Sega's Eternal Champions is the next video game franchise to get a silver-screen adaptation.

Whilst it's hardly surprising that filmmakers are still rooting through video game catalogues for ideas, I can't say I had Sega's 1993 fighting game on my bingo card for the next series to be getting an adaptation.

However, according to Hollywood Reporter, that's exactly what's happening, with Jurassic World trilogy writer Derek Connolly set to write the live-action screenplay.

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Once upon a time in the tail-end of the last century, there was something called the Y2K bug. This bit of computer code was supposed to herald a global robot apocalypse at the stroke of midnight when 1999 became the year 2000 because of, uh, clock dates or something. Anyways, nothing happened. Or did it?

That’s the premise behind A24’s new horror comedy, the appropriately-named Y2K. The film imagines a New Year’s Eve of 1999 in which the computers really did turn on humanity. It’s written and directed by SNL alum Kyle Mooney, who made the fantastic and underrated Brigsby Bear.

As you can see from the trailer, it’s a 1990s teen party comedy, like Can’t Hardly Wait, but also an apocalyptic horror film. This particular hodgepodge brings to mind This is the End, in which Seth Rogen and other celebrities fight off a demonic horde.

However, instead of a demonic horde, these teens will be fighting for their lives against VCRs, old-school computers and, of course, murderous Tamagotchis. Also, Limp Bizkit’s Fred Durst is somehow involved. The cast is composed primarily of unknown teenagers, but the adults are played by Tim Heidecker, Alicia Silverstone and Mooney himself. The movie hits theaters on December 6.

The next entry in the Pacific Rim franchise could be an origin story for the universe, set before the events of the 2013 film by Guillermo del Toro. According to Variety, the franchise's producer Legendary Entertainment has signed a first-look TV deal with Eric Heisserer. One of the first projects he's developing with Carmen Lewis, his co-founder for his production company called Chronology, is a prequel series for Pacific Rim. Heisserer won several awards for his screenplay for Arrival, the Denis Villeneuve-directed sci-fi movie starring Amy Adams and Jeremy Renner. He also wrote the script for the Netflix post-apocalyptic movie Bird Box, which starred Sandra Bullock. 

It sounds like the project is still in its very early stages, so we'll have to wait for its storyline and projected release date if it does get the green light. Seeing as it's supposed to be the Pacific Rim origin story, though, we may get to see the first kaijus emerging from the interdimensional portal at the bottom of the Pacific Ocean. We may also get to see how the first Jaegers, or the gigantic mechas controlled by human pilots to fight the alien monsters, were designed and created. 

The original Pacific Rim movie was followed by Pacific Rim Uprising, its 2018 sequel film that starred John Boyega and was directed by Steven S. DeKnight. If the series pushes through, it'll follow Pacific Rim: The Black, an anime series that streamed on Netflix in 2021 and 2021, which serves as the continuation of the two films.

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In Hollywood, the question “Does this movie franchise need another chapter?” seems to have a pretty easy answer: “Sure, if we think it’ll still make money!”

For fans of a given franchise, though, the calculations are more complicated. Will that new installment in a movie series actually add anything worthwhile to the story, or just undermine the franchise’s original successes? Do we actually want to know more about our favorite characters, or will prequels and spinoffs ruin them? Do we have any reason to believe the latest movie using a familiar IP has a reason to exist that isn’t entirely mercenary? Will it at least be some big dumb fun?

While plenty of 2024’s would-be IP blockbusters have shifted to 2025 dates, the year so far has still seen its share of sequels, prequels, and spinoffs. So we’re running the numbers, ranking the year’s latest-in-a-series movies by how well they justify their existence — both as movies, and as installments in ongoing stories. 

16. The Strangers: Chapter 1

A remake of 2008’s home-invasion horror movie The Strangers wasn’t necessary, but it could have been good: With a premise as solid gold as “masked strangers break into a remote home and kill the couple vacationing there,” there are a million different takes that could have been great horror fodder that doesn’t follow the original movie beat for beat. Unfortunately, that’s exactly the uninspired approach director Renny Harlin (Die Hard 2) takes with this movie, the first in a planned trilogy that was originally written as one massive four-hour-plus movie, until Legendary Entertainment broke it down into chunks.

This new batch of Strangers movies is meant to follow the characters in the aftermath of this initial home invasion. But it kicks off with Harlin essentially remaking the first Strangers with less style and dread. Gone is the slow creepiness of the original movie, replaced by rushed horror sequences and a few moments of lackluster action. While it’s possible that parts 2 and 3 somehow redeem the kickoff, Chapter 1 is nothing more than a significantly worse retread of an effective shocker. —Austen Goslin

15. Madame Web

Madame Web is only loosely connected to Sony’s already loosely connected universe of Marvel characters. Ironic, given that the tagline “Her web connects them all” was the central focus of all the teasers. The one thing this offers to longtime fans of the current live-action Spider-Man narrative is a tease about Peter Parker’s existence — something that’s always been a big question mark in the Sony Marvel movies. Paramedic Cassie Webb (Dakota Johnson) is friends with Peter’s (hot, young, not yet dead in a morally instructive way) Uncle Ben, after all! Except the film never actually acknowledges that Ben’s newborn nephew is Peter Parker, to the point where holding back on that detail becomes something like a bit. It’s almost pandering, but not indulgent enough to feel fulfilling at all. 

