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  • Rahu Ketu Box Office: Pulkit Samrat, Varun Sharma’s film brings an inauspicious opening weekend of Rs. 4.5 Crore

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    Rahu Ketu, starring Fukrey duo Pulkit Samrat and Varun Sharma in the lead role, recorded an inauspicious opening weekend. The movie, directed by Vipul Vig, the comedy drama registered a roughly 5 percent hike on Sunday over the previous day and added Rs. 1.70 crore to the tally. This took the total opening weekend cume of Rahu Ketu to slightly under Rs. 4.50 crore net at the Indian box office. 

    Coming from an ambitious mythological premise, Rahu Ketu couldn’t impress the audience much. The movie opened to mixed-bag reactions, which is reflecting in its underwhelming day-to-day trends too. Though the movie managed to record an upward trajectory, it couldn’t gain the much-needed traction over the weekend. That said, the movie is performing better than its rival release, Happy Patel: Khatarnaak Jasoos—however, the fate of both movies sealed in their opening weekends only. 

    Rahu Ketu doesn’t have much room to grow as the Pulkit Samrat starrer will face Sunny Deol’s Border 2 from the coming weekend. The much-awaited military drama is likely to grab most of the screens and kick every non-performing holdover release out of the cinemas. It will be interesting to see how far Rahu Ketu can go from here on. 

    Day-wise box office collection of Rahu Ketu in India: 

    Day Box Office

    Rs. 1.10 crore 

    Rs. 1.60 crore 

    Rs. 1.70 crore 

    Total: Rs. 4.40 crore 

    For the unversed, Rahu Ketu is about the two funny characters, born from writer Churu Lal’s magical notebook, who are set on a voyage to retrieve it from the crafty Meenu Taxi. Besides Pulkit and Varun, the movie also stars Shalini Pandey, Chunky Pandey, Piyush Mishra, Manu Rishi Chadha, Amit Sial, and Sumit Gulati in pivotal roles. 

    Stay tuned to Pinkvilla for more updates. 

    Disclaimer: The box office figures are compiled from various sources and our research. The figures can be approximate, and Pinkvilla does not make any claims about the authenticity of the data. However, they are adequately indicative of the box-office performance of the films in question.

    ALSO READ: Anaganaga Oka Raju Worldwide Box Office Collections: Naveen Polishetty’s film puts up STRONG hold, grosses Rs 23 crore in 2 days

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  • Film Review: John Candy: I Like Me

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    John Candy: I Like Me is more than a documentary, it’s a heartfelt thank-you letter to one of comedy’s most beloved figures. The film opens by tracing Candy’s rise from his humble Canadian improv beginnings to his legendary Hollywood career, showing how his everyman charm and selfless spirit made him a household name.

    It’s a beautiful tribute to an incredible man. A true icon. A man who never lost touch of who he was or where he came from. He was never too famous for anybody or anything. A true comedian who would invite any and all to share the stage with him. A man with a heart of gold built from his own traumas. 

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    Ryder

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  • The Roses gets new digital release date – how to watch

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    Olivia Colman and Benedict Cumberbatch put on a masterclass in comedy in The Roses, a brilliant new adaptation of Warren Adler’s 1981 novel War of the Roses, which follows a couple at odds. 

    The film hit theaters in August, and struck a chord with audiences who rated the film a commendable 79% on the review aggregate site, Rotten Tomatoes.

    It’s a brilliant film at just 105 minutes long, and showcases some fabulous performances, not just from Colman and Cumberbatch, but also a brilliant supporting cast, made up of Kate McKinnon, Andy Samberg, Ncuti Gatwa, Sunita Mani, Zoë Chao, Jamie Demetriou, and more.

    Below, you can find all you need to know about where to watch The Roses, as well as the The Roses digital release date and The Roses streaming information.

    The Roses – How to Watch

    The Roses is available on Video on Demand platforms from October 21, 2025. You will be able to rent and buy the title on places like Amazon Prime Video, Apple TV, and Fandango at Home.

    Where Can I Watch The Roses?

    The Roses is available to rent and buy on Video on Demand platforms from October 21, 2025. 

    It lands on platforms such as Prime Video, Apple TV+, Fandango at Home, and Google Play on October 21, 2025.

    The Roses Physical Release Date

    The Roses will be available in Blu-ray and DVD formats from November 25, 2025.

    Bonus features include:

    • Gag Reel
    • Featurettes:
      • A House To Fight For – A behind-the-front-door look at the epicenter of both beauty and acrimony. See the construction of the Roses’ home, hear from the designer and the filmmakers on their vision, and discover the actors’ wish to take everything from the house home with them.
    • The Roses: An Inside Look – Hear from the cast and filmmakers about making The Roses. Learn about the actors’connection and chemistry, and join the grounded, satirical, British, wry wit that only Olivia Colman and Benedict Cumberbatch can pull off. 
    • Comedy Gold – This cast is stacked with comedy talent bringing Tony McNamara’s witty dialogue to life with Jay Roach directing. Even Olivia Colman had to ask about this special cast, “How the F did we get them?”

    Bonus features may vary depending on the retailer.

    The Roses Digital Release Date

    The Roses will be available to watch digitally from October 21, 2025.

    Is The Roses Available to Stream in the US?

    The Roses does not yet have an official streaming release. However, the film will likely end up on Disney+ in the coming weeks. 

    What Is The Roses About?

    The official synopsis for The Roses, as per Disney, reads:

    Life seems easy for picture-perfect couple Ivy (Colman) and Theo (Cumberbatch): successful careers, a loving marriage, great kids. But beneath the façade of their supposed ideal life, a storm is brewing – as Theo’s career nosedives while Ivy’sown ambitions take off, a tinderbox of fierce competition and hidden resentment ignites. The Roses is a reimagining of the 1989 classic film The War of the Roses, based on the novel by Warren Adler.

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  • It Was All Martin Scorsese Everything Weekend at the New York Film Festival

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    But Scorsese happily provided her a list of films to watch to get the voiceover to click—“Of course if you ask him that question, you’re going to get a long answer.”

