Sony Pictures has announced the Sense and Sensibility theatrical release date for the upcoming special screening of the classic romance period drama based on Jane Austen’s iconic 1811 novel of the same name. It was led by Academy Award winners Emma Thompson and Kate Winslet, along with Golden Globe winners Hugh Grant and Alan Rickman. Since its debut in 1995, the movie has maintained its near-perfect Tomatometer rating of 97% on Rotten Tomatoes, based on 67 reviews.
“The film tells the story of the Dashwood sisters: pragmatic Elinor and passionate Marianne. When their father dies unexpectedly, his estate must pass by law to his son from his first marriage, leaving Mr. Dashwood’s current wife and daughters without a home and with barely enough money to live on,” reads the official synopsis. “As both sisters struggle to find romantic fulfillment in a society obsessed with financial and social status, Elinor with shy, charming Edward, and Marianne with either the dashing Willoughby or the haunted Colonel Brandon, they must learn to mix sense with sensibility in their dealings with both money and men.
When is the rerelease date for Hugh Grant’s Sense and Sensibility movie?
In celebration of its 30th anniversary and Austen’s 250th birthday, Sense and Sensibility is officially returning to select theaters in 4K for a limited engagement in North America on December 14, December 16, and December 17. In addition to its critical success, the movie was also a box office hit. During its original theatrical run, it earned a worldwide gross of $135 million against a reported budget of around $16 million.
The movie adaptation was directed by acclaimed filmmaker Ang Lee, with Thompson writing the screenplay. The ensemble cast also included Greg Wise as John Willoughby, Gemma Jones as Mrs. Dashwood, Harriet Walter as Fanny Dashwood, James Fleet as John Dashwood, Imogen Stubbs as Lucy Steele, Hugh Laurie as Mr. Palmer, Imelda Staunton as Charlotte Palmer, and more. It was produced by Lindsay Doran, with Sydney Pollack serving as an executive producer.
The move comes as a way to give Holland seven days to recover from the injury while avoiding having to shoot without him. The trade described the injury as “a mild concussion,” and will be giving the franchise’s current Peter Parker a break from his Spider-Man commitments out of an abundance of caution. Holland was still able to attend a charity event on behalf of the Brother’s Trust, an organization the actor runs with his brothers.
While Spider-Man: Brand New Day shoot will be affected for a week, it’s not expected to impact the release of the film. As of now, the Sony Pictures and Marvel Studios feature is still on track to meet its release date. So we will be watching the continuation of a world where no one knows who Peter Parker is, let alone that he’s Spider-Man, come 2026.
Of course, even just under a year away, much of what Brand New Day is about is being kept under wraps. The film will bring back memory-wiped MJ (Zendaya) and Ned (Jacob Batalon) along with an extensive new ensemble of new and familiar Marvel Cinematic Universe players. Jon Bernthal will be featured as Frank Castle, aka the Punisher, alongside Avengers mainstay Mark Ruffalo as the Hulk. Better Call Saul actor Michael Mando will also reprise his role as the Scorpion from Spider-Man: Homecoming. Newcomers to the MCU include Stranger Things star Sadie Sink in a major undisclosed role, and Emmy-winning Severance star Trammell Tillman.
Spider-Man: Brand New Day is still slated to open in theaters on July 31, 2026.
The busy actor, who appeared this summer in such films as Naked Gun and The Fantastic Four: First Steps, will star alongside previously confirmed castmember Austin Abrams in Sony Pictures‘ new take on the franchise. The feature hits theaters Sept. 18, 2026, and adapts the popular video game series about an elite task force battling zombies.
Cregger, who had a hit this summer with Warner Bros.’ Weapons, will helm Resident Evil from a script he is co-writing with Shay Hatten. Plot details have not yet been disclosed for the project that hails from Constantin Film.
Producers include Robert Kulzer for Constantin Film, Roy Lee for Vertigo Entertainment and Asad Qizilbash and Carter Swan for PlayStation Productions. TriStar Pictures president Nicole Brown oversees the movie for the studio.
Based on the Capcom video games, the Resident Evil film franchise launched with Sony’s original 2002 feature that starred Milla Jovovich. The movie series has surpassed $1.2 billion at the global box office.
During an interview last month with The Hollywood Reporter, Hauser explained why he tends to be choosy about his projects. “I feel way too competitive and way too hungry to eat garnish and pretend it’s a meal,” the actor said about waiting for interesting roles. “I would rather hold out for the right thing. On the day, I’m just going to be all hungry, and then I’m going to look stupid, and then I’m going to feel awkward.”
Mortal Kombat IIisn’t the only movie leaving 2025. Scarlet, the next film from Studio Chizu and anime director Mamoru Hosoda, is now arriving in early 2026 for North American audiences.
Sony’s opted to push the film out of its initial December 12 slot. It’s still expected to release on November 21 in Japan and screen at film festivals in Venice, Toronto, and New York through their respective film festivals in early September and early October. The press release calls these festival screenings “qualifying runs,” which may help explain the delay: previous Hosoda films have won local and international awards and get well-received by critics, making it look more enticing to audiences.
