Tag: Rose Byrne

Rose Byrne and Kristen Wiig Toast to ‘Bridesmaids’, Friendship, and Launching Themselves Into Space

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For If I Had Legs I’d Kick You and Palm Royale, you both have created such singular characters. How different are they each from you in real life?

Wiig: She’s a little more delusional than I am. She’s much more ambitious than I am, also. I feel like we’re pretty different. I will say a similarity: I do have a belief that everything works out, and it is supposed to work out the way it’s supposed to work out. She doesn’t take no for an answer—and I do! Obviously, she’s just a little more scheming in a way, but she’s well intentioned, which I guess I am.

Byrne: I am pretty different. She’s very, very different from me. The character is incredibly hostile, Linda, and she comes from a place of hostility throughout the film, because she’s under such stress and trauma. Whereas my default is not hostility if I’m under stress or trauma. It is a different thing. I go overboard in another way, but not like that. So that was hard, because it’s not my natural default. It was challenging to constantly capture that hostility that she has, fighting everybody and cutting everybody off. But fun too.

Wiig: Knowing you and seeing her, I was like, “Who is this person?” Because it’s so heartbreaking. And you’re waiting the whole movie for her to just, like, run over somebody in a car. It was truly one of the most amazing performances that I’ve seen.

Byrne: I feel like it is just an opportunity. It’s a gift to see a woman act like that and lose it like that.

Wiig: Did you have moments—because this has happened to me—before you shot this where you were like, I don’t know if I can do this?

Byrne: Every day! I didn’t want to mess it up. I would be calling [writer-director] Mary Bronstein, “Did we get this?” The character’s very paranoid, and I’m not a Method person. But you do become a little bit consumed with your subject, whether you like it or not. You try to have faith, but I’m constantly wondering if this is going to come together. And particularly before you start. Once you’re in, it’s better because you’re just in it. But the anticipation before—I have that every time. It’s kind of boring. Bobby [Cannavale, Byrne’s partner] is like, “Can we be done?”

Wiig: But I think it’s good too, because then when you’re done, you’re like, Oh my gosh, I did it.

Byrne: I think if you’re not a little bit scared, then maybe reexamine what you’re doing.

Kristen, you’re always a great presenter at awards shows, like at the Globes with Will Ferrell and another year with Steve Carell. What’s your approach to doing that?

Wiig: With both of those in particular, we just met before and we’re like, “What do we want to do?” And both times it was a little like, “Well, they may either not like this or think it’s too long, but let’s just push for it.” And then they just kind of let us do it. But you never know. I remember specifically with the last one that I did with Will, it was later in the show. We were at the same table, and we would just look at each other like, “What are we doing?” I think we did a rehearsal and people were just like, “What is this?” So I think the long answer is, doing something that you think is funny while still acknowledging how great it is for the nominees and everything—not taking anything away from them, and talking about the category, and just having fun with it.

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Rebecca Ford

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February 24, 2026
Tow’s Rose Byrne & Dominic Sessa Talk Remarkable True Story, Working With Demi Lovato | Interview

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ComingSoon Editor-in-Chief Tyler Treese spoke with Tow stars Rose Byrne and Dominic Sessa about the new drama movie. The duo discussed their approach to telling a remarkable true story of resilience, their on-screen chemistry, and more. working with Ariana DeBose and Demi Lovato. Directed by Stephanie Laing, the film also stars Ariana DeBose, Octavia Spencer, and Demi Lovato and is now playing in theaters.

“Based on a true story, Tow follows Amanda Ogle (Byrne), a woman living in her aging Toyota Camry on the streets of Seattle. When her car — her only lifeline — is stolen and impounded, Amanda is thrust into a relentless legal battle against an indifferent system. What begins as a fight to reclaim her car evolves into a deeply human story of resilience, dignity, and the power of one woman’s voice in the face of systemic failure.”

Tyler Treese: Rose, we see the real-life Amanda Ogle at the end of the film, which is just a really sweet ending to it. There’s always extra weight when portraying somebody’s true story, and I really felt that here with you. Did you get to speak much with Amanda before this portrayal, and if so, what did you take away from that?

Rose Byrne: I did. So I went to Seattle, and I spent a couple of days there just hanging out, and it was fantastic. She was very candid with me, and we drove around. I got to see the city. Just take me to the place where your car got towed. Take me to the towing company. Take me to where you went to high school. I’d never been to Seattle, so I wanted to see, and it’s such an extraordinary historical place. I mean, that’s where Nirvana is from. It’s this legacy of the town. We shot in New Jersey, which is not the same, so I wanted to try to have a little bit of perspective on that and spend some time with her.