    They stayed in touch, gave notes on each other’s films, and saw each other socially. Years later, Miller was chatting with her producing partner Damon Cardasis about making another documentary. Cardasis asked, “Who would be your favorite person?”

    “The first person that popped in my head was Martin Scorsese,” Miller said. “And I think the reason was, it’s such a rich subject. I was really interested in his Catholicism and his fascination with violence, how those two things work together.”

    They got together right before the pandemic, and when lockdown hit, they carried forward at Miller’s country house.

    “We, in a weird way, were lucky that he was so bored and so stuck, because he traveled all the way upstate,” she said. “We did it on the porch.”

    Five years later, Mr. Scorsese is here in all its hours-long glory. The film rips, zipping ahead with the same speed as one of its subject’s more frenzied flicks, dispatching quickly with hundreds of talking heads. It’s so expansive it seems definitive. One Apple exec compared it to The Last Dance, the documentary about Michael Jordan: a similarly focused, leave-no-stone-unturned look at an unquestionable GOAT.

    But like The Last Dance, the doc shows its subject’s setbacks. As the panelists reminded the gathered faithful: This was not inevitable.

    “So Marty made Who’s That Knocking at My Door?, and then he got this deal to do this Roger Corman-produced movie called Boxcar Bertha,” said Imperioli, who had a very early film role in Goodfellas as Spider, a lackey who meets a violent fate. “Cassavettes watched the movie and said to Marty, ‘You just wasted a year of your life on a piece of shit.’ This was his big thing in Hollywood, right? His second film. And he said, ‘You shouldn’t be doing stuff like this.’”

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    Nate Freeman

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  • The Simpsons Is Getting Another Movie

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    Love is love!
    Photo: 20th Century Fox/Everett Collection

    Hey, we may not get more Spider-Man, but more Spider-Pig is always welcome. Disney and 20th Century Studios confirmed The Simpsons 2 with a poster on September 29. “Homer’s coming back for seconds,” it reads, and the “all-new movie” is set for release on July 23, 2027. Initially, that date was to be taken by a yet-untitled Marvel film — but now there’s nothing between 2026’s Avengers: Doomsday and 2027’s Avengers: Secret Wars, both of which were postponed to December from May.

    The first Simpsons movie was a global smash in 2007, bringing in $536 million worldwide, per Box Office Mojo. Now, 20 years later, the sequel is finally being made. Why would Disney want to green-light it now? Well, in 2024, former co-showrunner Al Jean told Screen Rant the Simpsons team was “really hoping for Inside Out 2 to do great this summer.” (That movie ultimately grossed over a billion dollars.) “I want to see the animation business completely returned to what it was before the pandemic,” Jean added. “And then, I think if that was the case, it would make sense to do The Simpsons theatrically. But I understand that it’s an issue above me about, ‘Where would you release it? And how would you release it?’” Asked and answered. Big yellow’s back to the big screen, baby.

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    Jason P. Frank

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  • Wrestling legend Rob Van Dam reflects on Philly’s ECW legacy and losing his best friend

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    One night in 1997, after an Extreme Championship Wrestling show in South Philly at what’s now known as the 2300 Arena, a young Rob Van Dam was sitting at the bar of the old Holiday Inn at the Sports Complex, and he felt a rumble in his stomach.

    Van Dam, an acrobatic rising star known as the “Whole F’n Show,” got an offer from an ECW fan sitting next to him to ride over to Geno’s for a cheesesteak. None of the other wrestlers wanted to leave the hotel. Van Dam took the invitation and buckled up for a quintessential Philly experience he’s never forgotten.


    MORE: As Dock Street turns 40, here’s how it grew from a countercultural idea into the oldest craft brewery in Philly


    “I got in the car with this guy I didn’t know, and that motherf***er ran every single stop sign,” Van Dam said. “I don’t mean like he slowed down and looked. He kept the gas pedal on and treated the entire thing as if he had the right of way. He said, ‘You know what the good thing about four-way stops is? The other guys always gotta’ stop.’”

    Van Dam reminisced about Philly and ECW while discussing the new documentary he produced with director Joe Clarke on the life of Terry “Sabu” Brunk, who died in May just three weeks after winning his final match in Las Vegas. Brunk was 60 years old. The documentary, which had been in the making for well over a year, presents a raw and personal look at the life of a retiring wrestler who seemed to be emotionally preparing for his death.

    “He was one of the closest people to me, and I don’t have very many people close to me,” said Van Dam, 54. “There’s a whole lifetime of memories and inside jokes – s*** that’s just gone. I didn’t know there was that much foreshadowing in the documentary until after the fact. When I got the call, I can’t say I was that surprised because I had been expecting it for 30 years. It’s really eerie.”

    Months after Brunk’s death, loved ones are still awaiting a toxicology report to pinpoint an exact cause. In the documentary, Brunk alludes to heart problems and difficulties carrying on with his life after his partner and longtime manager, Melissa Coates, died of complications from COVID-19 in 2021.

    “Everyone has their own theory,” Van Dam said. “Most of it has to do with his lifestyle – that he lived himself to death Sabu-style.”

    Fittingly, a memorial service for Sabu was held in June at the renovated 2300 Arena – still used as a venue for professional fights – where Van Dam spoke to a tight-knit family of mourners who had been touched by Brunk inside and outside the ring.

    “He was a big part of the man that I became,” said Van Dam, who occasionally still wrestles for AEW and makes sporadic appearances at WWE events.

    Van Dam joined ECW in the mid-1990’s with help from Sabu, a fellow Michigan native. They were both trained by Sabu’s uncle, a wrestling industry veteran who fought as the Sheikh, using makeshift rings set up in garages and backyards.

    ECW’s arena in South Philly, near the corner of Ritner and Swanson streets, became the epicenter of hardcore wrestling in the United States in the early 1990s. While promotions like WWE and WCW were duking it out for mainstream market share in an eventual multibillion dollar industry, ECW existed as a reckless talent incubator with an underground edge.

