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Johnny Oleksinski is an entertainment critic at the New York Post. Since 2018, Johnny has been The Post’s leading voice on movies and theater. He joined The Post as an entertainment reporter in 2015. Prior to moving to New York, he worked as a theater writer/editor at the Chicago Tribune and served as chief theater critic for Newcity Chicago. He is a voting member of the New York Drama Critics Circle. Johnny majored in theater at Illinois State University. He resides in the East Village and can be heard every Tuesday morning at 9:30 on WOR Radio.
Unlike the wild-and-crazy Globes of the past, the 2025 Golden Globe Awards nominations seem more like those of a formal European festival. The nominations, honoring the best in movies and TV for the year, were announced on Monday morning by Mindy Kaling and Morris Chestnut.
Award season kicked off with an A-list event in New York this week—the Gotham Independent Film Awards held downtown at Cipriani Wall Street.
Famed director Ridley Scott faced an unexpected challenge on Thursday—an award show mishap.
Director Marielle Heller’s film is enjoyable and not the cringe-worthy experience some might anticipate, despite its unconventional premise.
The National Board of Review's Best Picture winner has only gone on to win the top Academy Award three times in the past 24 years.
Bill Skarsgård, with his new vampire film, proves he is a modern-day Lon Chaney, born with a talent for creating nightmares.
Audience members at “Wicked” are reportedly behaving like uncultured barbarians, singing along and filming the performance.
The sexy snowman in Netflix’s “Hot Frosty” comes to life and behaves like a human, albeit a much dumber one.
Angelina Jolie, with her combination of artistry and star power, shines in her role, making her the perfect choice for the part.
Lindsay Lohan has been producing brain-numbing seasonal movies since 2022 as part of her three-picture deal with Netflix.
At least it’s not “Wish.”
On Tuesday, the musical “Tammy Faye,” featuring the “Crocodile Rock” singer, closed just five days after opening night. One critic quipped, “The shocker...”
“Blitz,” while loosely engaging, doesn’t capture the essence of a war film but rather focuses on the youthful adventures of Charles in 19th-century Britain.
The campy musical “Death Becomes Her,” which opened Thursday night at the Lunt-Fontanne Theatre, features a miracle elixir in the form of Megan Hilty and Jennifer Simard.
“The second trigger pull leads to a character’s accidental death, eliciting a gasp from premiere attendees,” one critic noted.
Sir Elton John has experienced his share of flops, but even his 2006 vampire disaster “Lestat,” which The Post's Clive Barnes called “bloody awful,” lasted a bit longer.
A phrase I won’t be uttering on my deathbed: “I wish I had watched more shows about boats.”
In the first chapter of “Wicked: Part One,” the doubled runtime is noticeable, featuring the same number of songs as Act 1 of composer Stephen Schwartz’s original show.
Expensive comic book movies, star-studded comedies, Christmas films, Westerns, and auteur-driven sci-fi epics all spectacularly failed. Major titles played to sparse audiences, including a couple of sneaky attendees at 11 a.m.
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