She’s such a fascinating character. She has had many, many hardships. She’s an unlikely hero in many ways. How she ended up unhoused is really a series of bad choices and circumstances, which could happen to anybody. So it was a very revealing experience to me about being in America and what that could look like sometimes, or anywhere for that matter, but specifically in Seattle where it’s historical levels of people who are unhoused. So, she was wonderful, and I know Dom got to spend time with Kevin Eggers, who is her lawyer. Also, a wonderful gentleman and a really fun character to play.

Dominic Sessa: The best.

Dominic, there’s such a fun back and forth between you and Rose’s character since Amanda doesn’t like lawyers. How is it getting that chemistry with Rose to where you were able to have those moments of frustrations feel really real and human? Because I love those moments. I love it when she kind of snaps a bit at you, and you’re not too hurt over it.

Sessa: [Looks at Rose] I mean, you’re just so hard to be mad at.

I just remember we did this one scene where I discover Amanda kind of passed out in my office, like on my desk.

Byrne: Oh, that was a funny scene.

Sessa: Yeah, I remember not really knowing how I’m gonna react to it, but Rose is so great, and she just kind of flopped herself over on the desk and just swung her arms at me. So, I guess it was something that [felt natural].

Byrne: They’re so sort of polar opposite.

Sessa: Yeah, yeah. They’re so opposite that it was like there’s no way for me to respond to it other than to kind of brush it off because it’s so absurd. It’s so like, what is going on? Especially in that scene where they kind of meet each other again for the first time, and really see each other for the first time. It was just comedic.

Byrne: It was just funny. Yeah.

Rose, you’ve got really good scenes with Ariana DeBose and Demi Lovato in the shelter, and they each get to tell their own stories of perseverance. How is it working with those two talented artists? Because it felt like a sisterhood there.

Rose Byrne: It was wonderful. You do these [indie] movies because you love them. It’s not a paycheck; you can’t anticipate how it’s gonna be received. It’s really just the faith in the material and wanting to work with good people. So they brought their best game. They were so game.

We were in this tiny town in the middle of New Jersey, and we had a really fun time and we had fun material. Ariana was just brilliant, so fun to work with. Demi, I got to be serenaded. She sang to us in one scene, and she’s obviously just the most beautiful voice. So, she was really game, really, really game.

Thanks to Rose Byrne and Dominic Sessa for taking the time to talk about Tow.

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Tyler Treese

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February 23, 2026
Independent Spirit Awards 2026 Loses Its Beachy Vibes and Some of Its Spirit Along With It

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The ceremony also had a newbie host, former Saturday Night Live star Ego Nwodim, who tried her best to keep the energy in the room up with dynamic bits. The best one included a “sexual tension cam” that let put real-life couples like Jesse Plemons and Kirsten Dunst and Kumail Nanjiani and Emily V. Gordon on the awkward spot. But many of her bits didn’t seem to land in the room, despite her best efforts.

Still, the show had its highlights. Train Dreams won best feature film, best director for Clint Bentley, and best cinematography for Adolpho Veloso. The winner of best feature film is often an Oscar contender and every few years aligns with best picture (Moonlight, Nomadland, Everything Everywhere All At One, and Anora). Train Dreams is nominated for best picture, but not expected to win that category, so it was nice to see the indie film earn lots of love.

Netflix had a very nice day overall, with limited series Adolescence winning every category it was nominated in: New scripted series, lead performance for Stephen Graham, supporting performance for Erin Doherty, and breakthrough performance for Owen Cooper.

With Oscar voting opening just a week and a half from now, there were plenty of contenders making a pit stop at the show, even if their projects weren’t nominated at the Spirits. Weapons star Amy Madigan handed out the first award of the night, and Sinners stars Wunmi Mosaku and Delroy Lindo, The Secret Agent star Wagner Moura, and Song Sung Blue’s Kate Hudson also presented awards.

Another Oscar nominee, If I Had Legs I’d Kick You star Rose Byrne, who also presented, won the award for lead performer, giving another gracious awards speech following her Golden Globes win. “This character of Linda really could only exist in an independent film. She’s fierce and she’s gracious and she’s a middle-aged woman,” she said.

All love between Rose Byrne and Kate Hudson, who are both up for best actress at the Oscars.

Kevin Mazur/Getty Images

Byrne, though beloved all season, isn’t likely to also win the best actress Oscar since she’s up against Hamnet’s Jessie Buckley there. The two most likely categories for overlap are best documentary feature, which went to Netflix’s The Perfect Neighbor, and best international feature, which went to The Secret Agent.

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Rebecca Ford

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February 16, 2026
How Mothers on the Brink Became the Main Characters of 2025

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Through his attorney, Alex told People that Fuller and Carr’s series “mischaracterizes Alex’s relationships with his wife Maggie and his son Paul, both of whom Alex loves so dearly.” To that, Fuller tells VF: “I do truly believe, to whatever extent I can understand, that he did love Maggie and Paul. I think that’s one of the reasons he can’t open that door of monstrousness to acknowledge what he did.”