    “It was a pivotal platform for the wrestling business to go in a whole different direction, where instead of worrying about (being) politically correct and entertaining kids, it was adult entertainment,” Van Dam said. “It was unapologetic. The storylines were crazy. It was a full circus with completely different styles of wrestling, but altogether we were this family that was so grateful for what we had.”

    Sabu, who donned a turban as part of his extremist persona, became an innovator of brutality in ECW. He was among the first U.S. wrestlers to popularize plowing through tables, rolling around in barbed wire and wielding various weapons in his offensive repertoire.

    Van Dam remembers nights at Philly hotels filming promos for upcoming matches. ECW owner Paul Heyman would keep his wrestlers waiting all night to get paid, leaving hours for them to get drunk and high before hopping on flights to the next venue.

    It was an exhilarating lifestyle for muscled young people full of ambition, Van Dam said, but Sabu was a hardcore wrestling purist and a deep believer in karma being a reward system. He struggled with the entertainment side of the business as he got older and his WWE career plateaued, landing him back on the independent circuit.

    “He should have been a much bigger star,” Van Dam said.

    ECW shut down in 2001 after a failed national TV deal and financial struggles led to its bankruptcy. Looking back, Van Dam thinks the writing was on the wall in 1995 when a flaming object used during a match ended up in the stands and – legend has it – burned a fan.

    “The very nature of the product limited its success and its exposure because you can’t light fans on fire and not have consequences for it,” Van Dam said.


    “Sabu” can be streamed on the film distribution platform Kinema, where it’s available to be rented for $5.99.

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    Michael Tanenbaum

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  • Good Will Hunting: A Masterclass in Therapy and Emotional Growth

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    Take a deep dive into the therapeutic relationship as illustrated in the classic film Good Will Hunting, where a defiant genius and a compassionate therapist confront pain, grief, and regret in an emotional journey that changes them both.


    Good Will Hunting (1997) is a widely acclaimed cinematic masterpiece, offering one of the most compelling depictions of therapy ever portrayed on screen — and it remains one of my personal favorite movies of all time.

    The main protagonist is Will Hunting (played by Matt Damon) who is portrayed as an underachieving genius who works a modest life as a janitor at the prestigious MIT. Despite his intelligence, he’s emotionally guarded and frequently gets into brawls and run-ins with the law. One day he solves a difficult math equation on a chalkboard and is then approached by professors and faculty to pursue his talents in mathematics, but first he has to see a therapist and work out his personal problems.

    Will’s journey into therapy begins reluctantly with a typical “I don’t need to see a shrink” attitude. But after a series of arrests and getting bailed out, he’s court-ordered to start seeing someone. He cycles through five therapists, including a hypnotist, antagonizing each one to the point that they refuse to work with him. Will’s sharp intellect and deep emotional defenses make it nearly impossible for anyone to break through and connect with him.

    Finally he meets Sean Maguire (played by Robin Williams), a compassionate but no-nonsense therapist with a rich life of experiences, including deep wounds from his past, and accumulated wisdom. This article breaks down their relationship, session by session, to explore how it evolved throughout the film and potential lessons we can takeaway from it.

    First Meeting: Tensions and Boundary Testing

    Will’s first meeting with Sean begins with his usual strategy of intellectual dominance and boundary testing.

    He scans Sean’s office, searching for things to criticize, and immediately targets his book collection. “You people baffle me. You spend all this money on beautiful, fancy books, and they’re the wrong f***ing books.” Sean, unfazed, spars back, standing his ground while playfully naming books he assumes Will has read.

    Things reach a climax in the scene when Will begins to mock a painting hanging on the wall, which hits a personal nerve for Sean regarding the grief and loss of his wife. Sean’s reaction is striking and unconventional. After listening patiently, he suddenly grabs Will by the throat and threatens him: “If you ever disrespect my wife again, I will end you.”

    While it’s an unethical move for a therapist, this unorthodoxy shows Will that he is not dealing with an ordinary therapy. Both Will and Sean share working class Irish backgrounds in the hard streets of Boston. Sean knows this language and he is willing to speak it if it’s the only way to get through to Will. Sean thus establishes himself as someone who understands Will’s world, where strength and confrontation often dominate.

    This moment lays the foundation for their relationship. Sean shows he’s human, not just a clinical professional, but also that he won’t be intimidated or dismissed by Will’s antics. It’s the first step in breaking down Will’s defenses.

    The Bench Scene: A Turning Point

    After their intense first meeting, Sean invites Will to a park, where he delivers one of the most memorable monologues in the film. Sean begins by admitting his vulnerability, sharing that Will’s comments about the painting kept him up all night and genuinely bothered him.

    By admitting Will’s comments hurt him, Sean shows he’s willing to show weakness, but then he sharply pivots to challenge Will directly, “But then you know what occurred to me? You’re just a kid. You don’t have the faintest idea what you’re talking about.”

    Sean goes on to explain that despite Will’s intellectual brilliance, he lacks lived experience. Sean shares personal moments that defined him — seeing the Sistine Chapel in person, being truly in love with someone, the scars of losing friends in war, and watching a loved one die of cancer. These deep experiences illustrate the limitations of knowledge without life. Sean’s speech is a blend of tough love and empathy, forcing Will to confront the gap between his intellectual defenses and his emotional reality.

    good will hunting bench

    The bench scene sets the tone for the remainder of their therapy. Sean acknowledges Will’s brilliance but challenges him to live beyond books and theories. Sean leaves the door open for Will to continue having sessions with him only if he is ready to truly open up.

    Second Therapy Session: Silence

    The next therapy session begins with complete silence as Sean and Will sit across from each other. After two emotionally charged meetings and still lingering tensions, neither is willing to be the first to reach out or break the quiet.

    The entire hour goes by and neither says a word. While this may feel like an unproductive session, this is another important moment in their relationship. The power of silence acts as a reset button in their relationship.

    Sometimes, simply sitting in the same room without confrontation (“sharing space”) can be a meaningful step toward healing. It allows both Sean and Will to recalibrate, setting the stage for a more productive dynamic moving forward.

    Third Therapy Session: Humor and Opening Up

    The silence stand-off continues into their third session, with each still not willing to budge or say the first word.

