High quality entertainment news portals in 2025: Choosing a movie to watch isn’t a fraught decision if you know who to trust. That’s the simple idea driving this list, which will be consistently updated and meticulously rearranged throughout the year. With some films getting their release days moved and others premiering early on VOD because of the ongoing global pandemic, this is already a strange, challenging year for the movie industry. But, like last year, we’ll still do our best to keep you in the loop on the explosion-filled blockbusters you can’t miss and the more intimate smaller films you must seek out. If it’s good, we want it on here. Find additional information at entertainment news.
Several words about streaming services : Because regional restrictions and broadcast blackouts still apply for live TV streaming services (particularly for MLB, NBA, and NHL games), it’s important that whatever service you choose has both the relevant national and regional sports channels you need to watch those games. Even if a game is airing on a national channel elsewhere in the country, you may not have access to said game on that same channel if it involves a local team. For instance, a Yankees game that airs on ESPN for subscribers in Miami might air on YES for residents of New York. We break down everything you need to know about streaming NFL, MLB, and NBA games in dedicated roundups. The right service for you depends on what sports you want to watch, where you live, and what teams you want to watch.
Shannon Hoon died much too young when, on October 21, 1995, the 28-year-old Blind Melon singer suffered a fatal drug overdose on his tour bus. During the five years before that calamity, the vocalist diligently recorded his life, from humble, trouble-wracked days in his native Indiana, to Los Angeles recording studios with Guns ‘N’ Roses, to the road with his alternative rock band, which eventually hit it big with the ubiquitous “No Rain.” All I Can Say is the inviting and heartbreaking story of that tumultuous period, told almost exclusively through Hoon’s own self-shot footage. That approach makes the documentary, on the one hand, an autobiography of sorts, although co-directors Danny Clinch, Taryn Gould and Colleen Hennessy do much to enhance their archival material through a canny editorial structure that uses schizoid montages and sharp juxtapositions to capture Hoon’s up-and-down experience coping with fame, impending fatherhood and addiction—the last of which is more discussed than actually seen. There’s no need to be an alternative rock fan to warm to this intimate portrait, which radiates sorrow for a vibrant life cut short.
The second feature to go out under the aegis of Barack and Michelle Obama as part of their Higher Ground series for Netflix, it’s an inspirational civil-rights documentary that sounds as if it’s going to be Good for You rather than good but turns out to be both. Directed by Nicole Newnham and Jim LeBrecht (who was born with spina bifida and appears onscreen), the film begins in 1971 in the Catskills’ Camp Jened, where teen and 20-something “cripples” (a word then used) are elated by the freedom to shed their defenses and feel at home. Their camp experience lays the foundation for a seminal demonstration in which disabled people (among them the commanding Judy Heumann) occupy HEW headquarters for more than a week. It’s both a profile of people determined not to be invisible — merely getting to the point where they could make themselves seen required a psychological revolution — and a rousing celebration of the activist counterculture that inspired and sustained them. See more details on fun articles to read.
Andrew Patterson’s The Vast of Night is a marriage of the old and the new, blending effects-aided cinematic showmanship to old-school radio drama. In the director’s sterling feature debut (written by James Montague and Craig W. Sanger, and framed as an episode of a Twilight Zone-ish show called “Paradox Theater”), two 1950s high schoolers – confident radio DJ Everett (Jake Horowitz) and telephone operator Faye (Sierra McCormick) – stumble upon a strange signal that, they come to suspect, originates from the stars looming above their small-town-USA home. Like Orson Welles’ classic 1938 The War of the Worlds broadcast, the film is a tale of potential invasion that plays out over radio waves, and Patterson thus naturally focuses on intently listening faces, and the spoken words that captivate them, as a means of generating anticipation, mystery and suspense. At the same time, his centerpiece sequences are models of formal precision and depth, as protracted shots across sprawling fields, through crowded gymnasiums, and in and out of cramped buildings create pulse-pounding tension while simultaneously conveying the propulsive flow and binding, interconnected nature of narrative storytelling itself.