First announced this past April, Scarlet centers on the titular young princess who escapes across time and space after witnessing her father’s murder. After her first go at revenge ends in failure, she winds up in the Land of the Dead, a limbo for those who fail in their quests for payback. But Scarlet’s not giving up just yet, and she crosses paths with a modern-day man named Hijiri.
For those living outside North America and Japan, Sony’s international subsidiary will handle the film’s release in other territories. But like with North America, there’s no hard date for the film in those territories quite yet—expect to wait a while before we hear or see more from the film.
After weeks of negotiations, Skydance’s proposed merger with Paramount Global appears to be on the ropes.
Paramount’s special board committee appears to have cooled on the offer, which would have seen the David Ellison-led studio, joined by financial partners RedBird Capital and KKR, acquire controlling shareholder Shari Redstone’s stake in the company and then merge Skydance into Paramount, keeping it as a publicly-traded company, with new leadership at the helm.
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Skydance had been in a 30-day exclusive negotiating window, and had proposed a revised offer last weekend that would have offered some sweeteners for Paramount common shareholders, some of whom had been vocally opposed to the deal. That window ends today, and is not likely to be extended.
Another source close to the deal says that talks between the sides continue.
Paramount has another offer on the table: A $26 billion all-cash deal from Apollo and Sony Pictures. It is not immediately clear what the status of that deal is, though it would carry substantially more regulatory concerns, due to Apollo’s existing ownership of broadcast TV stations, and Sony’s status as a Japanese company.
Redstone is said to be unenthusiastic about that deal.
The end of the Skydance talks capped off an eventful week for Paramount, with the company parting ways with its CEO Bob Bakish on Monday, replacing him with a trio of executives working in an “office of the CEO.”
While Bakish had largely declined to comment on the deal chatter, he told analysts on the company’s fourth-quarter earnings call that he was focused on creating value for all shareholders (emphasis his), suggesting that there was daylight between him and Redstone, and friction that could have led to his ouster.
Bakish’s departure followed the news that four board members would not be standing for reelection at the company’s next annual meeting, set for June 4. It was not immediately clear what sparked their decision, though there was speculation that it could be related to deal talks.
With the Skydance deal seemingly off, and the Apollo-Sony deal’s regulatory viability in question, Paramount may need to find its own path forward under its new leaders Brian Robbins, George Cheeks and Chris McCarthy.
“Going forward, we are finalizing a new long-term plan to best position this storied company to reach new and greater heights in our rapidly changing world,” the trio wrote to employees shortly after taking the helm of the company.
A source says that the executives are prepared to lead the company long-term, and confirmed that a formal strategic plan will be communicated to staff in the coming weeks.
Paramount shares are down about 5 percent for the day.
Spokespersons for Paramount, Skydance, Shari Redstone and the board special committee all declined to comment.
Varun Tej’s latest movie, Operation Valentine, showcases the harsh reality of the Indian defense forces and their unwavering dedication to protecting the country.
Directed by Shakti Pratap Singh Hada, the action thriller is produced by Sony Pictures and God Bless Entertainment. It is based on the 2019 Pulwama Terrorist Attack and the retaliatory Balakot Air Strikes of 2019 by the Indian Air Force. It also stars Manushi Chhillar, Navdeep, and Mir Sarwar in pivotal roles.
Operation Valentines was released worldwide on March 1, 2024. It was shot simultaneously in Telugu and Hindi. The film will be available to stream on Amazon Prime Video.
Operation Valentine ending: Was Arjun able to strike down the enemy?
Towards the end of Operation Valentine, Arjun announces that they only need a single fighter to handle the threat. He reminds Aahna about Project Vajra and believes that taking the risk is worth it if it means saving lives. Arjun’s decision becomes more aggressive when Yash’s aircraft catches fire and crashes. He risks everything by flying close to the ground, but it pays off when he becomes untraceable on the radar.
When the Pakistani fighters shoot at him, they miss the target due to the lack of visibility. As the enemy fighters approach the Jawaharlal Nehru tunnel, Aahna loses all hope. Yet Arjun believes they can overcome the situation. He plans to attack the fighters before they can attack them and successfully takes down the fighter approaching the tunnel.
Does Arjun’s aircraft crash?
Soon after destroying the enemy jet, Arjun manages to handle the situation and prevents himself from crashing. When Aahna fears that she has lost him, Arjun reconnects to the operations room, much to her relief .
The entire room erupts in cheers, celebrating the success of the entire squadron, particularly Arjun Dev’s. His belief and determination to protect his country helped eliminate the threat. Although Aahna does not agree with his ideas, he emerges victorious neverthless.
What happens to Yash Sharma?
When Yash Sharma’s aircraft crashed, it was assumed that he had died in action. However, at the end of Operation Valentine, it was confirmed that Yash did survive the crash. His tracker was active, but his aircraft had crashed in Pakistan. The Prime Minister of India declared that if Pakistan wanted peace, they should return Yash.