    Finally Will breaks the silence with a dirty joke, immediately breaking the tensions in the room and reinitiating conversation in a fun and light-hearted way. After they share a laugh, Will begins to open up about a girl he’s been dating recently. Will mentions how he worries the girl is “too perfect,” and that getting to know her more would just shatter that illusion. Sean wisely responds back, “That’s a super philosophy, that way you can go through your entire life without ever really getting to know anybody.”

    Sean opens up about his wife and the quirks behind their love, like her farting in her sleep and waking up the dog. After all these years, these are the little moments he remembers and cherishes about her. No one is “perfect,” and it’s often the imperfections that make someone special to us.

    good will hunting laugh

    Robin Williams improvised the story about his wife causing Matt Damon to genuinely burst out into laughter during this scene.


    After more light-hearted banter, Will turns the tables and ask why Sean never got remarried. Will firmly replies, “My wife is dead.” Then Will, always testing and challenging, uses one of Sean’s lines against him: “That’s a super philosophy, that way you can go through your entire life without ever really getting to know anybody.”

    Fourth Therapy Session: Love, Opportunities, and Regrets

    Now on much more amicable terms, Will opens up with an honest question, “Do you ever wonder what your life would be like if you never met your wife?”

    Sean accepts that there’s been a lot of pain and suffering in his relationship, but he doesn’t regret any of it, because the good moments were worth it and he wouldn’t trade a single day with her through good or bad times. Will presses to learn more, “When did you know she was the one?”

    “October 21, 1975.”

    It was game six of the World Series, the biggest game in Red Sox history – and Sean slept on the sidewalk all night with friends to get tickets. He recalls the momentous occasion when the Red Sox hit a game-winning home run and everyone rushed the field.

    “Did you rush the field?”

    “Hell no, I wasn’t there. I was in a bar having a drink with my future wife.”

    The story illustrates how Sean knew his wife was the one when he was willing to miss the opportunity of a life-changing moment (being at a historical sporting event) for an even bigger life-changing moment (finding love and his future wife).

    Will is incredulous and yells at Sean for missing the game. He asks, “How did your friends let you get away with that?” And Will simply replies, “I just slid my ticket across the table and said, ‘Sorry guys, I gotta see about a girl.’”

    Fifth Therapy Session: Facing Potential and Values

    In this session, Will begins to ask deep questions about what he wants to do with the rest of his life and what are the best uses of his intelligence and talents.

    After a job interview with the NSA, Will goes into a diatribe about how his talents could be hypothetically used for catastrophic consequences, like overthrowing foreign governments, destabilizing entire countries, or getting his friends sent to fight some war overseas.

    Sean asks him directly, “What are you passionate about? What do you want?”

    They discuss the honor of work, including construction work and Will’s job as a janitor and the pride he takes in it, even though society may not view it as the most rewarding job in the world. Sean prods further asking why he chose to be a janitor at the most prestigious technical university in the world, and why he secretly finished math problems, highlighting that there may be something else driving Will.

    Sean asks again what Will wants to do with his life, and he deflects by joking that he wants to be a shepherd on his own plot of land away from the world. Sean isn’t willing to waste his time and decides to end the session early. Will has a final outburst before leaving, “You’re lecturing me on life? Look at you, you burnout!”

    This session reveals how Will is afraid of his potential and talents, including the responsibility that comes with them. “I didn’t ask to be born like this.” He feels safe continuing to live in his hometown, work his everyday job, and hangout with his childhood friends. He’s afraid to dream bigger. There may be something deeper driving Will’s thirst for knowledge, but he doesn’t know his core values and motivations, and doesn’t truly know himself or what he wants out of life.

    Sixth Therapy Session: “It’s Not Your Fault”

    The next therapy session begins with Sean uncovering more about Will’s painful past, particularly his life as an orphan and the physical abuse he endured with his foster parents. Sean reveals that he, too, grew up with an abusive, alcoholic father, forging another shared bond between them.

    As their conversation unfolds, Will correctly guesses that his final psychological report likely diagnoses him with “attachment issues” and a “fear of abandonment.” He acknowledges that these issues may have driven him to push his girlfriend away, leading to their recent breakup. When Sean gently asks if he wants to talk about it, Will declines.

    Sean then shifts the focus, holding onto the reports as he says, “I don’t know a lot. But you see this? All this shit? It’s not your fault.”

    At first, Will politely agrees, brushing off the comment, but Sean repeats the line: “It’s not your fault.” With each repetition, Will’s emotional defenses begin to crumble, and he cycles through a range of emotions—politeness, confusion, anger, and aggression—until the weight of Sean’s words fully sinks in. Overwhelmed, Will finally breaks down and cries, releasing years of suppressed pain and guilt.

    good will hunting

    In this profoundly cathartic moment, Sean embraces Will, offering the safe and empathetic connection that has been absent from Will’s life. It’s a turning point where Will confronts his past without blame or self-judgment, finally opening the door to acceptance and healing.

    Last Goodbye

    In their last meeting, Will thanks Sean for all of his help and shares the good news that he has accepted an exciting new job. Sean, in turn, reveals his plans to travel and explore life on his own terms. They exchange numbers to keep in touch, symbolizing the respect and connection they’ve built.

    This moment underscores that therapy is often a chapter in life that prepares individuals to continue their journeys independently. Both Will and Sean needed to say their goodbyes and go their separate ways to continue following their paths in life. Will has learned to face his fears and embrace his potential. Sean has rediscovered purpose and fulfillment through helping Will. Their goodbye is bittersweet but profound, a reminder that growth often requires letting go and moving forward.

    In the final scene, Will leaves a letter at Sean’s place that reads, “If the professor calls about that job, just tell him sorry—I had to go see about a girl.” This moment beautifully exemplifies Will’s newfound courage to follow his heart and take meaningful risks.

    Conclusion

    The therapeutic relationship between Sean and Will in Good Will Hunting is a masterclass in storytelling and psychology. Through humor, vulnerability, and mutual respect, Sean helps Will break through years of pain and fear, while Will reignites Sean’s passion for life. Their journey is a powerful testament to the transformative potential of therapy — and how creating a space of acceptance, healing, and growth can change lives.