With its stilted dialogue and nonsensical plot, Madame Web is not a good movie at all. At least it’s the sort of terrible movie that’s fun to watch in a group setting, while making jokes and tuning out the slower bits? It’s more or less Cats for superhero fans. —Petrana Radulovic

14. Ghostbusters: Frozen Empire

This sequel to a sequelish reboot brings the new generation of Ghostbusters (Paul Rudd, Carrie Coon, Finn Wolfhard, Mckenna Grace, etc.) back to New York, and brings back the original characters (Bill Murray, Dan Aykroyd, Ernie Hudson, Annie Potts, etc.) for more than a glorified cameo. That might be enough to make it essential for superfans, but for everyone else, it’s a nostalgic callback to the original movie with not much new or engaging to make it stand out, apart from Grace’s character’s maybe-queer storyline with a cute ghost girl. —PR

13. Despicable Me 4

No one in the Despicable Me movies seems to age. Former supervillain Gru (Steve Carell) looks just like he did in the first movie, and so do his daughters, who have been children for 14 years now. And yet somehow, Gru and his wife Lucy (Kristen Wiig) pursued a relationship, got married, and had a baby. So at least there’s some sense of time passing, even if it seems like Gru Jr. might be an infant for the next decade of sequels. 

Despicable Me 4 contributes a few fun new world-building elements to the franchise, though it unfortunately doesn’t explore them enough to make them significant. Still, some of them could set the stage for future adventures. (A whole school for villains?) This installment also adds a small but absolutely hilarious detail to Gru’s past, a backstory involving a high school talent show and the song “Karma Chameleon.” Nothing about Despicable Me 4 is essential, but it’s cool to see a few more funky details about this broadly defined world. —PR

12. Bad Boys: Ride or Die

The fourth entry in the series Michael Bay inadvertently kicked off with his directorial debut Bad Boys back in 1995 brings back a lot of cast members — chiefly the Bad Boys themselves, Will Smith and Martin Lawrence. But the filmmakers clearly think Bad Boys fans want a lot more continuity than that. Screenwriters Chris Bremner and Will Beall do their best to build a Fast & Furious-style Bad Boys universe out of every bit of character work and villain lore they can scrap together from the previous three movies.

That isn’t a compliment. Where so many blockbuster movies suffer because the studio is trying to launch a profitable franchise instead of telling a decent story, Ride or Die assumes viewers are coming to the theater armed with nostalgia and a detail-oriented fascination with lore, rather than just wanting to see a couple of gifted comedic actors mouth off at each other between frenetic action sequences. Fans who care deeply about the posthumous legacy of Joe Pantoliano’s character, this is your movie. But mostly, the franchise-building gets in the way of the fun. —TR 

11. Alien: Romulus

Fede Álvarez’s 2024 installment in the Alien franchise is almost perversely defined by how much it copies from past Alien movies, and how little it adds to the canon: Álvarez and co-writer Rodo Sayagues can’t even conjure up their own catchphrase, and fall back on having a new character echo the series’ most famous line.

The film is effectively creepy as a stand-alone, and for viewers who’ve never seen an Alien movie, this might all be new, exciting horror fare. But it’d still come across as a bit underexplained, since this film is aimed directly at people who know the franchise forward and backward. It’s a greatest-hits montage, more or less: Remember how creepy Xenomorphs are in water? Let’s do that again. Chestbursters, facehuggers, Giger-esque genital imagery, evil androids suborning ships for the company — that was cool! More of that! And so forth. It’s a good time at the movies, but it could hardly be less essential. —TR

10. Kingdom of the Planet of the Apes

The fourth in the new-era Planet of the Apes movies (and the 10th Apes movie if you batch them all together) doesn’t add much to the franchise’s ongoing narrative — it jumps the story forward in time about 300 years for a story that’s frustratingly half-baked and surprisingly familiar from the previous entry, War for the Planet of the Apes, but with a gorilla dictator running a forced work camp instead of a human one. There are some powerful ideas at work — that history repeats itself, that communities are stronger than individuals, and that those communities need to band together to resist tyrants — but they aren’t communicated particularly clearly, especially since they’re mixed in with other threads, about a personal journey undercut by every Kingdom ad, and about the unreliability and unknowability of humanity.

Kingdom is enjoyable enough in the moment, an action blockbuster with impressive visual effects and some appealing characters. It isn’t a bad or boring entry in the series. It just never feels essential, or like it’s doing much besides echoing more propulsive, dynamic earlier entries in this run at the Apes story. —TR

9. Godzilla x Kong: The New Empire

Godzilla x Kong: The New Empire feels like the movie where the new MonsterVerse franchise hit its stride. While 2014’s Godzilla lightly parodies disaster movies and 2017’s Kong: Skull Island does the same for dark war movies, Godzilla x Kong is a buddy movie about a giant ape and a nuclear lizard who don’t like each other much, but are often forced to team up to fight bigger monsters. It’s inescapably dumb and uncomplicatedly entertaining. 

