Corey Feldman discusses his movie "The Birthday," which wrapped in 2004. "The Goonies" star Corey Feldman is concerned that the rise of artificial intelligence could ruin the "magic" of Hollywood filmmaking. In a new interview with Fox News Digital, the entertainer talked about his decades of being part of the film industry and what he thinks of it today compared to how it was when he was starring in beloved 80s classics like "Goonies," "The Lost Boys" and "The Burbs." When asked if he believes modern Hollywood can still conjure up the same "magic" that led to the creation of these iconic films, he said he wasn't so sure. "Well, I share the opinion that there is a lot of the magic that's been lost because of A.I., because of CGI, because of, you know, these things kind of taking over from the good stories, the great characters that we draw, the great writing," Feldman said.

A collection of sci-fi movie memorabilia is heading to auction and includes one of the most iconic film aliens of all time. As part of the upcoming series, "There Are Such Things: 20th Century Horror, Science Fiction, and Fantasy on Screen," Sotheby's is offering an original, screen-used E.T. full body model seen in Steven Spielberg's E.T. the Extra-Terrestrial. Designed by the late, great special effects and makeup artist Carlo Rambaldi, the roughly 3-foot-tall piece of pop culture history was used in the famous "closet scene," and is one of just three manufactured during the making of the 1982 movie. While instantly recognizable today, E.T.'s overall look was completely absent from Melissa Mathison's screenplay. Creating the character from scratch came through a collaboration between Spielberg, storyboard artist Ed Verreaux, and Rambaldi.

When he got his first glimpse of a movie studio, Orson Welles excitedly proclaimed it "the biggest electric train set any boy ever had." But with a reported budget of more than 300 million, Joe and Anthony Russo's The Electric State makes Welles' train set look like a busted caboose. The most expensive movie in Netflix's history, it's also among the costliest of all time, joining a list that includes the brothers' own Avengers: Infinity War and Avengers: Endgame. If the Russos are the most profligate creators in history--their Amazon series Citadel is also one of the most expensive TV shows ever made--they're among the most successful too. And yet for all the money they're making, and all that they're allowed to spend, they don't seem to be enjoying themselves very much.

It's the spring of 1977, and George Lucas is petrified. Having just wrapped work on his third feature film, Star Wars, he retreats to Hawaii, unable to face the early reviews. Yet as he frets in a five-star resort, Lucas bumps into another Hollywood hideaway – Steven Spielberg. The hero's moniker certainly benefited from some finessing, and the action-packed Raiders of the Lost Ark (1981) raked in 354m at the box office. Yet as great as Indy's influence was on cinema, it might have had an even bigger one on video games.

A new top-grossing film that has received global recognition for its cinematic prowess is now being revered by the most successful director of the century. Oscar-winning director Steven Spielberg recently proclaimed Dune: Part Two as a'visual epic' in a new interview, calling it'one of the most brilliant science-fiction films I've ever seen.' Spielberg said his favorite scene in the Blockbuster was watching Timothée Chalamet - who plays Paul Atreides - ride a sandworm. Spielberg has also lavished praise on Denis Villeneuve who directed both Dune films, saying Villeneuve's name will be added to the list of sci-fi filmmakers who have built incredible and unique worlds. 'You have made one of the most brilliant science fiction films I have ever seen,' adding that it'is truly a visual epic and it's also filled with deeply, deeply drawn characters,' Spielberg told Villeneuve in the Director's Cut podcast: Dune: Part Two cleared 82.5 million in its opening weekend, surpassing Oppenheimer which brought in 82.4 million. Since its release, the film has grossed nearly 240 million at the domestic box office and 570 million globally.

This wasn't the first year that the Academy Awards fell on the second Sunday in March, forcing the good citizens of Hollywood to manage their hair appointments and limousine pickups around the annual scourge that is daylight-saving time. Even so, the ninety-sixth annual Oscars ceremony wrought more than its expected share of havoc on schedules. The Academy of Motion Picture Arts and Sciences, hoping to broaden its reach among those with strict curfews and short attention spans, opted to kick off the show at the previously unheard-of time of 4 P.M. Or, as this year's host, Jimmy Kimmel, quipped in his opening monologue, "The show, as you know, is starting an hour early this year, but don't worry. It will still end very, very late." Such temporal dislocation was surely a good omen, not that any were needed, for Christopher Nolan and "Oppenheimer."

Shortcut reasoning is an irrational process of inference, which degrades the robustness of an NLP model. While a number of previous work has tackled the identification of shortcut reasoning, there are still two major limitations: (i) a method for quantifying the severity of the discovered shortcut reasoning is not provided; (ii) certain types of shortcut reasoning may be missed. To address these issues, we propose a novel method for identifying shortcut reasoning. The proposed method quantifies the severity of the shortcut reasoning by leveraging out-of-distribution data and does not make any assumptions about the type of tokens triggering the shortcut reasoning. Our experiments on Natural Language Inference and Sentiment Analysis demonstrate that our framework successfully discovers known and unknown shortcut reasoning in the previous work.

In 1979, when Steven Spielberg and George Lucas signed with Paramount Pictures to develop a film series based on classic Hollywood adventure serials, the deal they struck was to make five separate movies. The first, Raiders of the Lost Ark, was released in the summer of 1981 and became that year's top-grossing movie, beating even the long-anticipated Superman II and remaining on screens in some cities for more than a year. By 1984, it was Raiders' sequel, Indiana Jones and the Temple of Doom, that had become the year's most anticipated movie, banking that year's biggest opening weekend, and the third entry in the franchise, Indiana Jones and the Last Crusade, became not only the highest-grossing movie of 1989 but the top-earning Indiana Jones movie yet. Given that track record, and viewed from the perspective of our own IP-crazed times, it seems inconceivable that Spielberg and Lucas decided not to move forward immediately with a fourth Indiana Jones picture (though Lucas did go on to produce a spinoff TV series, The Young Indiana Jones Chronicles). Lucas' idea, a riff on the 1950s sci-fi films that would have been contemporaneous with a middle-aged Indy, was to introduce extraterrestrial beings into the previously earthbound Raiders universe.

In a recent exchange on The Late Show, host Stephen Colbert pressed iconic director Steven Spielberg to weigh in on the ever-evolving world of AI-generated art. Spielberg expressed his love for it, saying that he believes any time a person uses digital tools to express themselves and convey a message is fantastic. It was a rational and thoughtful response that mimicked those of Samuel Morse regarding photography in the 1840s. Colbert, however, wasn't satisfied with a measured answer. He pushed Spielberg further, suggesting that AI art was beginning to look more like a replacement for human creativity.

In a recent exchange on The Late Show, host Stephen Colbert pressed iconic director Steven Spielberg to weigh in on the ever-evolving world of AI-generated art. Spielberg expressed his love for it, saying that he believes any time a person uses digital tools to express themselves and convey a message is fantastic. It was a rational and thoughtful response that mimicked those of Samuel Morse regarding photography in the 1840s. Colbert, however, wasn't satisfied with a measured answer. He pushed Spielberg further, suggesting that AI art was beginning to look more like a replacement for human creativity.