The government further declared that if they failed to do so by the next day, India would take action. For this, the Indian Air Force had already been given the freedom to act accordingly. Consequently, the Pakistani government had no choice but to agree as they had failed twice and were not in the position to negotiate. In the end, Yash Sharma returned to India and was hailed as a hero.
Operation Valentine is available to stream on Amazon Prime Video.
Here we are again, gang: Glasgow Worldcon has unveiled its list of nominees for this year’s Hugo Awards. Once again, Worldcon is changing locations: this time, it’ll be Glasgow, Scotland that’ll host the annual ceremony celebrating the year’s best genre media like sci-fi and fantasy books, TV, games, and criticism.
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Nominee highlights include Ann Leckie’s Translation State and The Adventures of Amina al-Sirafi S. A. Chakraborty for Best Novel, while Wang Jinkang’s Seeds of Mercury and T. Kingfisher’s Thornhedge feature in Best Novella. Video game nominees include 2023 big dogs like Star Wars Jedi: Survivor and Baldur’s Gate 3, and TV is headlined by the likes of Loki and The Last of Us’ respective standout episodes “Glorious Purpose” and “Long, Long Time.”
The 82nd Hugo Awards will take place on Sunday, August 11, and the full list of nominees can be read down below.
Lodestar Award for Best YA Book
Abeni’s Song by P. Djèlí Clark (Starscape)
Liberty’s Daughter by Naomi Kritzer (Fairwood Press)
Promises Stronger than Darkness by Charlie Jane Anders (Tor Teen)
The Sinister Booksellers of Bath by Garth Nix (Katherine Tegen Books, Gollancz and Allen & Unwin)
To Shape a Dragon’s Breath by Moniquill Blackgoose (Del Rey)
Unraveller by Frances Hardinge (Macmillan Children’s Books; eligible due to 2023 U.S. publication by Amulet)
Astounding Award for Best New Writer
Moniquill Blackgoose (1st year of eligibility)
Sunyi Dean (2nd year of eligibility)
Ai Jiang (2nd year of eligibility)
Hannah Kaner (1st year of eligibility)
Em X. Liu (1st year of eligibility)
Xiran Jay Zhao (eligibility extended at request of Dell Magazines)
Best Fan Artist
Iain J. Clark
Sara Felix
Dante Luiz
Laya Rose
Alison Scott
España Sheriff
Best Fan Writer
Bitter Karella
James Davis Nicoll
Jason Sanford
Alasdair Stuart
Paul Weimer
Örjan Westin
Best Semiprozine
Escape Pod, editors Mur Lafferty and Valerie Valdes; assistant editors Benjamin C. Kinney, Premee Mohamed and Kevin Wabaunsee; hosts Tina Connolly and Alasdair Stuart; producers Summer Brooks and Adam Pracht; and the entire Escape Pod team
FIYAH Literary Magazine, publisher and executive editor DaVaun Sanders, poetry editor B. Sharise Moore, special projects manager L. D. Lewis, art director Christian Ivey, acquiring editors Rebecca McGee, Kerine Wint, Joshua Morley, Emmalia Harrington, Genine Tyson, Tonya R. Moore, sponsor coordinator Nelson Rolon
GigaNotoSaurus, editor LaShawn M. Wanak, associate editors Mia Tsai and Edgard Wentz, along with the GNS Slushreaders Team
khōréō, produced by Aleksandra Hill, Zhui Ning Chang, Kanika Agrawal, Isabella Kestermann, Rowan Morrison, Sachiko Ragosta, Lian Xia Rose, Jenelle DeCosta, Melissa Ren, Elaine Ho, Lilivette Domínguez, Jei D. Marcade, Jeané Ridges, Isaree Thatchaichawalit, Danai Christopoulou, M. L. Krishnan, Ysabella Maglanque, Aaron Voigt, Adil Mian, Alexandra Millatmal, E. Broderick, K. S. Walker, Katarzyna Nowacka, Katie McIvor, Kelsea Yu, Marie Croke, Osahon Ize-Iyamu, Phoebe Low, S. R. Westvik, Sara S. Messenger
Strange Horizons, by the Strange Horizons Editorial Collective
Uncanny Magazine, publishers and editors-in-chief: Lynne M. Thomas and Michael Damian Thomas; managing editor Monte Lin; nonfiction editor Meg Elison; podcast producers Erika Ensign and Steven Schapansky.
Best Fanzine
Black Nerd Problems, editors Omar Holmon and William Evans
The Full Lid, written by Alasdair Stuart and edited by Marguerite Kenner
Idea, editor Geri Sullivan
Journey Planet, edited by Michael Carroll, Vincent Docherty, Sara Felix, Ann Gry, Sarah Gulde, Allison Hartman Adams, Arthur Liu, Jean Martin, Helena Nash, Pádraig Ó Méalóid, Yen Ooi, Chuck Serface, Alan Stewart, Regina Kanyu Wang, James Bacon and Christopher J. Garcia
Nerds of a Feather, Flock Together, editors Roseanna Pendlebury, Arturo Serrano, Paul Weimer; senior editors Joe Sherry, Adri Joy, G. Brown, Vance Kotrla.