But what makes this franchise especially fun right now is that it has a secret weapon: television. While the big screen is reserved for silly monster brawls, the MonsterVerse’s TV show, Monarch: Legacy of Monsters, is a much more reserved, character-focused family drama that feels like an old-school adventure movie with giant monsters thrown in. It’s an excellent counterbalance to the silly fun of movies like A New Empire, with the added bonus that the movie’s story likely means Kong will be in the show’s next season. The MonsterVerse is a strange franchise, but as long as every entry keeps proving itself entertaining, it’s awfully hard to complain. —AG

8. Kung Fu Panda 4

The adventures of panda kung fu master Po (Jack Black) could’ve been wrapped up in the series’ third installment back in 2016, but Kung Fu Panda 4 adds a bit of a postscript. The door is now open for another unlikely hero to take over the franchise, should DreamWorks decide to go that route: Basically, Po will eventually retire from his title as the Dragon Warrior, and a protégé will take up the mantle. (That definitely isn’t how it worked in the first movie, but I digress.) His heir apparent, the sneaky, thieving fox Zhen (Awkwafina), is actually a pretty cool character. I wouldn’t be too mad seeing more of her!

For the fourth movie in an animated series, Kung Fu Panda 4 is decently enjoyable, mostly suffering from wasted potential. But the fight scenes are still cool, and the humor is funny enough, even if it never reaches the highs of the originals. —PR

7. The First Omen

The First Omen is a complicated addition to this list. On the one hand, it isn’t necessary, really. And its worst moments come at the close of the movie, when the implied connections to the original film series are made even more explicit than they already were. The First Omen does, however, earn its place on this list via an entirely different version of this metric: It might just be the best movie in the Omen series, which makes it a necessity by default.

Even better, by making a movie this scary, director and co-writer Arkasha Stevenson (Brand New Cherry Flavor) actually retroactively improves the rest of Damien’s story, just by making his origins this disturbing. The First Omen is simply an excellent horror movie, and that’s more than we can say for most franchise entries on this list, which is exactly why it clawed its way near the top. —AG

6. Ultraman: Rising

Netflix’s animated Ultraman movie isn’t following a strict franchise continuity like so many of the sequels, prequels, and spinoffs in this ranking. Instead, it’s part of a sprawling history of anime, manga, comics, books, live-action movies and shows, and much more, many of which reinvent the tokusatsu hero in radically different ways. This particular installment also focuses far more on repackaging Ultraman for a new generation than on tapping into or expanding his existing lore. In this case, its value to the franchise isn’t additive, it’s introductory: This is a fine, accessible place for new and younger viewers to step into the story, especially if they happen to be fans of creative, dynamic animation. Longtime Ultraman fans won’t learn anything radically new here, but they will get a perfect launch point for the next generation of fans. —TR

5. Inside Out 2

Pixar’s sequel to 2015’s Inside Out is the definition of a sequel expanding on a previous movie, sometimes to a fault. The first movie goes inside the head of 11-year-old Riley to explore how her personified emotions interact with each other; the sequel ages her up to 13, introduces new emotion characters, and shoves her into a series of new, anxiety-related decisions. In a lot of ways, this is a more-of-the-same sequel, leaning on a similar “important characters lost in the back of Riley’s brain, other characters taking over at center stage” plot, and plenty of the same corny-to-clever puns about how familiar thoughts, emotions, or related structures might manifest as landscape features.

But the way it recognizably tells a story about the same central characters, while focusing on how profoundly time and the events of the last movie changed them, is unusual for an animated sequel. (We’re side-eying you right now, eternally-suspended-in-time Despicable Me franchise.) Inside Out 2 forwards Riley’s evolution in meaningful ways, even if that does raise some bigger questions about the rules of this particular world. —TR

4. A Quiet Place: Day One

You’d have to go back a few years to Dan Trachtenberg’s Predator franchise movie Prey to find a prequel that feels as vital, engaging, and meaningful to a film series as A Quiet Place: Day One — and it’s notable that both movies get to that point the same way. They both keep continuity with the stories they’re setting up, but neither one is trying to dole out unnecessary series lore, or explain things that never needed explaining: They’re both just telling riveting action stories in an established setting, and shifting focus to completely different characters with their own unique dynamics.

Most disaster movies in this vein (whether they’re alien-invasion-focused or not) center on survivors. Writer-director ​​Michael Sarnoski tunes in on someone who doesn’t have survival as an option: Sam (Lupita Nyong’o) is in the last weeks of a fatal illness, and when killer aliens start raining from the skies and chumming New York City and anyone in it who makes a noise, it’s barely moving up the time table on her mortality. Sarnoski gives her a perversely meaningless goal — to get across town to her favorite pizza place and enjoy a final slice before she dies — and then spends half the movie on taut, tense alien-stalking scenes, and the rest on exploring why she’s so doggedly determined to do this one last thing before she goes. The focus on her combination of fatalism and obsession makes Day One an indelible story that expands the Quiet Place franchise in the best way possible, without piling on a bunch of extra, unnecessary world-building. —TR

3. Deadpool & Wolverine

Deadpool’s third live-action adventure, and his first under the Disney-Marvel Studios banner, certainly earns high rankings for popularity: It has broken records on its way to the top of the box office. But more significantly for the purposes of this particular ranking, it pushes Deadpool’s story forward, to the extent that anything really means anything in a Deadpool movie. Death certainly doesn’t. It’s possible that MCU canon does. Narrative rigor and character continuity don’t — but who goes to a Deadpool movie for those?

