You wouldn’t steal a car, but nonetheless, people are joyriding the hottest films out of Sundance. So far, two films have been pulled from digital, at-home screenings for the festival after issues of piracy and copyright infringement— people were circulating clips and key plot points for both films; neither has a distributor at the moment. You win some (Twinless won the audience award, and Selena won the US Documentary Special Jury Award for Archival Storytelling), and you lose some (no one can see your film until it gets bought). Here’s more about the films that were removed from the lineup.
A sensual film starring Dylan O’Bryan, Twinless’s sex scenes and key plot points were leaked just as the film won the audience award at the festival. “The film Twinless was a victim of some copyright infringement on various social media platforms, therefore the festival in partnership with the filmmakers have made the decision to remove the film from the Sundance Film Festival online platform. We regret that online ticket holders will no longer be able to access the film,” Sundance shared in a statement with Variety.
In the documentary on Selena Quintanilla’s music career and family life, the clips of unreleased songs featured in the film were circulating online, causing Sundance to take action. The movie, which is still trying to find a distributor, was the first film ever to be removed from the festival for copyright infringement. Sundance explained the decision in a statement shared with the Los Angeles Times, writing: “The Sundance Film Festival and the creative team of Selena y Los Dinos are sorry to inform our viewers that the film has suffered a series of copyright infringements and must therefore be removed from the Sundance Film Festival online platform… We acknowledge and regret that this may cause disappointment, however part of our commitment to advocating for independent filmmakers is ensuring that they can protect their art that they have created and earn a living — now and in the future. We take copyright infringement extremely seriously and intend to fully cooperate with local, state, and federal law enforcement.”
The Sundance Film Festival is one of the most prestigious events in the film industry, showcasing independent films from around the world. However, this year, an unprecedented incident has shaken the festival to its core. Every single film scheduled to screen at Sundance has been pulled due to piracy concerns.
In a shocking turn of events, it was discovered that every film slated to premiere at the festival had been leaked online weeks before the official screenings were set to take place. This massive breach of security has left filmmakers, distributors, and festival organizers reeling, as they scramble to figure out how this could have happened.
The impact of this piracy scandal is devastating for all involved. Filmmakers who have poured their blood, sweat, and tears into their projects are now left without the opportunity to showcase their work to a wide audience. Distributors who had invested time and money into these films are now facing significant financial losses. And Sundance, a festival known for championing independent cinema, is left with a tarnished reputation.
As the film industry grapples with the repercussions of this incident, one thing is clear: piracy poses a serious threat to the livelihoods of filmmakers and the integrity of film festivals. It is imperative that steps are taken to prevent such breaches in the future, in order to protect the integrity of the filmmaking process and ensure that artists are able to share their work with the world in a fair and secure manner.
Annihilation released in 2018 with only a brief run in theaters. Despite earning positive reviews, the film did poorly at the box office and has continued to be overlooked by audiences ever since. Starring Natalie Portman, the sci-fi movie blended elements of action films, thrillers, and horror, along with hauntingly beautiful and bizarre visuals to produce a unique experience that deserves more attention than it received. Fans who were fortunate enough to check it out were likely struck by its brilliant writing and performances, as well as its message about illness and grief.
Sickness, death, and coping with loss are all explored in Annihilation through an approach that is simultaneously sad, terrifying, and comforting. While many viewers and critics picked up on these elements, however, few noticed just how deep these themes were embedded in the story. A close examination of the characters reveals that they all, in fact, represent different stages of grief according to the well-known Kübler-Ross model. Under this model, people facing death move through five stages: denial, anger, bargaining, depression, and finally acceptance. In Annihilation, each member of the team that enters the Shimmer comes to embody a different one of these stages.
The Shimmer Spreads Like Cancer, Eliciting the Five Stages of Grief
While there isn’t a true villain or antagonist in Annihilation, the Shimmer is practically a character itself, overshadowing everything else in the film and, at times, appearing to have a will of its own. Growing out of a meteorite that struck the Earth three years earlier, it confounds researchers as it continues to expand and envelop more territory. In its sudden appearance and uncontrollable growth, this Shimmer seems to represent disease, and cancer in particular.
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Consuming everything in its path as it mindlessly grows and mutates, the Shimmer immediately sparks fear among those studying it. Little understood, it seems to absorb everything it touches and, from the beginning of the movie, appears to pose a threat to all life on earth. Like Cancer, it appears to feed on life itself, changing it in ways that result in death for its victims. Each character that enters the Shimmer, seeking a way to stop it, is soon forced to confront their own mortality and comes to represent a different stage in the classic (though controversial) model for explaining grief.