Unofficial Hugo Book Club Blog, editors Olav Rokne and Amanda Wakaruk
Best Fancast
The Coode Street Podcast, presented by Jonathan Strahan and Gary K. Wolfe
Hugos There, presented by Seth Heasley
Octothorpe, by John Coxon, Alison Scott, and Liz Batty
Publishing Rodeo, presented by Sunyi Dean and Scott Drakeford
科幻Fans布玛 (Science Fiction Fans Buma), production team 布玛（Buma)，刘路（Liu Lu)，刘倡（Liu Chang)
Worldbuilding for Masochists, presented by Marshall Ryan Maresca, Rowenna Miller, Cass Morris and Natania Barron
Best Editor (Short Form)
Scott H. Andrews
Neil Clarke
刘维佳 (Liu Weijia)
Jonathan Strahan
Lynne M. Thomas & Michael Damian Thomas
杨枫 (Yang Feng)
Best Editor (Long Form)
Ruoxi Chen
Lindsey Hall
Lee Harris
Kelly Lonesome
David Thomas Moore
姚海军 (Yao Haijun)
Best Professional Artist
Micaela Alcaino
Rovina Cai
Galen Dara
Dan Dos Santos
Tristan Elwell
Alyssa Winans
Best Dramatic Presentation (Short Form)
Doctor Who: “The Giggle”, written by Russell T. Davies, directed by Chanya Button (Bad Wolf with BBC Studios for The BBC and Disney Branded Television)
Loki: “Glorious Purpose”, screenplay by Eric Martin, Michael Waldron and Katharyn Blair, directed by Justin Benson and Aaron Moorhead (Marvel / Disney+)
The Last of Us: “Long, Long Time”, written by Craig Mazin and Neil Druckmann, directed by Peter Hoar (Naughty Dog / Sony Pictures)
Star Trek: Strange New Worlds: “Those Old Scientists”, written by Kathryn Lyn and Bill Wolkoff, directed by Jonathan Frakes (CBS / Paramount+)
Star Trek: Strange New Worlds: “Subspace Rhapsody”, written by Dana Horgan and Bill Wolkoff, directed by Dermott Downs (CBS / Paramount+)
Doctor Who: “Wild Blue Yonder”, written by Russell T. Davies, directed by Tom Kingsley (Bad Wolf with BBC Studios for The BBC and Disney Branded Television)
Best Dramatic Presentation (Long Form)
Barbie, screenplay by Greta Gerwig and Noah Baumbach, directed by Greta Gerwig (Warner Bros. Studios)
Dungeons & Dragons: Honor Among Thieves, screenplay by John Francis Daley, Jonathan Goldstein and Michael Gilio, directed by John Francis Daley and Jonathan Goldstein (Paramount Pictures)
Nimona, screenplay by Robert L. Baird and Lloyd Taylor, directed by Nick Bruno and Troy Quane (Annapurna Animations)
Poor Things, screenplay by Tony McNamara, directed by Yorgos Lanthimos (Element Pictures)
Spider-Man: Across the Spider-Verse, screenplay by Phil Lord, Christopher Miller and Dave Callaham, directed by Joaquim Dos Santos, Kemp Powers and Justin K. Thompson (Columbia Pictures / Marvel Entertainment / Avi Arad Productions / Lord Miller / Pascal Pictures / Sony Pictures Animation)
流浪地球2 / The Wandering Earth II, based on the novel by 刘慈欣 Liu Cixin, screenplay by 杨治学 Yang Zhixue, 郭帆 / Frant Gwo, 龚格尔 Gong Geer, and 叶濡畅 Ye Ruchang, script consultant 王红卫 Wang Hongwei, directed by 郭帆 / Frant Gwo (中影创意（北京）电影有限公司 / CFC Pictures Ltd, 郭帆（北京）影业有限公司 / G!Film (Beijing) Studio Co. Ltd, 北京登峰国际文化传播有限公司 / Beijing Dengfeng International Culture Communication Co, Ltd, 中国电影股份有限公司 / China Film Co. Ltd)
Best Related Work
All These Worlds: Reviews & Essays by Niall Harrison (Briardene Books)
中国科幻口述史, 第二卷, 第三卷，(Chinese Science Fiction: An Oral History, vols 2 and 3) ed. 杨枫 / Yang Feng (8-Light Minutes Culture & Chengdu Time Press)
A City on Mars by Kelly Weinersmith and Zach Weinersmith (Penguin Press; Particular Books)
The Culture: The Drawings, by Iain M. Banks (Orbit)雨果X访谈 (Discover X), presented by 王雅婷 (Tina Wong)
A Traveller in Time: The Critical Practice of Maureen Kincaid Speller, by Maureen Kincaid Speller, edited by Nina Allan (Luna Press Publishing)
Best Graphic Story/Comic
Bea Wolf, written by Zach Weinersmith, art by Boulet (First Second)
Saga, Vol. 11 written by Brian K. Vaughan, art by Fiona Staples (Image Comics)
Shubeik Lubeik, Deena Mohamed (Pantheon); as Your Wish Is My Command (Granta)
三体漫画：第一部 / The Three Body Problem, Part One, adapted from the novels by 刘慈欣 (Liu Cixin), written by 蔡劲 (Cai Jin),戈闻頔 (Ge Wendi), and 薄暮 (Bo Mu), art by 草祭九日东 (Caojijiuridong) (Zhejiang Literature and Art Publishing House)
The Witches of World War II written by Paul Cornell, art by Valeria Burzo (TKO Studios LLC)
Wonder Woman Historia: The Amazons written by Kelly Sue DeConnick, art by Phil Jimenez, Gene Ha and Nicola Scott (DC Comics)
Best Game or Interactive Work
Alan Wake 2, developed by Remedy Entertainment, published by Epic Games
Baldur’s Gate 3, produced by Larian StudiosChants of Sennaar, developed by Rundisc, published by Focus Entertainment
DREDGE, developed by Black Salt Games, published by Team17
The Legend of Zelda: Tears of the Kingdom, produced by Nintendo
Star Wars Jedi: Survivor, developed by Respawn Entertainment, published by Electronic Arts
Best Series
The Final Architecture by Adrian Tchaikovsky (Tor)
Imperial Radch by Ann Leckie (Orbit)
The Last Binding by Freya Marske (Tor)
The Laundry Files by Charles Stross (Tor)
October Daye by Seanan McGuire (DAW)
The Universe of Xuya by Aliette de Bodard (Gollancz; JABberwocky Literary Agency; Subterranean Press; Uncanny Magazine; et al.)