In one final, prescient twist, Alex used a visit to his elderly mother, Libby, then suffering from dementia, as an alibi for the murders. “After the most dehumanizing, monstrous thing someone could do, he went and sat there with his mom,” Fuller says.

Like Alex fleeing from the darkest moments of his life and into the arms of his mother, Fuller ventures that the rocky last few years have led us back there culturally too. “We’ve been through so much in the past 10 years, particularly the past five. The collective psyche has just been so traumatized, and there’s so much uncertainty when we’re dealing with AI, what the economy’s going to look like, climate change—all these massive things,” says Fuller. “We dramatized [Paul’s older brother] Buster Murdaugh saying at the end of his father’s murder trial, ‘I just want my mom.’ There is something fundamental that a mother in the most general way provides. But what we’re seeing, with If I Had Legs I’d Kick You and Die My Love, is the burden of that on the individual.”

Die My LoveMubi/ Everett Collection

In a year where men channeled their inner demons into vampires (Sinners), gods (Superman), and even a new Frankenstein, motherhood served as a trippy catalyst for many writer-directors. “We are thinking about ourselves as mothers, but also our own mothers. If you have a good enough mother, those problems and demands and terrible feelings that we’re putting forth in these movies are all behind the scenes,” says Bronstein. “Those are mommy’s little secrets. Kids go to bed, wine comes out or whatever it is, but we don’t see that as kids. We don’t see all the work that goes into even something as simple as a birthday.”

The unflinching portraits of maternity have had a profound effect on mothers, but also on young people deciding whether or not to procreate. “Women are really openly expressing a total disinterest in marriage and children,” says Gallagher, citing a recent Pew Research Center study that found a 22-point drop over the last three decades in teenage girls’ desire to get married. As of 2025, teenage girls are officially less likely than teenage boys to say they want to get married. “So, it makes sense to me that we’re finally free enough perhaps to explore and say out loud that having kids isn’t for everyone, and/or you can love your kids to death and still acknowledge that the life of having kids is really hard,” she continues.

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Savannah Walsh

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December 26, 2025
‘If I Had Legs I’d Kick You’ explores a mother’s existential crisis

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Sometimes the best films are the ones that are most difficult to describe, the ones that can’t be boiled down to a pithy tagline or plot summary.

This is almost certainly the case with “If I Had Legs I’d Kick You,” one of most audacious films of the year, in which Rose Byrne plays a mother on the edge. There’s an unseen kid with a mysterious illness. There’s the constant humming of medical equipment. There’s a hole in a ceiling that may be coming to life. There’s A$AP Rocky as a motel employee. There’s a phone husband and Conan O’Brien’s uninterested therapist. And there is the feeling of exhaustion so deep, so endless it manifests not in rest but in mania.

For writer-director Mary Bronstein, her film is an experience that she likens to likens to being on a roller coaster.

“Everything is going as expected but then at some point you pass by the operator and the operator’s not there and then the roller coaster keeps going and it gets faster and faster and so you feel like you’re gonna fly off into the ether,” she said. “I describe it as an existential terror.”

It might not be all that surprising then that the film, expanding this weekend, was born out of an existential crisis. Bronstein, who 17 years ago made the cult mumblecore classic “Yeast,” featuring a pre-fame Greta Gerwig and the Safdie brothers, had walked away from the industry. But about eight years ago, life took her to San Diego where she would lose herself and find her way back to filmmaking.

A film born in a motel bathroom

The move to San Diego was not a happy one. Her 7-year-old daughter needed to be there for medical treatments and her husband needed to stay in New York for work.

For a disorienting eight months, Bronstein played the part of full-time caregiver while they lived in a tiny, dingy motel room. The only place she had to herself was their depressing little bathroom where she would go after her daughter was asleep and drink cheap wine and binge food under the awful glow of the overhead fluorescent lights. And she felt herself disappearing.

“My wants and needs didn’t factor into the equation. The task at hand was to get her better and to go back to New York,” she said. “And then this other thought started forming like, ‘Oh, wait a minute, she is going to get better. And we are going to go back to work. And then what the hell am I going to do? Who am I? It was a literal, actual existential crisis.”

That’s when it hit her: “I’m an artist,” she said. She started writing the script, her first since “Yeast,” in that awful motel bathroom.

A promising debut and a quick retreat

Bronstein came to filmmaking through performance, through the theater, studying at New York University’s Tisch and the Playwrights Horizon studio. But she quickly realized that she didn’t actually want to act: She wanted to be the one creating characters and working with actors.

“Yeast” was made in opposition to the films she’d seen on the festival circuit the year prior, with her now husband Ronald Bronstein, where she saw a lot of male fantasies of women on screen.

“It made me angry and I made ‘Yeast’ with that kind of rage,” she said. “I had never seen a film that reflected a very particular experience I had which is the trouble of navigating friendships from one stage of life to another, when boyfriends enter the picture, jobs and interests that have nothing to do with you.”