Cassie Dies First Only to Return Later
Cassie Represents Denial
Paramount Pictures
Fittingly, the first character to perish also represents the first stage of grief, denial. A geomorphologist studying the landscape of the environment within the Shimmer, Cassie is attacked and killed early by a terrifying, mutated bear, being dragged off into the forest. Her demise is horrifying in itself, but it’s what comes after that truly shocks her companions and viewers, and speaks to her place in the stages of grief.
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While Cassie dies before she has a chance to really contemplate the danger she’s in or express any elements of grief, the later return of the mutant-bear, and her voice coming from its mouth, is almost a symbolic form of denial. Her voice echoing from the creature that killed her seems to indicate that the Shimmer “refracted” some part of her into it, and she has not completely died. Her voice, seeming to scream in fear and pain, seems to deny her fate, desperately rejecting the fact that she has died at all. While her body has certainly perished, some piece of her refuses to accept that and clings to existence within the bear, making her a disembodied embodiment of denial.
Anya Lashes out at her comrades
Anya Represents Anger
Paramount Pictures
The easiest connection to make in Annihilation’s analogy of grief is Anya’s reflection of anger. Faced with the shocking truth of the Shimmer and the possibility that she will die, or else change to the point where she is no longer herself, Anya transforms her fear into rage and lashes out at those around her. Showing how those suffering or in pain can sometimes become their own worst enemies and harm the very people who are trying to help them, Anya nearly kills the rest of her team before dying herself.
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Anya is another example of a character dying in the same order as the stage of grief they represent. As anger, according to the model, comes after denial, Anya is killed after Cassie, by a creature that has partially absorbed Cassie. After this, however, the stages of grief appear to be shaken up by Annihilation, with characters reflecting the different stages perishing out of order or surviving until the end of the story.
Lena Is Constantly Making Deals
Lena Represents Bargaining
Image via Paramount Pictures
Intriguingly, the film’s protagonist does not represent the final stage of grief. Instead, Lena seems to embody bargaining throughout Annihilation. The cellular biologist and Army veteran finds herself negotiating with others throughout the film. When first seized by the government and questioned about her husband’s return from the Shimmer, she tries to bargain for information and ultimately makes a deal that involves her going into the Shimmer herself. While in the Shimmer, she urges other characters to continue on with their journey multiple times, seeming to conclude deals with them.
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Further, in a more accurate depiction of the sort of bargaining that occurs in the stages of grief theory, Lena appears to bargain with herself during her adventure. Committed to completing her mission and reaching the lighthouse, she seems convinced that doing so will somehow save Kane. She appears to bemotivated by this hope and has subconsciously reached a deal with fate that, if she does her job, she won’t have to face the loss of her husband.
Ventress Succumbs to Despair
Ventress Represents Depression
Paramount Pictures
Ventress, the leader of the team and the character who is literally suffering with Cancer in Annihilation, plainly represents depression by the end of her story. During their journey, Ventress abandons her group and moves on alone, isolating herself from others. Speaking to the loneliness of depression and the tendency to self-destructively withdraw from friends and family, she succumbs to sadness, both about the Shimmer and her illness, and finds herself alone.
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When Lena eventually finds Ventress, the former leader has plainly lost all hope. Seeming to exude emotional agony, Ventress talks about the Shimmer in apocalyptic terms, claiming that it will continue to expand and eventually destroy the world. When she finally meets her end, it is literally in a black pit that reflects her inner turmoil. She dies, not having accepted her fate, but seeming to have simply lost the will to carry on.
Only Josie Finds Peace
Josie Represents Acceptance
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Of the entire team, only Josie the physicist seems to find any beauty in the Shimmer, and only she seems to come to an end that could be described as peaceful. It’s Josie who first comes to understand the Shimmer, deducing that it refracts the DNA of creatures inside, changing them into new beings, and accepting that it will happen to her as well. In her final conversation with Lena, she reflects on the pain and fear that Cassie was in when she died and explains that she doesn’t want to go out the same way.
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Regarding the shimmer, she tells Lena that “Ventress wants to face it, you want to fight it, but I don’t think I want either of those things.” With this dying declaration, Josie explicitly moves beyond both bargaining and depression, indicating that she wants to simply accept the Shimmer and what it will do to her. As she wanders off, Josie seems to transform into a flowering bush, becoming something beautiful even as she passes. Her refusal to fight her fate, her peaceful demeanor, and her noble end all speak to her acceptance of the Shimmer and her own death.
In many ways, Annihilation is a horror movie about fear itself. It explores death and how people respond to it. Through characters that personify the stages of grief, the movie examines both the positive and destructive ways people confront their own morality and the terror that arises from it. These elements, along with its amazing visuals and performances, make Annihilation a great sci-fi horror movie, worthy of more attention than it received.