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    Steven Handel

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  • The Worldbuilding of Inside Out 2: New Emotions, Belief System, and a Sense of Self

    The Worldbuilding of Inside Out 2: New Emotions, Belief System, and a Sense of Self

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    “Inside Out 2” introduces new emotions like Anxiety and Envy as Riley navigates the challenges of growing up and forming her sense of self. This heartfelt sequel naturally builds on the inner world of its predecessor, teaching important lessons in mental health for both children and adults.


    The original “Inside Out” (2015) was a monumental Pixar film that humorously depicted the chaotic inner world of emotions that we all have to navigate.

    In the first one, the young protagonist Riley had to learn that negative emotions like “Sadness” (a blue-colored character) aren’t something that have to be avoided at all costs, but are appropriate emotions to feel sometimes, and even a necessary function of a happy and healthy life. It was a powerful lesson in emotional intelligence that resonated with both children and adults alike.

    The sequel “Inside Out 2” (2024) continues to build off of these themes in a fun, organic, and intuitive way. Riley is now thirteen and about to enter high school. She starts to experience a new range of emotions (especially “Anxiety” and “Envy”), which start to influence her newly forming “belief system” and a “sense of self.”

    The creators of the Inside Out franchise have a team of psychologists that help them illustrate key concepts in an imaginative way, which makes this film both enjoyable and educational. This article will explore some of the new concepts in the film and how the mental world-building in the franchise continues to expand.

    New Emotions

    Inside Out 2 introduces a bunch of new emotions into Riley’s inner world. In addition to the original line-up (Joy, Sadness, Fear, Anger, Disgust), they also include:

    • Anxiety (orange): The focus of the film. Anxiety is always thinking ahead and wanting what is best for Riley, but also overworks and overworries her. The main narrative of the film shows Riley wanting to become the best hockey player she can possibly be; anxiety tries to help her achieve this by motivating Riley to constantly push herself forward, wake up early to train more, and work harder. However, too much anxiety distracts her from other core values in life, such as kindness and friendship, and also hurts her ability to just have fun and enjoy the game of hockey. At the climax of the film, Anxiety works itself up into such a frenzy that it freezes and has a panic attack (this scene has resonated with a lot of people who have experienced similar attacks, including myself). Riley must learn that while anxiety can be a powerful motivator it also needs to be balanced with feelings of acceptance, relaxation, and joy.
    • Envy (cyan): This emotion is always admiring others, looking up to them, and wanting what they have. When Riley first meets her hockey idols, she becomes envious of how “cool” and “successful” they are, so she strives to become just like them by mimicking them and copying their behaviors, including at one point dying her hair the same way to be more like them. Like all emotions, envy and jealousy can be insightful emotions with the right perspective: they can show us what we want or value in life. However when our lives are completely run by these feelings, we end up trying to be something we’re not.
    • Embarrassment (pink): A big goofy emotion that looks away and covers his head in a hoodie whenever something shameful or embarrassing happens to Riley. It’s interesting to note that many of the new emotions added have a social component to them. This makes sense as Riley comes of age and begins to balance her self-perception with how she is perceived by others.

      inside out 2 emotions characters
      All of the emotions in Inside Out 2 (both old and new). One cool thing about each emotion is that it is naturally paired with a specific color. Sadness is blue, Anger is red, Joy is yellow, Disgust is green, and Anxiety is orange.

    • Ennui/Boredom (purple): A humorous emotion with a stereotypically snobby French accent that constantly pretends to not be interested in anything. They will often deflect serious or uncomfortable situations with sarcasm, irony, or feigned disinterest. This character cleverly shows how many people use sarcasm as a defense mechanism when they are too afraid to be honest or sincere about their true thoughts and feelings. It reflects a common attitude among teenagers and young adults where it’s perceived as “lame” to care too much about anything.
    • Nostalgia (beige): This emotion is a side character that pops up a couple times throughout the film. Each time the other emotions humorously tell “Nostalgia” that she is arriving too soon, and that Riley has to at least wait for her first date, first kiss, or graduation before she starts reminiscing on the past. Perhaps Nostalgia will be the main character in Inside Out 10, when Riley is much older and has already lived the bulk of her life.

    The original creator Pete Docter conceived of between 5-27 emotions that could be added to the Inside Out world, so it’s likely newer emotions will continue to be introduced if the series keeps going. Check out different classifications of emotions here, the original five in the movie are based on Paul Ekman’s model (excluding “surprise”).

    Belief System and Sense of Self

    One of the most interesting new features added to the Inside Out world is the idea of a “belief system.”

    In the first movie, they introduced the concept of a “core memory” as a highly emotionally charged event that is then stored in Riley’s brain. Now these core memories can be brought to the “belief system” and turned into a belief (or recurring thought pattern). For example, when Riley fails an important exam at school, that core memory may be turned into the belief, “I’m not good enough” or “I’m not smart enough.”

    Here’s how the belief system is visually represented, it looks similar to a bunch of neurons in a brain. Each ray of light represents one specific belief:

    All of these beliefs come together to create Riley’s “sense of self.” This is depicted in the movie as a type of “electric tree,” with its roots representing each core belief.

    At first the character Joy takes complete control over Riley’s “sense of self.” It only feeds positive memories and positive beliefs into her belief system, and tries to protect her from negative memories by throwing them into the “back of the mind” where they can be ignored forever.

    When the emotion Anxiety takes over, only negative beliefs are fed into the sense of self, such as “I’m not good enough” or “I need to be better.” The “sense of self” changes color and shape to reflect these changes in how Riley sees herself.

    After Riley suffers from a panic attack during a hockey game due to being completely controlled by Anxiety, the character Joy intervenes and gets Anxiety to “let go” of the controls.

    In the outside world, Riley practices a grounding technique by making note of her five senses and taking deep breaths to bring herself back to the present moment. She then does the right thing by apologizing to her friends for being so mean and distant toward them.

