After multiple films and revival seasons, “The X-Files” creator Chris Carter finally got another shot at his often misunderstood film, “The X-Files: I Want to Believe.” The new R-rated cut restores disturbing imagery, reshapes the music, and even strips away some of the Mulder-Scully relationship material. It also commits what a certain corner of the fanbase may consider the ultimate R-rated act: Carter cut the Mulder-Scully kiss. But don’t expect a “Snyder Cut” here. This cut is surprisingly shorter, with mostly very subtle changes for eagle-eyed fans.Now titled “The X-Files: I Want to Believe – Vrach Frankenshteyn,” Carter’s new version pushes the standalone thriller closer to the horror film he and co-writer Frank Spotnitz originally made. The movie reunites David Duchovny and Gillian Anderson as Fox Mulder and Dana Scully, years after they left the FBI at the end of Season 9, when a missing-agent case and a disgraced priest’s psychic visions pull them into a grotesque experiment involving stolen bodies and severed parts.On the latest episode of “The Discourse Podcast,” Carter joined host Mike DeAngelo to dig into what changed, why he traded some romantic material for bigger scares, and whether fans might ever see the larger Mulder and Scully story still sitting around in his head. He also discussed the unfinished business of Season 11, his conversation with Ryan Coogler about the “X-Files” reboot, and the horror fable he and his wife have made, “Queens for a Day.”

There was no reason to make another polite, faithful version of “Cape Fear.” Thankfully, Creator/Showrunner Nick Antosca had no interest in one.Apple TV’s “Cape Fear” is sweaty, violent, emotionally ugly, and pitched somewhere between a domestic thriller and a full-blown hyper-violent fever dream. The show takes the basic machinery of the 1962 film and Martin Scorsese’s operatic 1991 remake, pulls it apart, and rebuilds it as a ten-hour nightmare about privilege, resentment, marriage and the strange gravitational pull of a charismatic monster.Or, as Antosca rather happily described it during his recent appearance on The Playlist’s Bingeworthy podcast, “It is the lurid nightmare that we set out to make.”Mission accomplished!

On paper, “Furious” sounds like something we’ve all seen before. An FBI agent. A serial killer. A cat-and-mouse chase stretched across eight episodes. That’s technically what the show is, but it's also not really what the show is. The cat is carrying around a mountain of old trauma. The mouse has a disturbingly decent argument. Neither one is behaving in a way that makes it easy to decide who deserves your sympathy.That is where Liz Meriwether’s (“New Girl,” “Dying for Sex”) new Hulu series gets its hooks in. Loosely inspired by the 1987 thriller “Black Widow,” “Furious” follows FBI agent Alice Black (Emmy Rossum) as she hunts Catherine (Lola Petticrew), a serial killer targeting powerful men. Very quickly, though, the pursuit starts to feel less like a standard case and more like two damaged people slowly realizing they may understand each other better than anyone else does. That is not necessarily a good thing for either of them. The series also stars Scoot McNairy, Quincy Tyler Bernstine, Jake Lacy, Rob Delaney, Rob Yang, and Steve Way.

“Motor City” feels like somebody found a filthy ’70s revenge movie in the trunk of a burned-out Cadillac, wiped off the blood, and restored the whole thing in 4K and Dolby Atmos. It is loud, violent, strangely romantic and, thankfully, almost entirely uninterested in people sitting around explaining themselves. The fists, engines, needle drops and occasional shotgun blast handle most of the talking.Directed by Potsy Ponciroli ("Greedy People," "Old Henry") and written by Chad St. John, the film stars Alan Ritchson (“Reacher") as John Miller, a working-class Detroit mechanic framed by a wealthy gangster after falling in love with the man’s girlfriend, Sophia, played by Shailene Woodley. After spending years behind bars, Miller emerges with revenge on his mind and very little concern for whether he survives long enough to enjoy it.Ben Foster, Pablo Schreiber, Lionel Boyce, Ben McKenzie and Amar Chadha-Patel also star in the nearly dialogue-free action thriller, which arrives in theaters on July 24 through IFC Films.

Apple TV’s “Lucky” joins the platform’s growing collection of prestige shows about attractive, deeply stressed people having the worst week of their lives. “Presumed Innocent,” “Hijack,” “Your Friends & Neighbors”—the streamer has become weirdly good at watching people sprint from one life-altering disaster to the next.Anya Taylor-Joy’s title character has a slightly more complicated relationship with disaster than most. Raised by a con artist, Lucky became an exceptional one herself before spending years trying to leave that life behind. When a multimillion-dollar job goes wrong, she is forced back into the world she escaped, pursued by law enforcement, criminals, and a family history she has never completely outrun.READ MORE: ‘The Agency’ Season 2: Jeffrey Wright & John Magaro Talk Spycraft, ‘The Batman: Part II,’ ‘Presumed Innocent’ Season 2 & More [Bingeworthy Podcast]

There is no graceful way to ask another married couple whether they would like to have sex with you. There are only varying degrees of disaster. That is the combustible premise behind “The Invite,” a sharp, funny, and increasingly bruising relationship comedy directed by Olivia Wilde. Wilde and Seth Rogen play Angela and Joe, a married couple who have become more like irritated roommates than romantic partners. Then their upstairs neighbors, Hawk and Piña, played by Edward Norton and Penélope Cruz, come downstairs for dinner and float a proposition that turns one awkward evening into an excavation of everybody’s marriage.READ MORE: ‘The Death Of Robin Hood’: Director Michael Sarnoski Finds The Brutal Roots Of A Legend, Talks Hugh Jackman, ‘Logan’ Comparisons & His ‘Death Stranding’ Film [The Discourse Podcast]On this episode of The Discourse, host Mike DeAngelo is joined by screenwriters Rashida Jones and Will McCormack to talk about adapting the film, rewriting it with its formidable cast, and finding the hurt underneath a premise that could have easily become a much broader sex comedy.