In 2013, the sci-fi film “Elysium” hit theaters to mixed reviews and modest box office success. Despite its lukewarm reception, this underrated gem holds a deep hidden message that many fans may have missed.
Directed by Neill Blomkamp, “Elysium” takes place in a dystopian future where the wealthy live on a luxurious space station called Elysium, while the rest of humanity struggles to survive on an overpopulated and polluted Earth. The film follows Max (played by Matt Damon), a former convict who is determined to reach Elysium in order to access life-saving medical treatment.
While the film’s action-packed sequences and stunning visual effects may have captured audiences’ attention, the true heart of “Elysium” lies in its commentary on class inequality, healthcare access, and the consequences of unchecked corporate power. Through the stark contrast between the opulence of Elysium and the poverty on Earth, Blomkamp delivers a powerful message about the social and economic disparities that exist in our world today.
By shining a light on these pressing issues, “Elysium” challenges viewers to think critically about the systems of privilege and oppression that shape our society. It serves as a reminder that the choices we make today can have far-reaching consequences for future generations, and that it is up to us to fight for a more just and equitable world.
So, if you’re looking for a sci-fi film that offers more than just thrills and entertainment, give “Elysium” a second look. You may just discover a hidden message that resonates with you long after the credits roll.
Marie-Philippe Bouchard, chief executive officer of CBC/Radio-Canada, at the CBC offices in Montreal on Jan. 29.Christinne Muschi/The Canadian Press
The new head of CBC/Radio Canada, in her first public speech since taking the post three weeks ago, says dissolving the CBC would be a tragedy and have a devastating impact on the production of TV shows and films in Canada.
Speaking at an Ottawa conference for the film and TV industry, Marie-Philippe Bouchard, the new president and chief executive officer, said she fears the breakdown of Canada’s media ecosystem in the face of competition from foreign streaming platforms. She warned that removing the public broadcaster could lead to the collapse of that ecosystem.
The Conservatives have said they would cut funding for the CBC, while preserving French services, if they form the next federal government.
Bouchard, who spent 29 years working for the public broadcaster before becoming president and CEO of TV5 Québec Canada, said the CBC has to “evolve” and “figure out how to represent everybody.”
“But I think it would be a tragedy to dissolve something we’ve all inherited,” she said.
Bouchard was speaking at Prime Time, an annual conference in Ottawa run by the Canadian Media Producers Association, where delegates have a chance to pitch their ideas to providers such as Amazon Prime Video and Lionsgate Canada.
The CBC is the biggest commissioner of independent Canadian productions in the country, and conference delegates expressed concern that cuts in CBC funding could hit TV and film production hard.
“They are the biggest buyer in the country. Their whole prime time schedule is Canadian content. Losing their support would be devastating for the independent production community,” said Nicole Mendes, vice-president of scripted development at Lark Productions, which made Allegiance, a highly-rated police drama set in Surrey, B.C., that airs on CBC.
Bouchard said with “less money,” CBC/Radio Canada and other Canadian companies are having a hard time competing with big international streaming platforms, such as Netflix.
“My fear is having a breakdown of the media fabric in Canada, the ability for Canadian-owned media, and all the producers that want to be on those Canadian media, to actually connect with audiences and not be overwhelmed by the force of international platforms, both in terms of entertainment but also in terms of information,” she said.
Bouchard said the situation is “solvable not by the actions of the public broadcaster alone, but if you take the public broadcaster out of the equation, there’s a big risk of collapse.”
She would not get drawn into the debate about the Conservative pledge to cut the CBC’s funding saying “I’m not going to do any political talk here today or anywhere – ever. I’m not. But I’m aware that there is a debate.”
Senator Andrew Cardozo, who initiated a debate in the Senate on the CBC’s future, said Bouchard is “walking a tightrope” as criticisms of the CBC are very political, but “she is obligated to respond in a totally non-political way.”
He said Trump’s comments about a 51st state create an opportunity for the CBC to be integral to Canada’s national identity.
Bouchard said when she agreed to take the job, Trump had yet to make quips about Canada becoming the 51st state.
“I didn’t know we would be in a kind of psychodrama,” she said. Bouchard said his remarks have catalyzed Canadians to come together and the CBC has a role in cementing the Canadian identity.
“When you have not-so-friendly neighbours talking about a 51st state, I think it’s really important that we focus on maintaining that strength and that distinctiveness of our culture, our common culture,” she said.
Bouchard said that “change is coming” at the CBC and she is currently touring the country to listen to a variety of voices.
The Liberal government has been criticized for failing to update CBC/Radio Canada’s 1991 mandate before Bouchard took the helm this month for a five-year term. She sat on a government-appointed panel looking at a revised mandate last year before she took the top job.
Broadcasting experts said the government should have approved a new funding model for the public broadcaster so that it does not rely on advertisements for revenue in news and current affairs programs, and to shore it up for the future.