Like “If I Had Legs I’d Kick You,” “Yeast” was a pure expression of feeling. But when it premiered in competition at SXSW in 2008, it was met with a lot of hostility — especially from young male filmmakers.

It was a disheartening experience. Instead of soldiering on in an independent filmmaking community that didn’t seem to want her, she went away and did other things: She got a graduate degree in psychology, she had a kid, she ran an underground preschool in Williamsburg, and she wrote feminist theory for academic books.

In other words, she lived a life. And making films wasn’t part of it, for her at least.

Clawing her way back in

Bronstein’s husband is Josh Safdie’s creative partner who co-wrote and co-edited “Uncut Gems ” and “Good Time” as well as the upcoming “Marty Supreme,” which he also produced. And yet when she decided to write and make “If I Had Legs…”, she felt completely outside of any infrastructure or industry. She had no manager. No one was asking what she was going to do next.

But as with “Yeast,” she just knew she had to tell this story. And for the first time people willing to put money into making it happen agreed. The only creative concessions she made were logistical, she said.

O’Brien describes Bronstein as one of the most tenacious people he’s ever met. After he’d agreed to be in the film she told him that she was coming to Los Angeles and needed three hours a day with him for a week.

“There’s a part of me that’s thinking, ‘Really?’” O’Brien said. “I thought, ‘This isn’t really going to happen. She says that but we’re probably going to do an hour.’”

He was wrong, and glad about it. It was a week of intense character work that proved enormously helpful.

“She is so confident in her vision and she’s so confident about what needs to happen,” he said. “There are people that make movies because that’s their job and they just keep making them because that’s what you do. Mary is someone who has something to say. That, I think, really is the mark of a true artist.”

When the picture was locked, she texted O’Brien saying, “I made the movie I wanted to make.” That alone was enough: He was certain it was going to be great. Most audiences seem to agree too, from its festival run to its theatrical rollout, Bronstein has captured something about the zeitgeist, about motherhood, about the pressures of being a caregiver that gets under your skin and stays there.

“It was a very urgent expression that I wanted to capture in the film. I didn’t want that energy to die on the screen,” Bronstein said. “And I think I succeeded — maybe too much for some people, but for me, just in the right way.”

An overdue reappraisal and what’s next

Somewhere in the past few years “Yeast” has had its own resurgence, getting occasional screenings at art theaters around the country and abroad. The film had always had a few champions, including The New Yorker critic Richard Brody, but suddenly she noticed a fandom of 20-somethings emerging.

“They freak for this thing,” Bronstein said.

She’s not exactly sure why, but she has some theories about collective anger and the catharsis of seeing aggression on screen in a new way. Like many great filmmakers, she was, perhaps, ahead of her own time in 2008.

Now, she said, people are asking her “what’s next?” She has some ideas brewing. But she did promise one thing: This time, she said, it won’t take another 17 years.

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October 26, 2025
Rose Byrne’s New Movie “Wrecked” Her—and Redefined Her Career

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What did it look like at the end of a hard day for you?

The hardest parts are the night shoots, because I’m useless after a certain hour anyway. I’m not a night owl. Everybody’s a different beast. But they were really the true night shoots, where we’d see the sun come up, and you’d sleep all day—I’d come home to my little hotel room. At one point they said, “Do you want to stay at the hotel where we’re filming?” Because that’s where Mary was staying. And I was like, “I’m good.” Church and state. But I would usually text Mary at some point later, going, “I think I screwed this up. Did you get enough of this? I’m sorry if I didn’t get that.” I’d go through a series of thoughts in my head of what I could have done better, what we missed, how we’ll fix it—just neurotic actress things.

Mary mentioned to me that she wouldn’t run a lot of takes.

She didn’t. It’s a tiny movie—it’s not like a Kubrick film where you can do a hundred takes. Or allegedly, those sorts of things you hear about. [Laughs] This was four weeks. It was like doing a play. I just stepped onto the set, but before I knew it, I was off the set. The adrenaline of it got me through all of that.

Did it take a toll—physically, emotionally, all the above?

It’s funny—having small children, they just couldn’t care less if it’s taking a toll on you or not, whether it be work or something else. That’s always very grounding. But I felt sad it was over. It was such a gift to be able to do it.

Because the camera was so close, it was a very technical exercise as well a lot of the time. And my scene partner, you never see. There’s twists in the filmmaking that people will hopefully recognize, but that was wild, going, “How’s that going to work? How’s this story going to be told?” It’s just all from the perspective of Linda, in a way that I’ve not experienced for a while in the cinema—watching it, just like, “Oh, you are inside this person’s eyeballs.”

Do you remember what state of mind you were in when you finished filming?