    Finally Riley “calls” Joy back to her and allows herself to have fun playing the rest of the hockey game with her friends.

    By the end of the movie, Riley forms a completely new “sense of self” that accepts all of her thoughts and feelings, even when they can be conflicting or contradictory at times. Riley’s emotions come together and realize that she needs all of them.

    No single emotion gets to determine who Riley is – they all contribute in helping Riley become the best version of herself.

    Conclusion

    Overall Inside Out 2 is a worthy sequel that builds off of its predecessor in an organic and intelligent way that is bound to resonate with both children and adults. Make sure to put it on your watchlist this year!


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    Steven Handel

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  • The Best Movies at Telluride and the 10 Most Anticipated Fall Films

    The Best Movies at Telluride and the 10 Most Anticipated Fall Films

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    Sean and Amanda recap the long weekend in film news and discuss the biggest films out of the Telluride Film Festival, including the much-anticipated Anora, the SNL origin story Saturday Night, the Trump biopic The Apprentice, and more (1:00). Then, they react to the Venice Film Festival from afar and take stock of the impact that this weekend’s major festivals have had on the state of the awards race (58:00). Finally, they share the yet-to-be-released movies that they’re most excited for this fall (1:20:00).

    Hosts: Sean Fennessey and Amanda Dobbins
    Senior Producer: Bobby Wagner

    Subscribe: Spotify / Apple Podcasts / Stitcher / RSS

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    Sean Fennessey

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  • Redford Theatre offers 500 free tickets to rare 35mm screening of ‘Raiders of the Lost Ark’

    Redford Theatre offers 500 free tickets to rare 35mm screening of ‘Raiders of the Lost Ark’

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    The historic Redford Theatre in Detroit is featuring rare 35mm film screenings of the first Indiana Jones adventure Raiders of the Lost Ark next weekend, and 500 tickets are available for free.

    The free movies are sponsored by Pluto TV, a popular streaming television service. Pluto TV partnered with 14 family-run, independent theaters across the country to offer free movies.

    Raiders of the Lost Ark will be screened at 2 p.m. and 8 p.m. on Saturday, Aug. 24 and 2 p.m. on Sunday, Aug. 25.

    For each show, 400 tickets are available online, and additional 100 tickets will be available at the door.

    Redford Theatre is showing Raiders of the Lost Ark to celebrate director Steven Spielberg’s 50 years of making feature films.

    Released in 1981, the action-packed classic features Harrison Ford as a daring archaeologist on a quest to stop Nazis from obtaining a legendary relic.

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    Steve Neavling

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  • M. Night Shyamalan’s film ‘Trap’ is set in Philly, but it clearly wasn’t filmed here

    M. Night Shyamalan’s film ‘Trap’ is set in Philly, but it clearly wasn’t filmed here

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    Filmmaker and Philly-area native M. Night Shyamalan has stuck close to his roots throughout his career, though his new movie “Trap” has other locations dressed up as Philadelphia and its surrounding region.

    The film follows a father (Josh Hartnett) taking his young daughter to a concert for fictional pop star sensation Lady Raven (Saleka Shyamalan). The bulk of the movie takes place in Tanaka Arena in Philadelphia — but it’s clearly not one of the city’s venues.


    MORE: NYC’s Levain Bakery, known for its massive cookies, to open first Philly location this fall


    Tanaka Arena has red and yellow signage similar to the Wells Fargo Center, but the exterior of the fictional stadium is actually the Rogers Centre in Toronto and the inside is FirstOntario Centre in Ontario.

    Trap Tanaka ArenaScreenshot/Warner Bros. Pictures; YouTube

    The exterior of the fictional Philly stadium Tanaka Arena is actually the Rogers Centre in Toronto.

    Where this arena would be located in Philly is ambiguous. Near the beginning of the film, Hartnett parks near an elevated highway, and as the camera follows them, a sign for the U.S. Route 1 Philadelphia and Trenton exit is visible at the top of the frame.

    There are also several shots depicting police vehicles driving through Market Street to the arena, and a police dispatcher at one point in the film mentions 9th and Market streets, where the Fashion District stands. Is Tanaka Arena an alternate, actualized version of the proposed 76ers arena?

    The several high-rise buildings surrounding the arena are not recognizable as any in Philly. One shot of police en route to the arena shows a nearby building with the words “CONVENTION CENTER” in generic font, with no resemblance to the Pennsylvania Convention Center in Center City.

    Trap Market StreetTrap Market StreetScreenshot/Warner Bros. Pictures; YouTube

    Philadelphia Police and SWAT vehicles drive through a fictionalized Market Street in the movie ‘Trap.’

    It isn’t the first time Shyamalan has inserted a fictional building in Philly for one of his movies. In his 2019 film “Glass,” the opening of a new fictional skyscraper called the Osaka Tower is a major plot point; the film inserts the tower into the Philly skyline using CGI.

    Spoilers for “Trap” follow.

    After the Lady Raven concert ends, the action of the film moves to the surrounding suburbs of Philly, where Hartnett’s character lives. He states that his address is on Monk Road, which in real life is located in Gladwyne.

    Bizarrely, police vehicles labeled “East Dublin Police” are seen in this area. There is an Upper Dublin Township in Montgomery County in real life, but Gladwyne is in the Lower Merion Township.

    Adding to the confusion, a news report retelling the events of the movie during the credits mentions the Main Line town of Malvern, which is in East Whiteland Township — this fictional “East Dublin” is apparently an amalgamation of different suburban areas.

    While “Trap” may have not been shot on location in Philadelphia like previous Shyamalan films, it is still clearly a Philly-set movie — one character even dresses in excessive Sixers apparel, if that doesn’t make it obvious enough.

    The film serves as a fun nod to Shyamalan’s hometown — even if the confusing geography might flummox Philly folks who care about the details.