But with the Liberal Party embroiled in a leadership race after the resignation of Justin Trudeau, and the proroguing of Parliament until Mar. 24, the chances of legislation to update the CBC’s mandate being passed before the next election are slim.
The newly appointed chief of the CBC, who has taken the reins of Canada’s public broadcaster, has spoken out about the potential consequences of dissolving the institution. In a recent interview, the chief emphasized that it would be a ‘tragedy’ to dissolve the CBC, warning that such a move could have devastating effects on the country’s TV and film sector.
The chief highlighted the important role that the CBC plays in promoting Canadian content and supporting local creators. Without the CBC, the chief argued, the Canadian TV and film industry could suffer greatly, with fewer opportunities for Canadian talent to showcase their work and limited access to Canadian stories and perspectives.
The chief’s comments come at a time when the future of the CBC has been called into question, with some critics advocating for the dissolution of the public broadcaster. However, the chief’s remarks serve as a powerful reminder of the vital role that the CBC plays in Canada’s cultural landscape, and the potential consequences of dismantling such an important institution.
As discussions about the future of the CBC continue, it is clear that the chief is committed to defending the public broadcaster and ensuring that it continues to thrive. The chief’s words serve as a rallying cry for supporters of the CBC, urging them to stand up and protect this crucial pillar of Canadian media.
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Matthew McConaughey and Woody Harrelson reprised their roles in “True Detective” for a video pitch to the Texas Legislature called “True to Texas.”
The two are among a handful of Texan actors asking for increased funding for film incentives in Texas this legislative session. They suggest the funding increase could turn Texas into a new Hollywood and bolster the economy.
The star-studded pitch, posted on social media, features McConaughey, Woody Harrelson, Dennis Quaid, Billy Bob Thornton and Renee Zellweger. It’s inspired by the series “True Detective,” which featured McConaughey and Harrelson in season one.
But beneath the reunion that had many fans reminiscing is a deeper message to the Texas Legislature.
“This project is more than a commercial — it’s a love letter to Texas,” Quaid said. “We’ve got everything filmmakers need: world-class talent, breathtaking locations, and a state that welcomes creativity with open arms. It’s time to bring the spotlight back to Texas and show the world what we can do.”
The video shows Harrelson driving down a highway with McConaughey riding shotgun. Then, the video reveals Quaid in the backseat, handcuffed, joining in on the conversation. McConaughey then gets a phone call from Thornton and then from Zellweger.
You don’t like what Hollywood’s been dishing? Let’s take over the kitchen.
Matthew McConaughey, in the video pitch
The video sparks a conversation about how Texas film incentives can generate more money for the Texas economy.
“Every dollar from this incentive puts $4 back into the state of Texas,” McConaughey said.
Texas Lt. Gov. Dan Patrick announced his top 40 senate bills for this session on Wednesday. Among them is Senate Bill 22, “Establishing Texas as America’s Film Capital.” Another bill on the list, Senate Bill 1, which outlines the budget for the state, includes $498 million that would “revamp the Texas Film Initiative” and make Texas “the movie capital of the world” if passed.
In 2023, the Texas legislature approved $200 million in funding for the state’s film incentive program, allocated within their budget for the next two years. Now, these actors suggest that increased funding could create jobs and boost local economies.
So, McConaughey wants to know: What do you say, Texas Legislature?
Matthew McConaughey and Woody Harrelson are set to reprise their iconic roles from the hit HBO series “True Detective” in a new film ad. The actors, who starred together in the first season of the critically acclaimed show, will once again team up to bring their captivating chemistry to the screen.
Fans of the series can expect to see McConaughey and Harrelson back in action as Rust Cohle and Marty Hart, two detectives who are drawn into a dark and twisted murder investigation. The film ad, which will be directed by series creator Nic Pizzolatto, promises to capture the same gritty and intense atmosphere that made the show a massive success.
The announcement of McConaughey and Harrelson’s return to their “True Detective” roles has already generated a buzz among fans, who are eagerly anticipating the chance to see the duo back together on screen. Stay tuned for more updates on this exciting project!
Billy Crystal and Meg Ryan’sreunion has been revealed and it’s… a Super Bowl commercial!
In the new ad released Wednesday for Hellmann’s mayonnaise, the “When Harry Met Sally” co-stars are right back where it all started, sitting in New York City’s famous Katz’s Delicatessen, where one of the most iconic scenes from the 1989 film took place.
When Sally Met Hellmann’s Super Bowl commercial
“I can’t believe they let us back in this place,” Crystal says to Ryan in the commercial. When Ryan asks “Why?” Crystal says “Hello…,” nodding to the famous, hilarious deli scene from the classic.