Whew. I have an Australian kind of relaxed, laid-back quality that I know is culturally similar, but I am peddling fast underneath a little bit. I was just like, “Is this okay? Did I fuck it up?” I didn’t want it to be over. When Mary and I talked again later, I was having separation anxiety from the character—and from Mary, and Mary as part of the character, and our friendship. I felt a little of that when I was coming away from it. And I felt pretty wrecked, physically.

There’s the physical toll I was asking about!

[Laughs] I admit, I looked busted.

You play another intense role in the film Tow, which premiered to strong reviews in Tribeca. But it still hasn’t found distribution, correct?

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David Canfield

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August 28, 2025
Summer movie season is in full swing. Here’s what’s coming through Labor Day

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The summer movie season goes into high-gear in July, with the arrival of the seventh “Mission: Impossible” movie followed by the “Oppenheimer” and “Barbie” showdown on July 21.

Not that you have to choose one or the other — as Tom Cruise said on Twitter, “I love a double feature, and it doesn’t get more explosive (or more pink) than the one with Oppenheimer and Barbie.”

August also promises a new take on the Teenage Mutant Ninja Turtles and introduces a new DC superhero, Blue Beetle.

Moviegoers were only moderately interested in going to the theater to say goodbye to Harrison Ford’s archaeologist character in “Indiana Jones and the Dial of Destiny.”

Indiana Jones. Karen Allen always knew he’d come walking back through her door. Since 1981’s “Raiders of the Lost Ark,” Allen’s Marion Ravenwood has been only a sporadic presence in the subsequent sequels.

An international film festival in the Czech spa town of Karlovy Vary has kicked off its 57th edition with an award planned for Oscar-winning actor Russell Crowe.

A London prosecutor says Oscar-winning actor Kevin Spacey is a “sexual bully” who assaults other men and doesn’t respect personal boundaries.

Here’s a month-by-month guide of this summer’s new movies. Keep scrolling for more info and review links for May and June’s releases.

July 7

” Insidious: The Red Door ” (Sony, theaters): Patrick Wilson and Rose Byrne are back to scare everyone in the fifth edition.

“ Joy Ride ” (Lionsgate, theaters): Adele Lim directs this raucous comedy about a friends trip to China to find someone’s birth mother, starring Ashley Park, Stephanie Hsu, Sherry Cola and Sabrina Wu.

“ The Lesson ” (Bleecker Street, theaters): A young novelist helps an acclaimed author in this thriller with Richard E. Grant.

“ Biosphere ” (IFC, theaters and VOD): Mark Duplass and Sterling K. Brown are the last two men on Earth.

“ Earth Mama ” (A24, theaters): This acclaimed debut from Savannah Leaf focuses on a woman, single and pregnant with two kids in foster care, trying to reclaim her family in the Bay Area.

July 14

“ Mission: Impossible-Dead Reckoning Part I” (Paramount, theaters, on July 12): Tom Cruise? Death-defying stunts in Venice? The return of Kittridge? What more do you need?

“ Theater Camp ”(Searchlight, theaters): Musical theater nerds (and comedy fans) will delight in this loving satire of a childhood institution, with Ben Platt and Molly Gordon.

“ The Miracle Club ” (Sony Pictures Classics, theaters): Lifetime friends (Kathy Bates, Maggie Smith, Agnes O’Casey) in a small Dublin community in 1967 dream of a trip to Lourdes, a town in France where miracles are supposed to happen. Laura Linney co-stars.

“ 20 Days in Mariupol ” (in theaters in New York): AP’s Mstyslav Chernov directs this documentary, a joint project between The Associated Press and PBS “Frontline,” about the first weeks of the Russian invasion of Ukraine, in which Chernov, photographer Evgeniy Maloletka, and field producer Vasilisa Stepanenko, became the only international journalists operating in the city. Their coverage won the Pulitzer Prize for Public Service.

“ Afire ” (Janus Films, theaters): This drama from German director Christian Petzold is set at a vacation home by the Baltic Sea where tensions rise between a writer, a photographer and a mysterious guest (Paula Beer) as a wildfire looms.

“ They Cloned Tyrone ” (Netflix): John Boyega, Teyonah Parris and Jamie Foxx lead this mystery caper.

July 21

“ Oppenheimer ” (Universal, theaters): Christopher Nolan takes audiences into the mind of the “father of the atomic bomb,” J. Robert Oppenheimer ( Cillian Murphy ) as he and his peers build up to the trinity test at Los Alamos.

“ Barbie ” (Warner Bros., theaters): Margot Robbie plays the world’s most famous doll (as do many others) opposite Ryan Gosling’s Ken in Greta Gerwig’s comedic look at their perfect world.

“ Stephen Curry: Underrated ” (Apple TV+): Peter Nicks directs a documentary about the four-time NBA champion.