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    Chris Compendio

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  • Paris Opening Ceremony Features Tedious 45-Minute Discussion Of Godard’s Early Works

    Paris Opening Ceremony Features Tedious 45-Minute Discussion Of Godard’s Early Works

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    PARIS—With more than a billion viewers tuning in from around the world only to find themselves watching a panel of French film scholars and critical theorists, the opening ceremony of the Paris Olympics began Friday with a tedious 45-minute discussion of Jean-Luc Godard’s early works. “We’re half an hour in, and they’ve still only made it to Masculin Féminin,” said three-time Olympic medalist Lebron James, speaking for the majority of the 10,500 athletes in attendance, who visibly struggled to stay awake and reportedly found the lecture on how Godard influenced the French New Wave as both critic and filmmaker to be excruciatingly remedial. “I was hoping for something a little more exciting and nuanced, but the people on this stage have done little more than establish Godard’s own glib existentialism as the impetus for the lack of narrative in Breathless. Maybe it’s a cultural thing, but I don’t feel they have much to add to the conversation around the nostalgic and modern feel of his short works. I did like the synchronized lighting of the cigarettes, though.” At press time, the International Olympic Committee reportedly issued a number of fines after an arcane squabble about mise en scène in Le Petit Soldat broke out between Italy and Belarus.

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  • ‘The Blair Witch Project’ and Other Must-See Found Footage Films

    ‘The Blair Witch Project’ and Other Must-See Found Footage Films

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    Adam Nayman takes a look at some must-see found footage films

    ‌To celebrate the 25th anniversary of the release of The Blair Witch Project, Ringer contributor Adam Nayman takes a look at some must-see found footage films.

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    Adam Nayman

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  • 10 Freaky Horror Movies to Stream on Shudder

    10 Freaky Horror Movies to Stream on Shudder

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    At Midnight I’ll Take Your Soul | Trailer 1964 #movie

    In 1964, Brazilian director, co-writer, and star José Mojica Marins unleashed his singular creation—Coffin Joe—into the world of horror cinema. At Midnight I’ll Take Your Soul kicked off a film series built around the character, a murderous undertaker who’s the most monstrously awful guy you’ll ever meet, while also being someone you simply can’t take your eyes off whenever he’s onscreen. Stream on Shudder.

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    Cheryl Eddy

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  • ‘Spaceballs’ sequel announced with Brooks and Gad teaming up

    ‘Spaceballs’ sequel announced with Brooks and Gad teaming up

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    Say what you want about Hollywood being unoriginal, I’m all ears. But the Spaceballs sequel is happening no matter what fans think. According to Variety, Amazon MGM has ordered a follow-up to the 1987 Star Wars parody.

    The good news is that Mel Brooks will produce. No plot details have been released, so it’s hard to tell what this movie will actually be about. But we can do what we do best and speculate wildly!

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    Zach

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  • Bill Skarsgård’s Pennywise Returns for It Prequel Series

    Bill Skarsgård’s Pennywise Returns for It Prequel Series

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    Image: Warner Bros.

    It and It: Chapter Two star Bill Skarsgård (Nosferatu) has officially signed back on to reprise the role of sewer-dwelling, child-eating clown Pennywise for Max’s Welcome to Derry series. The returning Pennywise joins castmates Taylour Paige, Jovan Adepo, Chris Chalk, and James Remar.

    According to Deadline, Skarsgård will also executive produce the show along with his fellow It film franchise creative team at Warner Bros. The show was inspired by the Stephen King novel It and was developed by the franchise’s director Andy Muschietti with producer Barbara Muschietti. They’re also joined by Chapter Two co-producer Jason Fuchs with the films’ other producers, Roy Lee and Dan Lin. Now with Skarsgård in the mix, we’re excited for more horror in the prequel series. Muschietti is set to direct four episodes out of the nine in the series order.

    Recently, Bill Skarsgård starred in Boy Kills World and will be featured as Eric Draven in the upcoming The Crow reboot, while Andy Muschietti remained in the Warner Bros. family with The Flash. Needless to say, we are excited to see them team up again with more world-building and creepy killer clownery in the Stephen King universe. Their take on It has become the quintessential one garnering $1.17 billion worldwide. And in an age with ever-expanding mythologies, characters like Pennywise can keep floating on in horror infamy as long as he wants.

    Stay tuned at io9 for Welcome to Derry updates!


    Want more io9 news? Check out when to expect the latest Marvel and Star Wars releases, what’s next for the DC Universe on film and TV, and everything you need to know about House of the Dragon and Lord of the Rings: The Rings of Power.

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    Sabina Graves

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  • 10 Sci-Fi and Horror Movies to Stream Before They Leave Netflix

    10 Sci-Fi and Horror Movies to Stream Before They Leave Netflix

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    Silent Hill (2006) – Official Trailer (HD)

    Based on the popular video game franchise, the first live-action Silent Hill film—released in 2006 and starring Radha Mitchell as desperate mother Rose—vanishes into a supernatural dimension, or at least departs Netflix, on May 31. Watch on Netflix.

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    Cheryl Eddy

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  • Blumhouse Invites My Bloody Valentine to Make a Return

    Blumhouse Invites My Bloody Valentine to Make a Return

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    Image: Paramount

    There’s been a number of dormant horror franchises that’ve been revived in the past few years—your Alien, Halloween, Strangers, and so on. (Sorry, Jason.) Several of these have come courtesy of Blumhouse, and it’s now working to resurrect another old movie: My Bloody Valentine.

    Per Bloody Disgusting, the horror studio is in the early stages of developing a new film. At the moment, this is the only piece of information about the film: it’s not clear if this’ll be another remake, or a legacy sequel to either of the previous versions. It’s also not known who’s behind it, or if original director George Mihalka will have any kind of involvement.

    The original My Bloody Valentine released in 1981, and focuses on a group of young adults whose Valentine’s Day party takes a turn for the grim when a killer in mining gear starts picking them off. It landed a mixed reception at first, but in the decades since, has found a cult audience and made $5.7 million worldwide. Lionsgate took to remaking it back in 2009, which was notably the first R-rated flick to get the 3D treatment. Like the remake overall, the 3D technology didn’t fully go over well with critics, though it ended up making $100.7 million.