“Nobody remembers that,” responds Ryan, shrugging off the reference.
Meg Ryan and Billy Crystal star side-by-side in a new Hellman’s mayonnaise commercial.
Hellmann’s
As Ryan and Crystal dig into their sandwiches, Ryan expresses displeasure but after she adds mayonnaise to her sandwich, she immediately begins to really enjoy the sandwich, channeling her famous excited reaction from the original film, 35 years later.
“Here we go,” responds Crystal in annoyance.
As Ryan continues, banging her hands on the table and rolling her head back, Crystal chimes in, “this one’s real.”
“Lunch and a show,” he says, addressing onlookers.
Meg Ryan and Billy Crystal star side-by-side in a new Hellman’s mayonnaise commercial.
Hellman’s
A surprise twist at the end reveals Sydney Sweeney sitting nearby who delivers the now-iconic punchline, “I’ll have what she’s having” — which was originally delivered by “When Harry Met Sally” director Rob Reiner’s mother Estelle Reiner.
The 30 second spot will air in the second quarter of the Super Bowl on Feb. 9, while a longer 60 second version will debut on social media.
“The opportunity to return to Katz’s Deli with Meg was a no brainer,” Crystal said in a statement introducing the advertisement.
“Thanks to Hellmann’s, who came up with the concept and wrote a really funny spot, we’re bringing some laughs and nostalgia and helping When Harry Met Sally celebrate its 35th Anniversary during the Big Game this year,” Crystal continued.
Ryan added in a statement, “Reuniting with Billy and stepping back into Sally’s shoes was a joy.”
Hellmann’s tapped renowned director Jake Szymanski, an alum of comedic powerhouses like “Saturday Night Live” and Funny or Die, to oversee the new spot.
In a preview event at Katz’s on Tuesday night, Szymanski said the brand “had all the right pieces in place” with Ryan, Crystal and Katz’s all signed on to create the commercial, revealing that this “was the first time either of them had been back at Katz’s since they shot the scene.”
“Obviously I’m a huge fan of the movie — the biggest thing for me when you have celebrities like this and doing something iconic, is you want to try to make something that feels like only they could have done it,” he said. “When you have good performers let them perform in a way that feels special — obviously you have to do it with Billy and Meg.”
Szymanski noted that “it’s also a commercial that I feel like integrated Hellmann’s really well, it’s not forcing itself somewhere it shouldn’t.”
A hot turkey sandwich with Hellmann’s mayo at Katz’s Deli in New York City for the brand’s new Super Bowl ad.
Hellmann’s
Hellmann’s and Katz’s also teamed up to create the “What She’s Having” Sandwich Package — a new bundle available online for nationwide delivery that includes all the ingredients and recipe to make Meg Ryan’s sandwich order, complete with Hellmann’s mayonnaise, plus Crystal’s pastrami sandwich. Each kit costs $120, with free shipping, and can feed four to six people. Limited quantities available.
Before the big game, check out a first look at Super Bowl ads featuring big stars here.
Billy Crystal and Meg Ryan, the beloved stars of the classic romantic comedy “When Harry Met Sally,” reunited for a hilarious Super Bowl ad that paid homage to their iconic film.
In the ad, Crystal and Ryan recreated the famous scene from the movie where Sally fakes an orgasm in a deli, but with a twist. This time, they were in a crowded football stadium, and Crystal’s over-the-top performance had the entire crowd in stitches.
The ad cleverly incorporated references to the original film, with Crystal’s character even ordering a sandwich with the famous line, “I’ll have what she’s having.”
Fans of “When Harry Met Sally” were delighted to see the two stars back together on screen, bringing their signature chemistry and comedic timing to the big game. It was a fun and nostalgic moment that had viewers laughing and reminiscing about the beloved romantic comedy.
Overall, the Super Bowl ad starring Billy Crystal and Meg Ryan was a delightful throwback that brought joy to fans of the film and added some humor to the game day festivities.
Another big Oscar hopeful – and former Number 1 – Wicked keeps at Number 2 this week. The blockbuster musical adaption scored a magnificent 10 Academy Award nominations, including Best Picture, Best Actress for Cynthia Erivo and Best Supporting Actress for Ariana Grande.
Other Academy Award hopefuls present in the Official Film Chart this week include Conclave (5) up for Best Picture and Best Actor for Ralph Fiennes, Alien: Romulus (7) which has a nod for Best Visual Effects and Best Picture nominee Dune: Part Two (8).
Despite its lead actress Naomi Scott being shut out of awards contention, horror sequel delight Smile 2 re-enters the Top 10 at a brand-new peak (7). It previously reached Number 10 earlier this month.