Best Short Story
“Answerless Journey”, Han Song / 没有答案的航程, 韩松, translated by Alex Woodend (Adventures in Space: New Short stories by Chinese & English Science Fiction Writers)
“Better Living Through Algorithms” by Naomi Kritzer (Clarkesworld May 2023)
“How to Raise a Kraken in Your Bathtub” by P. Djèlí Clark (Uncanny Magazine, January-February 2023)
“The Mausoleum’s Children” by Aliette de Bodard (Uncanny Magazine, May-June 2023)
“The Sound of Children Screaming” by Rachael K. Jones (Nightmare Magazine, October 2023)
美食三品 (“Tasting the Future Delicacy Three Times”), 宝树 / Baoshu (银河边缘013：黑域密室 / Galaxy’s Edge Vol. 13: Secret Room in the Black Domain)
Best Novelette
I AM AI by Ai Jiang (Shortwave)
“Introduction to 2181 Overture, Second Edition”, Gu Shi /〈2181序曲〉再版导言, 顾适 translated by Emily Jen (Clarkesworld, February 2023)
“Ivy, Angelica, Bay” by C.L. Polk (Tor.com 8 December 2023)
“On the Fox Roads” by Nghi Vo (Tor.com 31 October 2023)
“One Man’s Treasure” by Sarah Pinsker (Uncanny Magazine, January-February 2023)
“The Year Without Sunshine” by Naomi Kritzer (Uncanny Magazine, November-December 2023)
Best Novella
“Life Does Not Allow Us to Meet”, He Xi / 人生不相见, 何夕, translated by Alex Woodend (Adventures in Space: New Short stories by Chinese & English Science Fiction Writers)
Mammoths at the Gates by Nghi Vo (Tor)
The Mimicking of Known Successes by Malka Older (Tor)
Rose/House by Arkady Martine (Subterranean)
“Seeds of Mercury”, Wang Jinkang / 水星播种, 王晋康, translated by Alex Woodend (Adventures in Space: New Short stories by Chinese & English Science Fiction Writers)
Thornhedge by T. Kingfisher (Tor)
Best Novel
The Adventures of Amina al-Sirafi by Shannon Chakraborty (Harper Voyager)
The Saint of Bright Doors by Vajra Chandrasekera (Tor)
“Ghostbusters: Frozen Empire” kicked off with $16 millionin North American ticket sales across Friday and preview screenings in 4,345 theaters. That nearly matchesthe $16.6 million that its predecessor “Ghostbusters: Afterlife” earned on its opening day in November 2021. Sony’s sci-fi comedy sequel will easily top domestic charts, though its work isn’t done yet considering its $100 million production budget.
That’s an uptick in the price tag from “Afterlife,” which cost $75 million before marketing and distribution. That franchise revival nearly tripled its $44 million domestic opening weekend, playing well through the Thanksgiving holiday to finish with $129 million and $204 million worldwide. Similarly, “Frozen Empire” could boost its fortunes with Easter at the end of the month.
Reviews have been leaning more lukewarm compared to the so-so received “Afterlife.” Early moviegoers are also a little cooler on the franchise now, with audience survey firm Cinema Score turning in a B+ grade. (“Afterlife” scored an A-.) “Frozen Empire” will face some competition next week with the arrival of another “Empire,” in this case a “new” one: Warner Bros. and Legendary’s “Godzilla X Kong: The New Empire.”