“ The Beanie Bubble ” (in select theaters; on Apple TV+ on July 28): Zach Galifianakis stars as the man behind Beanie Babies in this comedic drama, co-starring Elizabeth Banks, Sarah Snook and Geraldine Viswanathan.

July 28

“ Haunted Mansion ” (Disney, theaters): A Disney ride comes to life in with the help of Rosario Dawson, Tiffany Haddish, Owen Wilson and Danny DeVito.

“ Talk to Me ” (A24, theaters): A group of friends conjure spirits in this horror starring Sophie Wilde and Joe Bird.

“ Happiness for Beginners ” (Netflix, on July 27): Ellie Kemper is a newly divorced woman looking to shake things up.

“ Sympathy for the Devil ” (RLJE Films): Joel Kinnaman is forced to drive a mysterious gunman (Nicolas Cage) in this thriller.

“ Kokomo City ” (Magnolia): A documentary following four Black transgender sex workers. One of the subjects, Koko Da Doll, was shot and killed in April.

August 4

“ Teenage Mutant Ninja Turtles: Mutant Mayhem ” (Paramount, theaters): This animated movie puts the teenage back in the equation with a very funny voice cast including Seth Rogen and John Cena as Bebop and Rocksteady.

“ Shortcomings ” (Sony Pictures Classics, theaters): Randall Park directs this adaptation of Adrian Tomine’s graphic novel about Asian American friends in the Bay Area starring Sherry Cola as Alice, Ally Maki as Miko and Justin H. Min as Ben.

“ Meg 2: The Trench ” (Warner Bros., theaters): Jason Statham is back fighting sharks.

“ Passages ” (Mubi): The relationship of a longtime couple (Franz Rogowski, Ben Whishaw) is thrown when one begins an affair with a woman (Adèle Exarchopoulos).

“ A Compassionate Spy ” (Magnolia): Steve James’ documentary about the youngest physicist on the Manhattan Project who fed information to the Soviets.

“Dreamin’ Wild” (Roadside Attractions): Casey Affleck stars in this film about musical duo Donnie and Joe Emerson.

“ Problemista ” (A24, theaters): Julio Torres plays an aspiring toy designer in this surreal comedy co-starring Tilda Swinton that he also wrote, directed and produced.

August 11

“ Gran Turismo ” (Sony, theaters): A gamer gets a chance to drive a professional course in this video game adaptation starring David Harbour and Orlando Bloom.

“ The Last Voyage of the Demeter ” (Universal, theaters): This supernatural horror film draws from a chapter of “Dracula.”

“ Heart of Stone ” (Netflix): Gal Gadot played an intelligence operative in this action thriller, with Jamie Dornan.

“The Eternal Memory” (MTV Documentary Films): This documentary explores a marriage and Alzheimer’s disease.

“The Pod Generation” (Vertical, theaters): Emilia Clarke and Chiwetel Ejiofor star in this sci-fi comedy about a new path to parenthood.

“Jules” (Bleecker Street, theaters): Ben Kingsley stars in this film about a UFO that crashes in his backyard in rural Pennsylvania.

August 18

“ Blue Beetle ” (Warner Bros., theaters): Xolo Maridueña plays the DC superhero Jaime Reyes / Blue Beetle in this origin story.

“ Strays ” (Universal, theaters): Will Ferrell and Jamie Foxx voice dogs in this not-animated, R-rated comedy.

“birth/rebirth” (IFC, theaters): A woman and a morgue technician bring a little girl back to life in this horror.

“ White Bird ” (Lionsgate, theaters): Helen Mirren tells her grandson, expelled from school for bullying, a story about herself in Nazi-occupied France.

“Landscape with Invisible Hand” (MGM, theaters): Teens come up with a unique moneymaking scheme in a world taken over by aliens.

“The Hill” (Briarcliff Entertainment): This baseball drama starring Dennis Quaid is based on the true story of Rickey Hill.

August 25

“They Listen” (Sony, theaters): John Cho and Katherine Waterston lead this secretive Blumhouse horror.

“Golda” (Bleecker Street): Helen Mirren stars in this drama about Golda Meir, the Prime Minister of Israel during the Yom Kippur War.

“ Bottoms ” (MGM, theaters): Two unpopular teenage girls (Rachel Sennott and Ayo Edebiri) start a fight club to impress the cheerleaders they want to lose their virginity to in this parody of the teen sex comedy.

“The Dive” (RLJE Films): In this suspense pic about two sisters out for a dive, one gets hurt and is trapped underwater.

“Scrapper” (Kino Lorber, theaters): A 12-year-old girl (Lola Campbell) is living alone in a London flat until her estranged father (Harris Dickinson) shows up.

“Fremont” (Music Box Films, theaters): A former army translator in Afghanistan (Anaita Wali Zada) relocates to Fremont, California and gets a job at a fortune cookie factory. “The Bear’s” Jeremy Allen White co-stars.