Finally, Small Things Like These is this week’s highest new entry (10). The historical drama stars Cillian Murphy, and is based on the Irish Magdalene Laundries, which were run to house ‘fallen women’ from 18th to the late 20th centuries.
“Smile 2 hits brand-new peak on Official Film Chart: Bringing joy to audiences worldwide!”
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In news that isn’t all that surprising, Kraven the Hunter has ended its abysmal box office run by breaking another record, though it isn’t a good one. After grossing $59 million worldwide, the seemingly final film in Sony’s Spider-Man Universe (SSU) is now the lowest-grossing comic book movie in the franchise and one of the lowest ever in the genre. After multiple delays and release date changes, the film sputtered to the finish line after a release in December, and the end result was a box office gross that was even lower than what Madame Web earned in its theatrical run.
2024 saw the release of three different SSU films: Madame Web, Venom: The Last Dance, and Kraven the Hunter. It was a hefty theatrical slate that could have anyone convinced that Sony’s superhero venture was thriving. Unfortunately, that wouldn’t be the case, as Madame Web would only gross $100 million overall against its $80 million budget. Venom: The Last Dance would be the only box office success of the three films, with the film costing between $110-120 million and grossing $479 million.
On the other hand, Kraven the Hunter had a budget in the range of $110-130 million, meaning that the film wasn’t even able to make back what it had cost to produce it. The $26 million global opening for the film, which was also a record-low for the SSU, was a tell-tale sign that the film wouldn’t have legs, especially going up against films such as Wicked, Gladiator II, and Moana 2.
‘Kraven the Hunter’ Might Be the End of Sony’s Shared Universe
With the news of Kraven’s unfortunate box office intake, the future of the SSU seems more dire than ever. While the Venom franchise has undoubtedly helped the studio recoup some of the losses, it doesn’t seem likely that Sony will attempt to make more films based on Spider-Man supporting characters or villains. Despite the Venom films being financially successful, the trilogy of films— and even the rest of the SSU films as a whole— haven’t received a “fresh” Rotten Tomatoes score for any of its movies, with each being critically panned.
Sony’s recent announcement that they will not be producing new Blu-ray discs is not the physical media disaster it seems…yet.
From the Venom series to Morbius, and now Kraven the Hunter, the SSU has felt like a product of a bygone era of superhero films. As the genre of comic book movies continues to evolve, interconnected universes are now less of a novel idea and more of a requirement. Unfortunately, the Spider-Man characters chosen to headline the movies have very loose and nonsensical connections that ultimately went nowhere.
Overall, Kraven the Hunter’s inability to cross the $60 million threshold in its box office run is unsurprising. Aaron Taylor-Johnson’s turn as the Spider-Man villain had some interesting moments that utilized its R-rating, a first for the SSU, but was still a disappointing movie nonetheless. The point of most of these characters is their relationship with Spider-Man more than anything else. Despite its box office shortcomings, it will be interesting to see how Kraven the Hunter performs on streaming platforms and physical media down the line.
Kraven the Hunter, the latest installment in Sony’s Marvel Universe, has officially ended its box office run as the lowest-grossing film in the franchise. Despite high expectations and a strong marketing campaign, the film failed to resonate with audiences and struggled to attract viewers to theaters.
The film, which starred Aaron Taylor-Johnson as the titular character, was met with mixed reviews from critics and fans alike. Many cited the lackluster storyline and underdeveloped characters as major drawbacks, ultimately leading to the film’s poor performance at the box office.
With a worldwide gross of just $150 million, Kraven the Hunter now holds the unfortunate title of the lowest-grossing Sony Marvel film to date. This disappointing outcome has raised questions about the future of the franchise and whether Sony will continue to invest in these standalone Marvel projects.
Despite this setback, Sony remains committed to expanding its Marvel Universe with upcoming projects such as Morbius and Venom: Let There Be Carnage. Only time will tell if these films will fare better at the box office and help revitalize the studio’s superhero offerings.
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Seventeen years ago, Heath Ledger’s sudden death in January 2008 shook the world. At just 28 years old, the actor was soon seen in an unforgettable performance as the maniacal criminal Joker in The Dark Knight. However, Christopher Nolan’s Batman flick wasn’t his final project.
While his outlandish turn as Joker deservingly earned him a posthumous Academy Award, Ledger was also in the middle of The Imaginarium of Doctor Parnassus, a fantasy drama co-starring Andrew Garfield. To complete the shooting after Ledger’s passing, not one but three actors — Johnny Depp, Jude Law, and Colin Farrell — came on board to actualize the Australian actor’s last work.
