Joel's The Tragedy of Macbeth (2021) and Ethan's Jerry Lee Lewis: Trouble in Mind (2022) and Drive-Away Dolls (2024).

While Joel's Shakespeare adaptation showed technical competence, it lacked the brothers' signature spark. Meanwhile, Ethan embarked on what he calls a "lesbian B-movie trilogy" with wife Tricia Cooke, producing increasingly disappointing results.

Recent Solo Struggles:

• Drive-Away Dolls (2024): 5.4/10 on IMDb, described as "tonally shaky and almost flagrantly pointless"

• Honey Don't (2025): 5.6/10 on IMDb, with critics calling it "disparate parts and desperate measures"

• The Tragedy of Macbeth (2021): Acclaimed but emotionally distant

In 2025, Ethan Coen acknowledged the hiatus since the brothers' last collaboration, saying they were "out of sync" due largely to the COVID-19 pandemic.

Though they're reportedly writing a horror film together, their creative symbiosis appears broken.

The magic that made them cinema legends seems to require both brothers—separately, they're merely competent filmmakers making forgettable genre exercises.

The cruel irony: their individual weaknesses perfectly complemented each other's strengths.

…but this gives us some hope.

PUNCHLINES