    Valentine’s remake ended with a sequel tease that co-writer Todd Farmer and director Patrick Lussier intended to make. According to Farmer in 2020, the would-be follow up would’ve been a more psychological movie, and seen some of the survivors from the remake come back. But after the movie’s muted reception, Lionsgate said “no thanks,” and no studio’s touched the pseudo-franchise since. Fans gave the original movie a legacy sequel of its own last year with the Valentine Bluffs fan film set 40 years later and focused on a new killer taking up the miner mantle.


    Want more io9 news? Check out when to expect the latest Marvel, Star Wars, and Star Trek releases, what’s next for the DC Universe on film and TV, and everything you need to know about the future of Doctor Who.

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    Justin Carter

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  • Superman and Fantastic Four Lead 2025’s Amazing IMAX Slate

    Superman and Fantastic Four Lead 2025’s Amazing IMAX Slate

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    This year is already off to a very good start at the movies but 2025 is looking even bigger, in more ways than one. Fresh off the huge success of last year’s Oppenheimer and this year’s Dune: Part Two, IMAX just revealed 14 titles in 2025 that will not only be released in IMAX, but are being filmed specifically for the format.

    The list, so far, is as follows:

    • Captain America: Brave New World – February 15, 2025
    • Untitled Ryan Coogler/Michael B. Jordan – March 7, 2025
    • Thunderbolts – May 2, 2025
    • Flowervale Street – May 16, 2025
    • Mission: Impossible 8 – May 23, 2025
    • How To Train Your Dragon – June 13, 2025
    • Untitled Formula One – June 27, 2025
    • Superman – July 11, 2025
    • The Fantastic Four – July 25, 2025
    • Mercy – August 15, 2025
    • The Bride! – October 3, 2025
    • Tron: Ares – October 10, 2025
    • Blade – November 7, 2025
    • Chinese New Year, title TBC – January 29, 2025

    Of course, as these films are all so far out, release dates are subject to change and there will probably be more films using IMAX cameras in the coming months. (Also, why isn’t Avatar 3 on this list? Did Cameron not use IMAX cameras? What about Gareth Edwards and Jurassic World?)

    Now, for real film nerds, you all have one question right now. Since all of these films are being “filmed in IMAX,” will they just be released in normal, bigger, 1.9:1 IMAX? Or will any of them be full-frame, Christopher Nolan/Denis Villeneuve 1.43:1 IMAX? io9 reached out to IMAX for clarity and was told since most of these films are still in production, they couldn’t confirm what each film is using or what format each will be released in. It’s simply too early to be sure.

    But let’s have some fun and guess anyway.

    As none of the Marvel movies have ever gone 1.43, you can probably cross all those off the list. Same for the other Disney movie, Tron. Coogler/Jordan is rumored to be a period vampire movie, which sounds amazing, but maybe not “1.43 IMAX” amazing. Flowervale Street is rumored to be about dinosaurs and David Robert Mitchell is an exciting filmmaker, but I’m still thinking “No” there. Mission: Impossible 8 is a real possibility since the format has been used in the franchise, plus this is rumored to be the end of the saga so it would be a nice boost. I doubt How to Train Your Dragon would as it’s a family film but, you never know. The Joseph Kosinski-Brad Pitt Formula One movie, with its rumored $300 million budget, feels like the most obvious one to use the 1.43 aspect ratio, followed closely by James Gunn’s Superman. That would set an exciting precedent for the start of the DC Universe, if true. Mercy is an Amazon movie so, probably not that, and then there’s The Bride!, which we’re of course excited about but seems a bit more personal than epic. But again, that’s all just speculation.

    No matter what the case though, even if none of the films go the full Nolan, just filming for IMAX does give the screen a significant jump in size, not to mention the incredible sound. Out of all of the premium formats out there, it’s certainly my favorite, and one of the most profitable for studios too.

    Head to the Hollywood Reporter for more on these 2025 IMAX releases.


    Want more io9 news? Check out when to expect the latest Marvel, Star Wars, and Star Trek releases, what’s next for the DC Universe on film and TV, and everything you need to know about the future of Doctor Who.

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    Germain Lussier

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  • ‘The Room’ to screen at PhilaMOCA with live commentary from actor Greg Sestero

    ‘The Room’ to screen at PhilaMOCA with live commentary from actor Greg Sestero

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    Philly residents and fans of “The Room” will be able to say “Oh hi, Mark!” to the man himself.

    Greg Sestero, who portrayed the character in Tommy Wiseau’s cult film, will be at North Philly venue PhilaMOCA on June 4 to provide live commentary and share personal insights during a special screening.

    Wiseau directed, produced, wrote and starred in the 2003 film, which was critically panned yet became a midnight movie with an energetic following for its unintentional humor, poor-quality screenplay and other filmmaking mishaps.

    Sestero is no stranger to PhilaMOCA, with the venue calling “The Room” co-star an “old friend.” In 2018, the actor showed up at the Cinedelphia Film Festival for a live reading of “The Room” screenplay. In 2021, Sestero again stopped by PhilaMOCA to introduce a screening of the film.

    This upcoming appearance will be the first time at the venue that Sestero will talk over the movie with his commentary. PhilaMOCA also promises that Sestero will “bring a special video or two” for the audience.

    Hearing directly from Mark’s mouth will be a treat for fans of “The Room,” who may have read Sestero’s written account of the film’s production in a book he co-wrote called “The Disaster Artist.” The book later became an Oscar-nominated film directed by and starring James Franco as Wiseau and co-starring Dave Franco as Sestero.

    Since “The Room,” Sestero co-wrote and co-starred in a two-part film with Wiseau called “Best F(r)iends” and he had a minor role in the Netflix horror show “The Haunting of Bly Manor.” Sestero will also have a role in a straight-faced remake of “The Room.”

    While usual screenings of “The Room” generally feature call-and-response participation from audience members, this screening will focus on Sestero as the guest of honor. Just be sure to leave your stupid comments in your pocket if you get to meet him.


    The Room’ with live commentary from Greg Sestero

    Tuesday, June 4 | 7:30 p.m.

    $24.87 tickets

    PhilaMOCA

    531 N. 12th St.

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    Chris Compendio

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