The “goat” is a relatively new slang term, an acronym short for “The Greatest of All Time.” It’s typically used as a compliment when referring to the top figure in a particular professional field. For instance, one could declare Michael Jordan as the “goat” not only for his place among the greatest basketball players to ever play the game but also for his pop-culture impact as a commercial and entertainment icon. One could also be bold enough to say that Michael Jordan paved the way for basketball stars to turn their celebrity into film-industry opportunities, such as the blockbuster Space Jam.
Well, NBA superstar Stephen Curry is certainly following in Jordan’s footsteps outside the court, as he too has entered Hollywood with his own animated sports project. And it’s a film that plays with the term “the goat” in a literal sense. Like Space Jam before it, this upcoming animated romp reimagines the game of basketball through the eyes of wild, larger-than-life cartoon animal characters, where the “goat” is not only a goat who can ball but an underdog determined to prove that even the smaller players can hoop with the best of them.
Brought to you by Sony Pictures Animation, the studio behind Spider-Man: Across the Spider-Verse, and from the same artists behind the hit anime musical KPop Demon Hunters, get ready to be swept up by the rise of an unlikely basketball star in GOAT, a wild, all-animal action-comedy that asks the simple question: what if a literal goat became the greatest of all time?
Stranger Things breakout Caleb McLaughlin lends his voice to Will, a scrappy young goat with hoop dreams way bigger than his stature. When given the shot of a lifetime, he’s recruited into the pros to play roarball, a co-ed, full-contact, high-velocity sport dominated by predators who look at him less like a teammate and more like a snack during gametime. His arrival is met with eye rolls, groans, and the kind of skeptical side-eye usually reserved for rookie draft picks with no business being on the court… but Will’s out to prove that “smalls can ball,” even when the odds are stacked against him — and sometimes on top of him.
Helmed by Emmy-winning animation director Tyree Dillihay (Bob’s Burgers) and co-director Adam Rosette, with Stephen Curry serving as executive producer — and who also makes a vocal cameo — the film features an A-tier voice cast that includes Gabrielle Union, Nicola Coughlan, Nick Kroll, David Harbour, Jenifer Lewis, Aaron Pierre, Patton Oswalt, and more.
GOAT charges into theaters on February 13th, 2026, just in time for audiences to fall in love with a little goat whose dreams refuse to stay small.
Are we fed up with Glen Powell yet? Look, every so often Hollywood likes to push an actor or actress in our faces and declare that this is the next big star, and so we must put them in everything. And every so often, audiences are like, no, we fully reject that.
Powell, to no fault of his own, is reaching that point where the industry’s enthusiasm might be outpacing everyone else’s. But here’s the thing: despite going through a recent box-office slump with his latest film The Running Man, Glen Powell has a couple more chances to prove he’s still got the goods to be a legit movie star. Sure, he might not be the next big action hero, but he’s got a certain on-screen magnetism that might work well for his latest project, which sends him into the dark side of revenge but with a darkly comic, pulsating edge.
In How to Make a Killing, Powell leans into his signature golden-boy-gone-wrong charisma as Becket Redfellow, a blue-collar outcast unceremoniously disowned at birth by his cartoonishly wealthy family. Now grown and fueled by a tremendous amount of resentment, he decides to take back what’s his, even if it means mowing down a few relatives along the way. It seems the family tree needs a little pruning, and Becket has no problem picking up the shears.
Margaret Qualley joins the mayhem as Becket’s partner in crime, bringing her own brand of seduction and lethal finesse. Meanwhile, the supporting cast is a murderer’s row in every sense: Ed Harris, Jessica Henwick, Bill Camp, Zach Woods, and Topher Grace, each playing characters with something to gain and perhaps even more to lose.
The upcoming film hails from writer-director John Patton Ford, the same filmmaker who turned student-loan debt into a nail-biting crime thriller with Emily the Criminal. In that film, Ford successfully directed Aubrey Plaza in one of her most eye-opening, steely performances to date, ultimately changing our perception of the deadpan comic actress. Now, can Ford do the same with Powell?
Blending pitch-black humor with sharp social commentary, and swapping the anxieties of modern survival for the grotesque excess of inherited wealth, this one looks ready to swing hard. It’s knives out and wallets open… and the eat-the-rich genre just might have turned even sharper and more biting.
How to Make a Killing will be hitting theaters February 20th, 2026.
How much is an apology worth to you? Well, a person’s word these days doesn’t seem to carry the weight it once did. But back in 1977, an apology meant everything — almost the worth of a man’s life… almost.
Legendary filmmaker Gus Van Sant (Good Will Hunting, Drugstore Cowboy, Milk) is back with his first feature film in seven years with Dead Man’s Wire, a true-crime thriller starring Bill Skarsgård (IT, Nosferatu) as a desperate man pushed to the brink who resorts to kidnapping in order to get something he desperately needs — an apology.
Also starring Colman Domingo as the lead detective in charge of handling the hostage standoff, the film dramatizes the real-life 1977 kidnapping that turned Tony Kiritsis, an ordinary Indianapolis man, into a reluctant folk antihero when he decided to take a mortgage broker captive with the use of a dead man switch that included a sawed-off shotgun and a rigged wire that would go off if he released his grip.
Kiritsis (played by Skarsgård) was facing the real threat of losing his family home when mortgage officers refused to give him more time to pay off his loan. This set him off on a path that led to the infamous kidnapping of Richard O. Hall (played by Stranger Things actor Dacre Montgomery), as Kiritsis pressed a shotgun to his neck and dragged him into a multi-day standoff inside his apartment while negotiating with police over the phone.
As part of those negotiations, Kiritsis demanded an official apology from the mortgage company president to acknowledge they had wronged him. When they refused, the standoff stretched on even longer as media coverage turned the event into a nationwide obsession, with many viewers understanding — and even sympathizing with — Kiritsis’s desperation.
Oscar-winner Al Pacino co-stars in the film portraying mortgage loan president M.L. Hall, who refused to apologize even though his son, Richard, was the hostage. Rounding out the cast are Cary Elwes, Myha’la, John Robinson, and Kelly Lynch.
The film marks the screenwriting debut of Austin Kolodney, whose script seems to be tapping into themes that still haunt today’s headlines: economic struggles, financial exploitation, media mania, and a public eager to turn someone like Tony Kiritsis into either a monster or a martyr.
Dead Man’s Wire is slated to open in select theaters January 9th followed by a wide release on Jan. 16th. Don’t be surprised if this stirs up conversations that last long after the credits roll.