 
The snark is tamer and less transgressive this time out, but the Deadpool & Wolverine movie is still ambitious about expanding the character’s reach into new arenas, from bringing in the Loki series’ Time Variance Authority as villains to letting him beg for a shot at joining the Avengers. You can really feel producer-star Ryan Reynolds, his co-writers, and director Shawn Levy leveraging the Deadpool franchise’s popularity to get their hands on any property they want, from gleefully defiling the end of 2017’s Logan to lining up cameos designed expressly for in-the-know comics fans. They hop around Marvel movie continuity, grabbing and dropping whatever they want like nerdy magpies, and the movie is more fun for it. Most franchise filmmakers could only dream of this kind of freedom and access. Say what you want about the recent movie-multiverse boom — at least one franchise is just using it to create a bigger, more colorful sandbox. —TR

2. Furiosa: A Mad Max Saga

Furiosa is the rare prequel that feels not just equal to the hit movie it’s setting up, but like it adds vital context rather than gilding the lily. Conceived and written at the same time as Max Max: Fury Road so it would be consistent with that film’s story and characterization, Furiosa doesn’t unnecessarily just fill in how-did-this-character-get-here blanks, it tells its own distinct story and answers questions about who Fury Road’s most compelling new character is, and why she’s Max’s equal. More importantly, though, it’s wildly entertaining in its own right. —TR

1. Dune: Part Two

The second half (or with luck, middle third) of Denis Villeneuve’s Dune adaptation has an advantage no other movie on this list has: It isn’t just an adjunct to other movies, it’s the vital continuation of an opening-act movie that was mostly setup, building to this payoff.

Even leaving aside the compelling performances and visuals, the epic warfare, and the fascinating shift in perspective — which is to say, leaving aside the fact that it’s one of 2024’s best movies so far — Dune: Part Two would top this list purely because it’s an essential part of its franchise’s story. It doesn’t just contribute new things to a franchise, it’s a cornerstone of the story Villeneuve is still hoping he’ll get to tell more of someday. —TR

Bahubali 3 Official Trailer

Bahubali 3 is one of the most loved epic action games. Film director S.S. Rajamouli, Shobu Yarlagadda and Prasad Devineni under the banner of Arka Media Works.

The film was distributed in all the major dialects of the world and brought great value to the producers in auditoriums around the world.

Bahubali 3 release date

When is Bahubali 3 coming out? 

Many of us are looking forward to the release of Baahubali 3. Baahubali is a famous movie that is a huge success with the audience. SS Rajamouli effectively finished 2 parts of Baahubali. It is now a great opportunity to know the delivery date of Baahubali 3. Here you can check the delivery date of Bahubali 3 in India, Bahubali 3 release date in Hindi, Bahubali 3 trailer.

The film's taskmaster, S. S. Rajamouli, contributed and tried to make it a great achievement. Season 3 is expected to be a phenomenal hit as the lead role is sure to produce an incredible amount of material. It is believed that there will be a third round of Bahubali. As the chief himself confirmed on a similar occasion. According to sources, the third season is expected in 2021. In any case, there have been no official warnings about the date of release of the Bahubali 3. Thus, it is proposed to cling to the audience for the announcement of the authorities.

Bahubali 3

Bahubali 3 : StoryLine

Amarendra recklessly falls in love with Devasena (Anushka Shetty), the princess of the Kuntala region (7.5 yojanas north of Mahishmati) and the sister of the ruler of Kuntala. Bhallal Dev learns of Amarendra’s efforts to lure Devasena and conspires to create a wedge between Amarendra and the Shivaga by asking for Devasena’s hand in marriage for himself. Shivagami, unaware that Amendra is crazy about Devasena, guarantees the hand of Bhallal Dev Devasena in marriage.

Shiwagami sends a messenger to the kingdom of Kuntala, who is horrified by the proposed compromise. Devasena brutally rejected the compromise proposal. Upon hearing Devasena’s reaction, Shivagami becomes furious and orders Devasena to be taken hostage to Mahishmati.

The area of Kuntala is attacked by the bandit armed forces of Pindaris. Amarendra, with the help of Devasena’s maternal uncle Kumara Varma (Subbaraju), is able to repel the attack and rescue Kuntala. Amendendra reveals her identity, tries to alleviate her fears of Shivagami’s rage, and convinces Devasena to accompany Mahishmati as his future wife.

Bahubali 3 Official Trailer 

Bahubali 3 is one of the most popular dramatized epic action movies. Film director S.S. Rajamouli and presented by Shobu Yarlagadda and Prasad Devineni as part of Arka Media Works.

Bahubali 3 features some of the incredible animators from South Indian cinema, including rebels Prabhas, Rana Daggubati, Anushka Shetty, Tamanna Bhatia, Ramya Krishna, Satyaraj, Nassar and Subbaraja.

Bahubali 3 - Returns

The confusion arises after reaching Mahishmati. When Shivagami offers Amarendra one last time to choose a privileged position or Devasena, he chooses Devasena. Bhallal Dev was appointed ruler and Amarendra became the new president. During the sacrament of Mukut, the people of Mahishmati call and ask Amarendra not to accept the new task.