September 1

“ The Equalizer 3 ” (Sony, theaters): Denzel Washington is back as Robert McCall, who is supposed to be retired from the assassin business but things get complicated in Southern Italy.

ALREADY IN THEATERS AND STREAMING

“ Guardians of the Galaxy Vol. 3 ” (Disney/Marvel): Nine years after the non-comic obsessed world was introduced to Peter Quill, Rocket, Groot and the rest of the Guardians of the Galaxy, the misfits are closing out the trilogy and saying goodbye to director James Gunn, who is now leading rival DC. ( AP’s review.)

“ What’s Love Got to Do with It? ” (Shout! Studios): Lily James plays a documentary filmmaker whose next project follows her neighbor (Shazad Latif) on his road to an arranged marriage in this charming romantic comedy.

“ Book Club: The Next Chapter ” (Focus Features): Jane Fonda, Diane Keaton, Candice Bergen and Mary Steenburgen travel to Italy to celebrate an engagement.

“ The Mother,” ( Netflix ): Jennifer Lopez is an assassin and a mother in this action pic timed to Mother’s Day. (AP’s review here.)

“ Love Again ” (Sony): Priyanka Chopra Jonas plays a woman mourning the death of her boyfriend who texts his old number not knowing it belongs to someone new (Sam Heughan). Celine Dion (and her music) co-star in this romantic drama.

“ STILL: A Michael J. Fox Movie ” ( AppleTV+ ): Davis Guggenheim helps Michael J. Fox tell his story, from his rise in Hollywood to his Parkinson’s diagnosis and beyond.

“ Monica ” (IFC): A transgender woman, estranged from her family, goes home to visit her dying mother in this film starring Tracee Lysette and Patricia Clarkson.

“ The Starling Girl ” (Bleecker Street): Eliza Scanlen plays a 17-year-old girl living in a fundamentalist Christian community in Kentucky whose life changes with the arrival of Lewis Pullman’s charismatic youth pastor.

“ Fool’s Paradise ” (Roadside Attractions): Charlie Day writes, directs and plays dual roles in this comedic Hollywood satire.

“ Hypnotic ” (Ketchup Entertainment): Ben Affleck plays a detective whose daughter goes missing in this Robert Rodriguez movie.

“ It Ain’t Over ” (Sony Pictures Classics): A documentary about Lawrence Peter ‘Yogi’ Berra.

“Blackberry” (IFC): Jay Baruchel and Glenn Howerton star in this movie about the rise of the Blackberry. ( AP’s review.)

“ Fast X ” (Universal): In the tenth installment of the Fast franchise, Jason Momoa joins as the vengeful son of a slain drug lord intent to take out Vin Diesel’s Dom. ( AP’s review.)

“ White Men Can’t Jump ” (20th Century Studios, streaming on Hulu): Sinqua Walls and Jack Harlow co-star in this remake of the 1992 film, co-written by Kenya Barris and featuring the late Lance Reddick. ( AP’s review.)

“ Master Gardener ” (Magnolia): Joel Edgerton is a horticulturist in this Paul Schrader drama, co-starring Sigourney Weaver as a wealthy dowager. ( AP’s review.)

“ Sanctuary ” (Neon): A dark comedy about a dominatrix (Margaret Qualley) and her wealth client (Christopher Abbott).

“ The Little Mermaid ” (Disney): Halle Bailey plays Ariel in this technically ambitious live-action remake of a recent Disney classic directed by Rob Marshall (“Chicago”) and co-starring Melissa McCarthy as Ursula. ( AP’s review.)

“ You Hurt My Feelings ” (A24): Nicole Holofcener takes a nuanced and funny look at a white lie that unsettles the marriage between a New York City writer (Julia Louis-Dreyfus) and a therapist (Tobias Menzies). ( AP’s review.)

“ About My Father ” (Lionsgate): Stand-up comic Sebastian Maniscalco co-wrote this culture clash movie in which he takes his Italian-American father (Robert De Niro) on a vacation with his wife’s WASPy family. ( AP’s review.)

“ Victim/Suspect ” ( Netflix ): This documentary explores how law enforcement sometimes indicts victims of sexual assault instead of helping.

“ The Machine,” (Sony): Stand-up comedian Bert Kreischer brings Mark Hamill into the fray for this action-comedy.

“ Kandahar ” (Open Road Films): Gerard Butler plays an undercover CIA operative in hostile territory in Afghanistan.

“ Spider-Man: Across the Spider-Verse ” (Sony): Miles Morales (Shameik Moore) is back, but with things not going so well in Brooklyn, he opts to visit the multiverse with his old pal Gwen Stacy (Hailee Steinfeld), where he encounters the Spider-Society. ( AP’s review.)

“ The Boogeyman ” (20th Century Studios): “It’s the thing that comes for your kids when you’re not paying attention,” David Dastmalchian explains to Chris Messina in this Stephen King adaptation.