In a powerful gesture of generosity, the trio of English, Irish, and American actors donated their entire earnings from the film to Ledger’s and Michelle Williams’ 2-year-old daughter, Matilda, ensuring she would…
In a heartwarming gesture of friendship and respect, Johnny Depp, Jude Law, and Colin Farrell came together to honor the late Heath Ledger by completing his final film, “The Imaginarium of Doctor Parnassus,” after his tragic passing in 2008. Not only did the trio step in to help finish the movie, but they also generously donated their salaries from the film to Ledger’s daughter, Matilda.
Ledger had been in the middle of filming “The Imaginarium of Doctor Parnassus” when he passed away, leaving the production in limbo. Director Terry Gilliam was faced with the daunting task of figuring out how to complete the film without its leading man. That’s when Depp, Law, and Farrell stepped in to lend their talents and support.
The three actors each portrayed different versions of Ledger’s character in the film, seamlessly weaving their performances together to create a fitting tribute to their friend and colleague. By donating their salaries to Matilda, they ensured that Ledger’s daughter would be taken care of in the wake of her father’s untimely death.
This touching act of kindness and camaraderie serves as a reminder of the bonds that exist between actors in Hollywood, and the impact that one person can have on those around them. Ledger may be gone, but his legacy lives on through the love and support of his friends and colleagues.
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Heath Ledger, Johnny Depp, Jude Law, Colin Farrell, last film, honor, tribute, donation, daughter, charity, actors, Hollywood, legacy, friendship, posthumous film, collaboration, generous gesture
Tyler Perry has set his 2025 TV and film slate at Netflix and it includes two new projects: the film Madea’s Destination Wedding and the TV series, She the People. This is Perry’s second Madea project with the streaming following A Madea Homecoming released in 2022.
Madea’s Destination Wedding follows Brian and his ex-wife Debrah who are shocked to learn their daughter Tiffany is engaged to a rapper she met on a yacht—and the wedding is in two weeks. Madea and her crew head to the Bahamas, stirring up chaos and heartwarming fun.
The cast includes writer, director and producer Tyler Perry, Cassi Davis Patton, David Mann, Tamela Mann, Taja V. Simpson, Diamond White, Jermaine Harris and Xavier Smalls. Angi Bones and Yolanda T. Cochran also produce.
The first-look photo of the film can be found above.
She the People follows Lieutenant Governor candidate Antoinette Dunkerson, who runs a successful campaign and now must figure out how to thrive under a sexist and condescending governor while attempting to keep her family in line now that they’re all in the public eye.
The series stars Terri J. Vaughn, Jade Novah, Drew Olivia Tillman, Tré Boyd, Dyon Brooks, and Jo Marie Payton.
Perry served as writer, director and producer. Producers also include Angi Bones and Tony Strickland under the Tyler Perry Studios banner. Executive producers are Niya Palmer, Keisha Lance Bottoms and Terri J. Vaughn.
First-look photo can be found below.
Terri J. Vaughn as Antoinette Dunkerson in She The People
Calvin Ashford/Netflix
Also on the slate is Part 2 of the drama series Beauty in Black‘s first season, premiering on March 6, 2025; the drama feature Straw; and the faith-based feature R&B.
From writer, director and producer Perry, Beauty in Black follows two women leading very different lives. While Kimmie (Taylor Polidore Williams) struggles to make a living after her mother kicked her out, Mallory (Crystle Stewart) runs a successful business. They find themselves entangled in each other’s lives.
The series also stars Taylor Polidore Williams, Crystle Stewart, Amber Reign Smith, Ricco Ross, Debbi Morgan, Richard Lawson, Steven G. Norfleet, Julian Horton, Terrell Carter, Shannon Wallace, Bryan Tanaka, Joy Rovaris, Xavier Smalls, Charles Malik Whitfield, Tamera “Tee” Kissen, Ursula O. Robinson, Ashley Versher, George Middlebrook and Ts Madison.
Producers include Angi Bones and Tony Strickland for Tyler Perry Studios.
First-look photo is below.
(L to R) Ricco Ross as Horace, Taylor Polidore Williams as Kimmie in Beauty in Black
Calvin Ashford/Netflix
Straw follows a single mother who faces a series of unfortunate events that lead her down an unexpected path. Struggling against circumstances beyond her control, she becomes entangled in a situation she never imagined. Fueled by desperation, she finds herself at the center of suspicion in a world that seems indifferent to her existence.
The Perry written, directed and produced feature stars Taraji P. Henson, Sherri Shepherd, Teyana Taylor, Glynn Turman, Sinbad and Rockmond Dunbar. Angi Bones and Tony Strickland also serve as producers.
Taraji P. Henson in ‘Straw’
Netflix
From writers Michael Elliot and Cory Tynan, R&B is a contemporary version of the story of Ruth and Boaz, one of the most iconic love stories in the Bible. Set in Tennessee, the film tells the story of a young woman who escapes the Atlanta music scene to care for an elderly widowed woman and in the process finds the love of her life and gains the mother she never had.