The “Enola Holmes” films have never been short on charm and wits, but “Enola Holmes 3” gives the franchise a little more room to breathe and, dare I say, mature. The mystery is still there. The cheeky banter is still there. Enola is still starting fires and solving crimes. But this time, the story heads to Malta and lets Enola and Tewkesbury deal with a mystery that makes them grow up and face their respective legacies.On this episode of The Discourse, host Mike DeAngelo speaks with director Philip Barantini and stars Millie Bobby Brown and Louis Partridge about the film, which hits Netflix July 1. Brown returns as Enola Holmes, with Partridge back as Tewkesbury. It follows Enola as she heads to Malta to marry, while her aspirations merge with her most complex and dangerous case yet. The film also features Henry Cavill, Helena Bonham Carter, Himesh Patel, Sharon Duncan-Brewster, and more.READ MORE: ‘The Bear’: Jeremy Allen White, Liza Colón-Zayas, Lionel Boyce & Matty Matheson On Saying Goodbye, Spinoff Ideas, ‘The Social Reckoning’ & More [Interview]

“The Agency” approaches espionage less as a series of action beats and more as a study in information, perception, and control. The show is at its absolute best when it leans into that tension, allowing seemingly ordinary conversations to simmer with unease while drawing on its wealth of densely fleshed-out characters, each carrying their own agendas, vulnerabilities, and secrets. Conversations are rarely straightforward, motives are constantly in question, and even routine interactions can reshape the balance of power inside the CIA. In Season 2, the Paramount+ with Showtime drama deepens those tensions, following agents and analysts as personal loyalties, institutional pressures, and a growing sense of distrust begin to collide. But this time around the action and pacing is increasing by the second.Based on the acclaimed French series “Le Bureau des Légendes,” “The Agency” follows Michael Fassbender as Martian, a CIA agent whose personal and professional lives continue to collapse into one another. Season 2 picks up with Martian still trying to save Samia, played by Jodie Turner-Smith, while the agency itself is pulled into a wider web of internal suspicion, shifting loyalties, and a mole hunt that turns the office into its own kind of battlefield.READ MORE: ‘Maximum Pleasure Guaranteed’: Tatiana Maslany, Jake Johnson, David Gordon Green & David Rosen On Lonely Screens, Bad Decisions, ‘She-Hulk,’ ‘Spider-Verse’ & More [Bingeworthy Podcast]The series also stars Jeffrey Wright, Richard Gere, Katherine Waterston, John Magaro, Dominic West, and more. And truly, one of the joys of Season 2 is watching a cast this deep make even the smallest exchanges feel like fully loaded scenes. Wright, who plays Henry Ogletree, and Magaro, who plays Owen Taylor, both spoke with Bingeworthy host Mike DeAngelo about the new season, the ensemble’s unusual chemistry, and what it takes to make all that spy-world jargon feel lived-in rather than laminated.

Robin Hood has been a lot of things over the centuries: noble thief, romantic outlaw, swashbuckling folk hero, animated fox, Kevin Costner with an accent that wanders wherever it pleases. But in Michael Sarnoski’s hands, the myth becomes something darker, sadder, and more spiritually eviscerated. His new film, “The Death of Robin Hood,” is less interested in the legend as a heroic brand than in the man who might be trapped beneath its curse.Written and directed by Sarnoski, “The Death of Robin Hood” stars Hugh Jackman as an aging, haunted Robin Hood, a man grappling with a life of violence after a battle leaves him gravely injured. In the care of a mysterious Prioress played by Jodie Comer, he’s offered something that might look like salvation, if he can survive long enough to accept it. The film also stars Bill Skarsgård, Murray Bartlett, and Noah Jupe, and arrives in theaters June 19 via A24.READ MORE: ‘Obsession’: Curry Barker On His Twisted Wish-Fulfillment Horror Breakout, Inde Navarrette’s Wild Performance, ‘Texas Chainsaw Massacre,’ & More [The Discourse Podcast]Sarnoski joined The Playlist’s The Discourse podcast to talk about stripping away centuries of heroic varnish, finding the emotional soul of Robin Hood, reuniting with cinematographer Pat Scola, and writing the upcoming “Death Stranding” movie. And early in the conversation, he acknowledged a thread that has become increasingly clear across his work, from “Pig” to “A Quiet Place: Day One” to “The Death of Robin Hood”: these are stories about people who, in some way, already feel dead before the movie begins.

Just when you think Spider-Man has lost all novelty, “Spider-Noir” finds its spark by going backward into smoke, shadow, bruised conscience, silly accents, and old Hollywood fatalism. It’s still a comic-book story, complete with masks, villains, superpowers, and a hero trying to decide whether he can outrun the thing he was built to become, but its real trick is tonal. The series treats noir not as a costume rack, but as an emotional statement.On this episode of Bingeworthy, host Mike DeAngelo is joined by writer, producer, and showrunner Oren Uziel to talk about Season 1 of “Spider-Noir,” the live-action Marvel/Sony series starring Nicolas Cage as Ben Reilly (No, not Peter Parker), a washed-up private investigator in 1930s New York forced to confront his past as the masked vigilante known as The Spider. The series, which is now streaming on Prime Video after its MGM+ debut, also stars Lamorne Morris, Li Jun Li, Karen Rodriguez, Brendan Gleeson, Jack Huston, and more.