At Devasena’s baby birthday party, Bhallal Dev frees Amarendra from her duties as president so that Amarendra can be with her soul mate. Devasena quickly opposes the king’s control and Shivagami’s quiet inactivity. Due to additional conflicts, Devasena and Amarendra are evicted from the palace. Amarendra and Devasena live happily ever after. Bhallala Deva conspires with his father Bijaladeva (Nassar) to convince Shivagami that Amarendra is trying to kill him. Shivagami, convinced that Bhallal Dev’s life is in danger and that open activities will lead to group and general conflicts, orders Katappa to kill Amendra. Catappa, forced by his promise to serve the queen, lures Amarendra into a trap by pretending to be in a difficult situation and then betrays and kills him.

Bahubali 3 : End game

Katappa discovers the dishonesty of Bhallal Dev and enlightens Shivagami. Devasena also comes with his son Mahendra Bahubali to learn about his wife’s death. Shivagami informs the bewildered flocks outside his royal residence that Amarendra has died and that infant Mahendra has become the new king.

When Bhallal Dev and her men go to capture the sovereign, she escapes with baby Mahendra Bahubali and Devasena ends up in prison for the next 25 years. Bhallal Dev completely destroyed the kingdom of Kuntala. Kunthala Raja (Meka Ramakrishna), now in exile, leads a radical assembly that is fighting in a tough fight against ruler Bhallal Deva.

With the whole story in mind, Shivudu (Prabhas), alias Mahendra Bahubali, decides to confirm his father’s death by raising his army with the help of Katappa, and returns to Mahishmati with Avantika and the citizens. There are. Bhallal Dev recaptures Devasena and seals the royal residence, but Bahubali, as talented as his father, finds a way into the palace to capture Bhallal Dev.

Bijala Deva tries to help secure and protect the high status of Mahishmati and his commitment to be faithful to the Lord by helping Katappa to remember the promise of loyalty of his ancestor. Katappa informed him that Sivagami had declared Mahendra Bahubali as ruler before his death 25 years earlier. Bhallal Dev was later crushed by Bahubali and burned alive in the bonfire prepared by Devasena. Ending the terrible arrangement of Bhallal Dev, Bahubali is transformed into the new king of Mahishmati, proclaiming harmony and agreement with Avantika. 

Here in this article you will get to know about the movie Pushpa and how to download it's hindi version. Pushpa movie download in hindi the title itself suggests that here you can easily download Pushpa movie in hindi by following simple steps mentioned in this post.

Pushpa The Rise is an animated action film directed by Sukumar. The cast of Allu Arjun and Rashmika Mandanna plays Fahad Faasil, Jagapati Babu, Dhananjay, Prakash Raj, Sunil and many more in the lead roles. The music was composed by Devi Sri Prasad and the photograph was taken by Miroslav Kuba Brozek and edited by Kartika Srinivas. The film is produced by banner company Maithri Movie Maker.

Also read : Sacred games 3 release date

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Pushpa : The Rise Story Line

Pushpa works for a small amount but dreams of living the life of a king. But his stepbrother always disappoints him because he is his father's illegitimate son. He has the opportunity to work in the dense forest of red polishers, from where the red polishers are smuggled out to other countries. Work has always been the goal of DSP Govindappa, but Pushpa dares to go against everyone by creating obstacles for DSP. Pushpa manages to rescue millions of dollars worth of smuggled cargo under the watchful eye of the DSP and kills the Reddy brothers. (Konda Reddy, Jakka Reddy and Jolly Reddy) are known for smuggling red polishing machines. Pushpa often manages to smuggle the red polishers with his gimmicks, blinding DSP and his crew and getting close to Conda Reddy. Pushpa changes her ways and decides to marry Shriveli, but her stepbrothers reveal her mother's relationship with her father and therefore ask for marriage. Pushpa, who now decides not to take the heights, learns that union member Mangalam Sinu Reddy's group is giving a much smaller share than they deserve and asks Kondu Reddy to increase profits. Konda Reddy asks Pushpa to take matters into her own hands as her involvement will lead to a war between the two sides. The fearless Pushpa decides to take control of things that lead to discord between the two parties.

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Pushpa movie download in hindi

The movie Pushpa is getting hit day by day and everyone is eager to watch as soon as possible   so here you will get to know everything about the movie Pushpa.Scroll down there you will get a download button. Wait for 30 seconds after that the download button will be clearly visible by clicking on that button the movie Pushpa starts  getting downloaded. 

Disclaimer: 1to1game.blogspot.com does not promote or support piracy of any kind.Piracy is a crime under the Copyright Act of 1957.

 Hi friends, in today's post I'll tell you about the 3rd season of Sacred Game, friends, this is one of the best Netflix India series the 2nd season of which has been released so far, which liked the character of Nawazuddin Siddiqui by the people. 

Argument for Season 3 of Sacred Games

By the way, this series is a crime thriller in which Nawazuddin Siddiqui is called Ganesh Gaitonde, in addition, this series also features Saif Ali Khan, who is called Sartaj Singh, who is a police officer. The game of mouse and cat continues between Ganesh Gaitonde and Sartaj Singh.

Also Read : Mirzapur season 3 release date

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The story begins with Ganesh Gaitonde continuing to talk to Sartaj Singh on the phone and during the conversation, Sartaj shoots as soon as he reaches Ganesh Gaitonde's hideout.