The cast includes Serayah McNeill, Tyler Lepley, Phylicia Rashad, Kenneth “Babyface” Edmonds, Walnette Santiago, Nijah Brenea, James Lee Thomas, Jermaine Dupri, Lecrae Moore, Christopher Broughton and Yung Joc.
Alanna Brown served as director of R&B produced by DeVon Franklin and Perry. Angi Bones, Tony L. Strickland and Bart Lipton executive produced.
R&B
Netflix
Tyler Perry fans, get ready for some exciting news! The multi-talented writer, director, and producer has just announced his upcoming projects with Netflix, and they are sure to be a hit.
Among the projects in Tyler Perry’s new slate with Netflix is a brand new Madea film, which will surely have fans of the beloved character eagerly anticipating its release. Madea, played by Perry himself, has become a fan favorite over the years for her hilarious antics and heartwarming moments.
In addition to the new Madea film, Perry will also be creating a variety of new content for Netflix, including original series and films. With his track record of creating engaging and emotionally resonant stories, viewers can expect nothing less than top-notch entertainment from this collaboration.
Stay tuned for more updates on Tyler Perry’s upcoming projects with Netflix, and get ready to be entertained by the incomparable talent of this Hollywood powerhouse.
PARK CITY, Utah (AP) — The war satire “Atropia,” about actors in a military role-playing facility, won the grand jury prize in the Sundance Film Festival’s U.S. dramatic competition, while the Dylan O’Brien movie “Twinless” got the coveted audience award. Juries and programmers for the 41st edition of the independent film festival announced the major prizewinners Friday in Park City, Utah.
Other grand jury winners included the documentaries “Seeds,” about farmers in rural Georgia and “Cutting Through the Rocks,” about the first elected councilwoman in an Iranian village. The Indian drama “Sabar Bonda (Cactus Pears),” about a city dweller mourning his father in the western Indian countryside, won the top prize in the world cinema competition.
“It’s for my dad,” said writer and director Rohan Parashuram Kanawade. His late father, he said, was the one who encouraged him to pursue filmmaking.
Audiences also get to vote on their own awards, where James Sweeney’s “Twinless,” about the bromance between two men who meet in a twin bereavement support group, triumphed in the U.S. dramatic category. O’Brien also won a special jury award for his acting.
The U.S. documentary audience award went to “André is an Idiot,” a life-affirming film about dying of colon cancer. Other audience picks were “Prime Minister,” about former New Zealand Prime Minister Jacinda Ardern, and “DJ Ahmet,” a coming-of-age film about a 15-year-old boy in North Macedonia.
Mstyslav Chernov, the Oscar-winning Associated Press journalist, won the world cinema documentary directing award for his latest dispatch from Ukraine, “2000 Meters to Andriivka,” a joint production between the AP and PBS Frontline.
“Here’s to all documentary directors who are risking their lives in Ukraine trying to tell the stories of people who protect the land that I call home,” Chernov said onstage.
Others singled out for directing include Geeta Gandbhir for “The Perfect Neighbor,” a documentary about a murder in Florida told through the use of police body camera footage, and Rashad Frett for “Ricky,” a drama about life post-incarceration.
The world cinema documentary jury also gave special prizes to “Coexistence, My Ass!” about a comedian who creates a one-woman show about the struggle for equality in Israel and Palestine, and “Mr. Nobody Against Putin,” in which a Russian teacher goes undercover to expose what’s happening in his school during the invasion of Ukraine.
“Our programming team is so thrilled to have introduced these moving and impactful works to our audiences this Festival, and we look forward to following the journeys of each of these talented artists and their projects,” said festival programming director Kim Yutani.
Atropia and Twinless were the big winners at this year’s Sundance Film Festival, taking home top prizes in their respective categories. Atropia, a haunting drama about a dystopian society facing environmental collapse, won the Grand Jury Prize for Best Narrative Feature. Twinless, a heart-wrenching documentary about siblings separated at birth and reunited decades later, took home the Grand Jury Prize for Best Documentary Feature.
Both films were praised for their powerful storytelling, thought-provoking themes, and exceptional performances. Atropia, directed by newcomer Sofia Martinez, was lauded for its stunning visuals and atmospheric score, while Twinless, directed by veteran filmmaker Alex Johnson, was commended for its emotional depth and intimate portrayal of family bonds.
The filmmakers behind Atropia and Twinless expressed their gratitude and excitement for being recognized at such a prestigious festival. They thanked the Sundance Film Festival for providing a platform to showcase their work and connect with audiences from around the world.
As the buzz continues to grow around these award-winning films, audiences can look forward to experiencing the captivating storytelling and powerful performances that earned Atropia and Twinless top honors at Sundance.