Paul Rudd, Carrie Coon, Finn Wolfhard and McKenna Grace all return for “Frozen Empire,” with the group heading to a mysteriously frostbit Big Apple, where the profession of busting ghosts was famously invented. Original ’80s stars Bill Murray, Dan Aykroyd, Ernie Hudson, Annie Potts and William Atherton also reprise their “Ghostbusters” roles. Gil Kenan directs.
Also opening this weekend, indie banner Neon is putting out the horror film “Immaculate” in 2,354 locations. Headlined by Sydney Sweeney and helmed by her “The Voyeurs” director Michael Mohan, the genre play was financed and produced by Black Bear. Industry competitors are projecting a fourth place opening for “Immaculate” with about $5 million through the three-day frame. It’s not a dazzling debut, but the feature was produced on a modest budget. Reviews are positive, while immediate audience sentiment is not (a C grade on Cinema Score) — as is typical for horror.
“Dune: Part Two” looks to hold onto second place. Legendary Entertainment and Warner Bros.’ feature earned $4.45 million on Friday, down just 45% from the $8 million it earned a week ago. Denis Villeneuve’s sequel will put up another strong hold in its fourth weekend of release, now looking to push its domestic gross north of $230 million. “Frozen Empire” (and soon, “Godzilla X Kong”) are knocking “Dune: Part Two” out of premium large-format auditoriums, but the sci-fi epic has really cleaned up with those increased ticket prices through the month of March.
Universal’s “Kung Fu Panda 4” will land in bronze, projecting $14.5 million for the weekend to only fall 52%. That’s a pretty impressive hold considering “Frozen Empire” is now the fresh new draw for family audiences. The DreamWorks Animation sequel will get to $130 million domestic through its first 17 days of release. It will soon pass the total North American gross of its predecessor, “Kung Fu Panda 3,” which finished with $143 million back in 2016.
Lionsgate’s “Arthur the King” will round out the top five, earning $1.1 million on Friday. The Mark Wahlberg vehicle underwhelmed in its opening and is now looking to inch past $14 million through its first 10 days. Considering its modest $19 million production budget, it won’t be too bad in the long run, but the dog story isn’t making an unlikely comeback after its soft debut.
The new poster shows a baby Garfield sitting in a pair of hands and staring up with kitten eyes. The caption of the poster reads “he gets bigger,” teasing Garfield’s future as a large house cat who loves lasagna.
“Garfield (voiced by Chris Pratt), the world-famous, Monday-hating, lasagna-loving indoor cat, is about to have a wild outdoor adventure! After an unexpected reunion with his long-lost father – scruffy street cat Vic (voiced by Samuel L. Jackson) – Garfield and his canine friend Odie are forced from their perfectly pampered life into joining Vic in a hilarious, high-stakes heist,” reads the film’s official synopsis.
Check out the new The Garfield Movie poster below:
Who is in The Garfield Movie?
The stacked The Garfield Movie voice cast includes Chris Pratt, Samuel L. Jackson, Hannah Waddingham, Ving Rhames, Nicholas Hoult, Cecily Strong, Harvey Guillén, Brett Goldstein, and Bowen Yang.
Directed by Mark Dindal from a script by Paul A. Kaplan & Mark Torgove and David Reynolds, the family comedy will be released exclusively in movie theaters on May 24, 2024. It is produced by John Cohen, Broderick Johnson, Andrew A. Kosove, Steven P. Wegner, Craig Sost, Namit Malhotra, and Crosby Clyse. EPs include Garfield creator Jim Davis, Bridget McMeel, David Reynolds, Scott Parish, Carl Rogers, Simon Hedges, Chris Pflug, Louis Koo, Steve Sarowitz, Justin Baldwin, and Peter Luo.
S. J. Clarkson’s feature is set to hit theaters Feb. 14, 2024, just in time for Valentine’s Day dates. Dakota Johnson stars in the titular role based on the Marvel comic book character named Cassandra Webb, who is a clairvoyant mutant and can foresee the future for Spider-themed heroes. Sydney Sweeney, Emma Roberts, Adam Scott, Mike Epps, Celeste O’Connor and Isabela Merced round out the cast.
Clarkson (Anatomy of a Scandal) directed the film from a script by Burk Sharpless and Matt Sazama. Lorenzo di Bonaventura serves as producer, and Adam Merims executive produces.
Other Spider-Man offshoots on the horizon for Sony include Aaron Taylor-Johnson leading Kraven the Hunter, which hits theaters in August 2024, while the third film in the Tom Hardy-starring Venom franchise is set for November of next year. Last year, the studio released Morbius, which featured Jared Leto, Matt Smith and Adria Arjona as the Marvel Comics characters.
During a previous interview with The Hollywood Reporter, Sweeney teased her role in Madame Web by saying that she “liked the personal struggles that the character goes through.” In a different conversation with THR, the Emmy-nominated actress called working on Madame Web “an absolute career highlight.”
Johnson broke out in the Fifty Shades of Grey franchise, and her more recent film titles include Bad Times at the El Royale, Cha Cha Real Smooth and Persuasion. Sweeney is known for television series including Euphoria and The White Lotus, in addition to such film work as Reality and the forthcoming Sony rom-com Anyone But You.