By the way, here comes the newspaper in which this story begins, so far its 2 seasons have come out, in which each season has 9 to 10 chapters, each chapter 48 to 50 minutes.

Although the series is not over yet, its third season will arrive soon because there are some unfinished things in the final second season.

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Sacred Games season 3 release date

Friends, the release date for its third season has not yet been announced, although the first season of this series premiered on July 5, 2018, as soon as it came out, people started to look at her eagerly, after which he waited impatiently. its release. The second season premiered on August 15, 2019 and is now awaiting its third season.

Stop me if you have heard this one before… you see a trailer or watch a publicity appearance for an upcoming movie that you are excited about, and in the course of about sixty seconds the entire plot of the movie and half of the cool surprises the movie contained are completely spoiled for you. “Teaser” trailers have become less of a taste of what a film has in store for us and more of a full meal, giving away their secrets like a classic movie villain who falls prey to their need to explain their entire evil plot to the one person in a position to stop them. We leave the experience feeling like we have a pretty good idea of who will win, who will lose, who will show up, and even what the “second act plot twist” will be. While I am no stranger to the importance of advertising and marketing products to support the largest possible audience for a movie, television show, video game, book, or any other form of consumable entertainment, I think we can all safely say that much of the mystery that exists in these media formats has moved from simply attracting fans with a slice of what they have in store for us to giving away the entire story.

But before I am too hasty in judging these companies, marketers, and publicists for doing their job, I have to reconcile another reality that I have found present in my own life more than I care to admit… I too have fallen pray to some “monologues” myself that have exposed some of the things to the wrong audience that should have been kept between me and the Lord. And if I give you a few examples, maybe you will find some of these in common as well. Have you ever caught yourself saying the words, “You know what I’m afraid of” to someone? Or perhaps share some personal information followed by sharing the knowledge that “if this happened, it would completely destroy me?” or “the only thing that will stop me from doing this is…”? While we might think we are simply having a conversation with a friend or a loved one about a personal concern or struggle we are dealing with, there is a sinister presence eavesdropping on these weaknesses we are exposing… and we just gave them the key to defeating us.

The tendency to give our enemy the most direct path to taking us out is certainly nothing new… over the years many of us have taken a turn at becoming the architects of our own demise, giving away our deepest fears and sharing our weaknesses with perhaps positive intentions but disastrous results. In my own life, I have made the mistake of giving my enemy the exact information that would destroy a relationship or pull me away from serving the Lord many times by speaking those words to a friend or trusted confidante… only to be faced with that exact combination of scenarios and attacks at a later time. And as I find myself reeling from what has occurred, I find myself feeling much like Job did when after he experienced an enemy attack like no other and he said, “The thing I greatly feared has come upon me, and what I dreaded has happened to me”. In a moment of “sharing”, I exposed my deepest fears and vulnerabilities to more than simply my target audience… I gave my enemy the most direct path to shattering my world without even making them work for it.

Job 3:25 For the thing I greatly feared has come upon me, and what I dreaded has happened to me.

One of the saddest stories in all of Scripture is the fall of Samson, a man of exceptional physical power but very limited spiritual restraint. The climax of his story comes as we find him in the hands of Delilah… someone he had placed his trust in who was working for the other side. After years of waging war with the Philistines and being used by God to deliver his people, in a moment of weakness and frustration Samson exposed his only weakness to her… and within hours he found that his confidence had been misplaced. His head was shaved, his power removed, and the man who had withstood hundreds of soldiers single-handedly in combat was now over-powered in a living room… all because he gave away the plot to his story to an audience that couldn’t be trusted with it.

Judges 16:15-20 Then she said to him, “How can you say, ‘I love you,’ when your heart is not with me? You have mocked me these three times, and have not told me where your great strength lies.” And it came to pass, when she pestered him daily with her words and pressed him, so that his soul was vexed to death, that he told her all his heart, and said to her, “No razor has ever come upon my head, for I have been a Nazirite to God from my mother’s womb. If I am shaven, then my strength will leave me, and I shall become weak, and be like any other man.” When Delilah saw that he had told her all his heart, she sent and called for the lords of the Philistines, saying, “Come up once more, for he has told me all his heart.” So the lords of the Philistines came up to her and brought the money in their hand. Then she lulled him to sleep on her knees, and called for a man and had him shave off the seven locks of his head. Then she began to torment him, and his strength left him. And she said, “The Philistines are upon you, Samson!” So he awoke from his sleep, and said, “I will go out as before, at other times, and shake myself free!” But he did not know that the Lord had departed from him.

The Scriptures are clear that we have an active enemy in life (1 Peter 5:8) who seeks nothing more than to steal, kill and destroy (John 10:10), but while the enemy of our soul is incredibly intelligent, they can’t read our minds. Our deepest concerns and fears are things that should be brought to the Lord in prayerful surrender so He can guide us through them (2 Corinthians 10:4-5), and when we open that door through casual conversation with others we are handing that key off to the very presence that has been trying to figure out the best way to break in, destroy us, and shipwreck our faith from day one.

1 Peter 5:8 Be sober, be vigilant; because your adversary the devil walks about like a roaring lion, seeking whom he may devour.

Proverbs 10:19 In the multitude of words sin is not lacking, but he who restrains his lips is wise.

Proverbs 21:23 Whoever guards his mouth and tongue keeps his soul from troubles.