“ Past Lives ” (A24): Already being hailed as one of the best of the year after its Sundance debut, Celine Song’s directorial debut is a decades and continent-spanning romance about two friends separated in childhood who meet 20 years later in New York. ( AP’s review.)

“ Transformers: Rise of the Beasts ” (Paramount): Steven Caple Jr directs the seventh Transformers movie, starring Anthony Ramos and Dominique Fishback. ( AP’s review.)

“Flamin’ Hot” ( Hulu, Disney+): Eva Longoria directs this story about Richard Montañez, a janitor at Frito-Lay who came up with the idea for Flamin’ Hot Cheetos. ( AP’s review.)

“ Blue Jean ” (Magnolia): It’s 1988 in England and hostilities are mounting towards the LGBTQ community in Georgia Oakley’s BAFTA-nominated directorial debut about a gym teacher (Rosy McEwan) and the arrival of a new student. ( AP’s review.)

“Daliland” (Magnolia): Mary Harron directs Ben Kingsley as Salvador Dalí.

“ The Flash ” (Warner Bros.): Batmans past Ben Affleck and Michael Keaton assemble for this standalone Flash movie directed by Andy Muschietti and starring Ezra Miller as the titular superhero. ( AP’s review.)

“ Elemental ” (Pixar): In Element City, residents include Air, Earth, Water and Fire in the new Pixar original, featuring the voices of Leah Lewis, Mamoudou Athie and Catherine O’Hara. ( AP’s review.)

“ Extraction 2 ” ( Netflix ): Chris Hemsworth’s mercenary Tyler Rake is back for another dangerous mission. ( AP’s review.)

“ Asteroid City ” (Focus Features): Wes Anderson assembles Tom Hanks, Scarlett Johansson, Jason Schwartzman and Jeffrey Wright for a stargazer convention in the mid-century American desert. ( AP’s review.)

“ The Blackening ” (Lionsgate): This scary movie satire sends a group of Black friends including Grace Byers, Jermaine Fowler, Melvin Gregg and X Mayo to a cabin in the woods.

“ No Hard Feelings ” (Sony): Jennifer Lawrence leads a raunchy comedy about a woman hired by a shy teen’s parents to help him get out of his shell before Princeton. ( AP’s review.)

“ Indiana Jones and the Dial of Destiny ” (Lucasfilm): Harrison Ford puts his iconic fedora back on for a fifth outing as Indy in this new adventure directed by James Mangold and co-starring Phoebe Waller-Bridge. ( AP’s review.)

“ Every Body ” (Focus Features): Oscar-nominated documentarian Julie Cohen turns her lens on three intersex individuals in her latest film. ( AP’s review.)

“ Ruby Gillman, Teenage Kraken ” (Universal): Lana Condor (“To All the Boys I’ve Loved Before”) lends her voice to this animated action-comedy about a shy teenager trying to survive high school as a part-Kraken. (AP’s review.)

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July 2, 2023
Rose Byrne Comedy ‘Physical’ To End With Season 3

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By Brent Furdyk.
Published: 1 hour ago
Last updated: 1 hour ago

Rose Byrne will no longer be getting “Physical”, with Apple TV+ announcing the 1980s-set aerobics-themed comedy will be ending after its upcoming third season.

Deadline was the first to report that the series will be wrapping up the journey of frustrated housewife-turned-fitness mogul/lifestyle guru Sheila Rubin.

“We are so grateful to Apple… and all our creative collaborators for the chance to bring Sheila to life in all her gritty glory,” said Byrne (who is both star and exec producer) and series creator/writer/EP Annie Weisman in a statement. “With this final season, Sheila’s three-act saga of rebellion, recovery and redemption comes to the satisfying conclusion that she and her fans so richly deserve. We feel so proud to share this last chapter with everyone.”

READ MORE:
Rose Byrne Is ‘Delighted’ By Fans Still Coming Up To Her To Talk ‘Bridesmaids’

“We are aware of just how much of an impact this character and story has had on audiences around the world and can’t wait for them to join us on this final exhilarating ride that culminates in an immensely rewarding finale for this celebrated series,” added Matt Cherniss, head of programming for Apple TV+:

Former “New Girl” star Zooey Deschanel is joining the cast in the third season as Kelly, a network television sitcom actress who enters the lucrative fitness industry, and quickly becomes Sheila’s biggest rival.

While “Physical” may be ending, Byrne’s association with Apple TV+ is not; she’ll next be seen starring opposite Seth Rogen in the streamer’s upcoming comedy “Platonic”, bowing in later this month.

READ MORE:
Seth Rogen And Rose Byrne Reconnect In Hilarious New ‘Platonic’ Trailer

The third and final season of “Physical” debuts on Aug. 3.

https://www.youtube.com/watch?v=oyeQ4Op1xdg

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May 17, 2023