A new Napoleon clip for Sony Pictures’ forthcoming epic war drama has been revealed, featuring Oscar winner Joaquin Phoenix as the titular French leader.
The video shows the controversial historical figure as he displays his military prowess and intelligence by coming up with an ingenious plan to defeat their enemies. It highlights the Battle of Austerlitz, where Napoleon lures opposing forces into a brutal icy trap. The film premieres on November 22.
Ridley Scott is directing from a screenplay written by David Scarpa. This marks Phoenix and Scott’s latest collaboration together after previously working together in the acclaimed 2000 epic drama Gladiator. Joining Phoenix are Vanessa Kirby, Tahar Rahim, Ben Miles, Ludivine Sagnier, Matthew Needham, Youssef Kerkour, Phil Cornwell, and more.
“Napoleon is a spectacle-filled action epic that details the checkered rise and fall of the iconic French Emperor Napoleon Bonaparte,” reads the synopsis. “Against a stunning backdrop of large-scale filmmaking orchestrated by legendary director Ridley Scott, the film captures Bonaparte’s relentless journey to power through the prism of his addictive, volatile relationship with his one true love, Josephine, showcasing his visionary military and political tactics against some of the most dynamic practical battle sequences ever filmed.”
Napoleon is produced by Scott and Kevin Walsh for Scott Free. As Scott prepares for the movie’s upcoming release this year, he is also currently busy working on his long-awaited Gladiator sequel, which will be led by Oscar nominee Paul Mescal.
For the past few years, there have been whispers about who will be the next actor to take on the coveted role of James Bond. That icon-making moniker, 007, cannot be passed down casually. The stakes are high. The wait has been long. But could we finally have our next Bond in 32-year-old Aaron Taylor Johnson?
There have been many names thrown into the ring for Daniel Craig’s successor. For a time, many speculated Idris Alba. Some said Richard Madden, of Game of Thrones —and now Marvel Studio’s Eternals — fame. There was a brief moment where Harry Styles was rumored to be in talks for the role. Other speculated candidates include Tom Hardy, John Boyega, Sam Heughan, and so on and so on.
u201cWho should be the next James Bond? https://t.co/UWZhU7iFPhu201d
At the conclusion of the most recent Bond installment, No Time to Die, it seemed that a female Bond could be in the cards. However, that was ruled out by the Bond producers who verified that the next Bond will be male. So some British man in his 30s — young enough to take on the 10-12 year commitment, but old enough to be realistic.
But eventually, we’ll hear a decision. Let’s hope soon. Aaron Taylor Johnson appears to be the frontrunner for the part — especially after his Blockbuster-shattering role in Bullet Train.
Johnson has always had leading man potential, but his career’s currently on a rapid upward trajectory and he’s finally getting the recognition he deserves.
His breakout role was in the 2008 Britsh teen movie Angus, Thongs, and Perfect Snogging. He then went on to find leading role success in films like Kick-Ass, Anna Karenina, and even a brief time in the Marvel Cinematic Universe. But the buzz around his latest role makes him prime Bond fodder.
Bullet Train, a feature-filled with heartthrobs and action could have been okay if they hadn’t forced the cast to do those Guy Ritchie-esque accents. A box office success, it’s maintained a consistent spot on the Netflix Top 10 list. More importantly, it put Johnson on the map.
But is Aaron Taylor Johnson truly the new James Bond? Nothing official has been released but word on the street (yes, including Deuxmoi) is it’s looking good for the 007-hopeful.
The Sun stoked these rumors in November with reports that Johnson had impressed producers in a “secret audition”. It’s also confirmed that he spoke with producers in a recent meeting. However, the only wrench in the plan might be this: Johnson’s getting a titch too famous.
Bond is a star-making role. It puts actors on the map, making them household names. But the producers want someone they can take to those heights with the Bond franchise. Not someone who already has a mega-fan base or is known too well known for a former role. So, that rules out Harry Styles, I guess.
Johnson’s right on the cusp of this kind of fame. Especially considering he’s about to re-enter the Marvel Cinematic Universe as the lead in Kraven The Hunter. He’s also supposed to co-star in The Fall Guy alongside Ryan Gosling.
While all of this is good news for Johnson’s career and for us as viewers, that might be the only thing keeping him from Bond. Only time will tell. Either way, I’ll be in the front row of whatever movie ATJ stars in next.
TORONTO, ONTARIO – SEPTEMBER 09: (L-R) Sheila Atim, Viola Davis, Thuso Mbedu, and John Boyega attend … [+] “The Woman King” Photo Call on September 09, 2022 in Toronto, Ontario. (Photo by Emma McIntyre/Getty Images)
Getty Images
The person selected to be the makeup and prosthetic artist for Sony Pictures’ The Woman King had a wide-ranging job ahead of them. Not only did they have to match prosthetics and makeup to several different skin tones amongst the many shades of brown represented in the African Diasporic actors who starred in the film, but they had to color match each woman as she tanned several shades over the course of filming. Plus the artist had to research and build culturally-specific body scars and tattoos while also building a rapport with a cadre of actors, each with her own skincare wants and needs.