I wish I could take back the things I have said and shared that exposed my deepest fears and created the opportunity for them to be used against me, but unfortunately that isn’t possible. But in the stories of both Job and Samson we find that even after the enemy’s most brutal attacks, the faithfulness of the Lord was present to provide both restoration of their mission in the case of Samson (Judges 16:28-30) as well as what was lost in the case of Job (Job 42:12-13). And if we will yield our fears, concerns, and broken places to the Lord He will be faithful to not only restore them, but to rebuke the enemy and run them out of the space that we inadvertently gave them access to in the first place. Our words are more powerful than we realize, and they can and WILL be used against us by the enemy who is bent on destroying us. Let’s not make his job any easier by giving him the combination to the safe… let’s guard our words and give every concerning or fearful thought to the Lord in prayer… He is the only one who can help us overcome them.

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Filmmaker David Lynch says his days of directing are essentially over because he cannot leave home, thanks to an emphysema diagnosis caused by a lifetime of smoking.

"I've gotten emphysema from smoking for so long, and so I'm homebound whether I like it or not. — Read the rest

The post David Lynch says his days of directing are over — loves smoking, "but in the end, it bit me" appeared first on Boing Boing.

This article includes spoilers for Deadpool & Wolverine, in theaters now.

With much anticipation and speculation behind it, Deadpool & Wolverine has finally made it to the movies. The third Deadpool feature has absolutely blown away audiences and critics alike, putting up strong numbers on Rotten Tomatoes and making a nice chunk of change at the global box office to kick off its run.

A lot of components have come together to make this possible, from the litany of huge surprise appearances and the triumphant return of Hugh Jackman to the role of Wolverine. However, let's not forget the person who serves as the film's crown jewel.

Ryan Reynolds is excellent as Wade "Deadpool" Wilson, bringing comedy, action, and a bit of heart to the Marvel Comics favorite. He clearly has fun with the material, especially that which takes aim at 20th Century Fox, Disney, and the Marvel Studios machine, and provides a performance worthy of the Merc with a Mouth's Marvel Cinematic Universe debut. All of that is to say that he has further solidified himself as the Deadpool actor, making it even more difficult to remember that it's not his first Marvel movie role.

No, we're not talking about that awful Deadpool from X-Men Origins: Wolverine. Instead, we're shining a spotlight on Reynolds' real first Marvel character: Hannibal King from 2004's Blade: Trinity. Here's the rundown on this oft-forgotten Marvel comic and film supporting player.

Who is King in Marvel Comics lore?

Though he makes his big screen debut in the aforementioned Blade: Trinity, King's existence in Marvel Comics dates back decades before. The character, created by Gene Colan and Marv Wolfman, is introduced in Tomb of Dracula #25 in 1974, going on to appear as a supporting character in numerous stories in the following years. Turned into a vampire by Deacon Frost at a young age, he vows to never feed on the living nor use his vampiric abilities in battle, relying on his learned abilities and arsenal of weapons instead.

All in all, King is far from a main Marvel character, but he boasts and impressive resume all the same. He has worked extensively with Blade, Spider-Man, and Doctor Strange, featured on teams such as the Nightstalkers, the Defenders, and the Midnight Suns, and battled such foes as the Darkholders, Dracula, and Lilith. With all of that in mind, he sounds like a pretty awesome character. Unfortunately, there are a few big reasons why his film equivalent isn't looked upon with such reverence.

Reynolds' King doesn't much resemble his print counterpart

All of that cool information about King can go right out the window when it comes to Blade: Trinity. While Reynolds' King did become a vampire, he was ultimately cured by the Nightstalkers before joining the team. He grows especially close with Abigail Whistler (Jessica Biel), the daughter of Blade's (Wesley Snipes) mentor, Abraham Whistler (Kris Kristofferson), who joins him in breaking Blade out of custody and recruiting him to their cause. From here, King pretty much becomes a generic quippy action guy.

While Blade is cool and Abigail is efficient, King provides a bit of comic relief while blasting away at vampires. His past as a member of the House of Talos, led by the film's main villain and the vampire who turned him, Danica Talos (Parker Posey), is touched on here and there, but it doesn't get much room to breathe. Like most Marvel Comics adaptations of the era, Blade: Trinity misses the mark in the comic-accuracy department and fails to justify its source material changes, with its version of King exemplifying that perfectly.

Could Hannibal King join the Marvel Cinematic Universe?

In one of the most stunning moments of Deadpool & Wolverine, the titular mutants encounter a ragtag band of Multiverse heroes while in the Void. Among them is none other than Snipes' Blade, making his return to the silver screen as the Daywalker after 20 years. Not only was it shocking to see him because of that fact, but also because of the supposed previous animosity between Snipes and Reynolds, which stemmed from their time on the Blade: Trinity set. The latter made it known that the Blade actor didn't care for him in an interview with IGN and even made a meta joke about their tension in Deadpool & Wolverine.

Thankfully, it appears Snipes and Reynolds buried the hatchet a long time ago. Snipes went as far as to tell Entertainment Weekly that the two have actually been friends all along. So, with that said, and assuming the character isn't dead or was swallowed up by Alioth, could Reynolds return as King in the MCU down the line? Could fans see him and Blade team up one more time, potentially even with Biel back as Abigail alongside them? If the Multiverse Saga has proven anything, it's that whatever you think is impossible could very well not be. We'll just have to see if Reynolds' King is due for a comeback or if he'll forever be confined to an obscure side character in Blade: Trinity.