Babalwa Mtshiselwa and Thuso Mbedu prep for a scene in The Woman King.
Sony Pictures
This seems deceptively simple, but Hollywood is not well known for giving the top job to artists who are experts at all skin tones. Enter Babalwa Mtshiselwa, an award-winning makeup artist from Johannesburg, South Africa. For her, selecting the proper makeup for a variety of brown skin on film was not a challenge but a gift. Mtshiselwa was handpicked by director Gina Prince-Bythewood to to highlight the ladies and gents – not hide them.
“So what I’m gonna do is this: every time you get a shade darker, I’m gonna go shade darker with the foundation,” explained Mtshiselwa, as she recalled the conversations she had with the film’s numerous actors, including leading lady Thuso Mbedu, 007’s Lashana Lynch and four time Grammy-winning singer-turned-actor Angelique Kidjo. “So whatever you do, if you’re gonna be in the sun, I’m going to match that. So that’s exactly what we did.”
No one had to worry about their makeup being several shades lighter than their natural hue — a mindset that is very affirming on a movie set starring women who in decades past have had to bring this own hair and makeup to set because the person hired had no experience with black actors. This peace of mind made for luminous skin and an ease on set when actors knew their natural beauty was embraced, said Mtshiselwa.
The Woman King, an historical epic about the warrior women of the Kingdom of Dahomey, has since made around $80-million at the worldwide box office since its early September release. Audiences have hooped and hollered about the bold story of the ascension of General Nanisca, portrayed by Viola Davis, who ruled a country alongside a man who was not her husband. They also reveled in how each character looked when illuminated by lovely lighting that embraced the depth of brown skin instead of muting their colors and, of course, dialogue about the story of the Agojie warriors has taken over dinner tables and Facebook groups everywhere.
This true story of the women warriors of Dahomey (now present-day Benin) is not often taught in schools. Mtshiselwa said she first heard about them – and their turn against the intra-African-slave trade – when she saw the Variety story announcing the film would be made in South Africa. After learning more about the Agojie role in government and politics of the 18th and 19th century Dahomey, she was hooked and said she had to get a job on the film.
“I saw a post on Deadline on Instagram and said ‘oh my gosh, I have to be a part of that project,’” says Mtshiselwa, who resolved to use her network to gain an audience with Prince-Bythewood’s team. After showing her CV and her work – including makeup and hair for Mandela: Long Walk to Freedom to Knuckle City, Resident Evil, Netflix’s NFLX How to Ruin Christmas, Sly Stallone’s Judge Dread and the History channel’s 2016 mini series remake of Roots – she was hired.
Starring Davis, John Boyega, Lynch and Mbedu, the star-studded Woman King guaranteed packed theaters and an unlocking of imaginations surrounding what a true story set in Africa could be. The film, with a budget of just $50 million, was widely embraced by many but did bring about some hand-wringing from those who thought it would be solely about the Trans Atlantic Slave Trade, would be apologistic in its approach to slavery or would be primitive in concept. It turned out to be far more than that.
Mtshiselwa, for her part, used good old-fashioned libraries and books (also on the internet) for her research into stylings for facial scars and other bits of realism added in as the women fought battle after battle or trained for battle.
“I read lots of different articles from as old as I could find them, from West Africa, you know Nigeria, Benin, generally west Africa, their culture and traditions. The cool thing about The Woman King is that yes, they were based there in the story but the kingdom was made up o people who weren’t from there. “
Her research happened to coincide with the French government’s decision to return 26 artifacts they stole from Benin, so Mtshiselwa was able to easily study actual art from the time period in question.
“It helped me a lot,” she says. “Cause I mean, for me, if it’s a face, anything that’s carved on that face means it’s either makeup or jewelry of some sort of scarification. So I took that and I just interpreted it in my own way. But it was also quite a sensitive thing because Sony didn’t really want to do too much copying of exact things, for the purpose of just trying to avoid any copyright issues.”
The set was a celebration of excellence she says, and should open doors for more makeup artists – like her – who have decades of experiences under their belt and the chops to do big budget, international films. She also hopes that the success of this film provides more opportunities for storytellers to showcase the wide variety of legendary tales that come from the continent and that more children get to see themselves in such a powerful tale.
With the help of Davis and her husband Julius Tennon (who co-produced the film as part of their firm JuVee Productions), Mtshiselwa rented out a theatre in Johannesburg so that girls aged 12 to 18 could see the movie.
“It’s part of an initiative called a Shero Like Me,” explained Mtshiselwa. “And this is all about being young, black and female and watching the screen and being in love with movies, but never seeing anyone being represented as powerful or strong the way that I always believed we are as black people on a screen. The most amazing part of it is that [the Agojie] are based on real people that really existed and that did protect their country for 300 years.
She goes on.
“Everyone was really excited about the film. Everyone was so moved by this film. Like, I would see people walking out of the cinema, just jumping around and excited and that’s just a beautiful energy. So I think it was a really, very special piece for black women here more than anyone else.”
The Woman King is still showing at theatres and is also streaming on Vudu via Roku.