Deadpool & Wolverine is now playing exclusively in theaters.

The post Before Deadpool, he was Hannibal King: Ryan Reynolds’ first Marvel role, explained appeared first on Destructoid.

Pixar's Inside Out, released in 2015, was a delightful—if tear-jerking—journey through the mind of a precocious 11-year-old girl named Riley and the five emotions (Joy, Sadness, Anger, Fear, and Disgust) that attempted to pilot her subconscious through a disruptive cross-country move.

The first Inside Out arrived on the precipice of a major change in how American culture treats mental health. While the first film's handling of Riley's slump into depression felt boundary pushing, its sequel comes at a time when the risks of talking too much about mental health are starting to be examined. 

In Inside Out 2, Riley faces another mental health catastrophe. Two years have passed, and Joy—voiced by an energetic Amy Poehler—is still leading Riley's team of emotions. The now-teenage Riley has just graduated middle school with top marks, two best friends, and a solid self-concept lovingly curated by Joy. 

However, peace doesn't last for long. The night before Riley is set to attend a sleepaway hockey camp, puberty—coming in the form of a literal wrecking ball—blasts into her subconscious. As part of Riley's mental overhaul, she gets four new emotions: the bright orange, Animal-esque Anxiety (voiced by a jittery Maya Hawke), Ennui, Embarrassment, and Envy.

Riley's new emotions quickly take over, insisting that she needs more complex, sophisticated emotions to guide her, leaving the old crew literally bottled up, trapped in a dark vault in the back of Riley's brain.

Ruled by Anxiety, things quickly go south for Riley, who becomes convinced that the only way to ensure that she isn't lonely in high school is to get on her new school's competitive, championship-winning hockey team. As a result, she becomes crippled by self-doubt—and ends up alienating the friends she already has.

In order to save her from completely spiraling out of control, the old team of emotions must journey through the labyrinth of Riley's mind, back to her mental control panel before it's too late. 

For those familiar with the first film, Inside Out 2 hits many of the same beats as its predecessor. Riley faces a big life change, and to weather it, Joy has to learn to relinquish some control over Riley's mind. In the first film, that meant letting Riley feel sadness. In the sequel, the lesson is a bit more complicated: Joy learns that she needs to let Riley develop a multifaceted self-concept—one that includes acknowledgment of both her strengths and her flaws.

At a time when concern about skyrocketing rates of depression and anxiety among teenagers is at a high, Inside Out 2 ultimately presents a solution that wouldn't be amiss coming from Jonathan Haidt or Lenore Skenazy. 

In the film, Riley's emotions—especially Joy and Anxiety—ultimately serve a parental role, attempting to protect her and lead her to make good choices, while also having limited ability to control her actions. Riley can only become well-adjusted when her most active emotions learn to relinquish some control.

In Inside Out 2, it's not hard to see Anxiety as a stand-in for an ever-hovering helicopter parent. Anxiety is motivated by an earnest desire to secure Riley's future, but her relentless planning and prodding ultimately make Riley miserable. As in the first film, Joy too has to learn to let go—though that particular beat is slightly less straightforward than in the first Inside Out. 

While Inside Out 2 still has plenty of tear-jerking moments, the—ahem—emotional core of the film is less solid. The new emotions aren't as fully developed as their predecessors, and some of the old emotions end up getting lost in the shuffle. The climax of the film, too, doesn't have the same gut-punching impact as the first film's. However, while Inside Out 2 doesn't quite reach the heights of its predecessor, I found it hard to leave the theater with any hard feelings.

The post Is <i>Inside Out 2</i> Secretly About Helicopter Parenting? appeared first on Reason.com.

One way to understand the Bad Boys franchise is as a referendum on shifting cultural views of masculinity. 

The first two films, released in 1995 and 2003 respectively, followed the brash antics of two hard-charging Miami cops, Marcus Burnett (Martin Lawrence) and Mike Lowrey (Will Smith). Mike and Marcus are a classic cinematic odd couple: Marcus is sloppy, goofy, messy, harried, and married; Marcus is handsome, uptight, hard-charging, and very, very single. But they shared a certain bro-code—vulgar, violent, competitive, sex-obsessed, and constantly engaged in insult comedy, much of which had homophobic undertones. They were also brothers in arms, unshakably loyal to each other. Today flagrantly crude behavior would be cast as toxic masculinity. But that label didn't exist back in 1995. Back then, it was just masculinity. 

The early movies, both directed by Michael Bay, the noisy commercial auteur who would go on to make Armageddon, Pearl Harbor, and the first five Transformers films, understood that their behavior was extreme, aggressive, and obnoxious. They were, after all, bad boys. But they didn't care if anyone was offended. 

Will Smith and Martin Lawrence were playing larger-than-life action heroes and their obnoxiousness was meant to be endearing. The audience was intended to enjoy their naughty behavior, to derive pleasure from the offense of it all. They were just guys being guys. Bros being bros. The subtext of all the swearing, leering, swaggering, and shooting was, more or less, "dudes rock." 

But when the franchise picked up again with Bad Boys For Life in early 2020, just weeks before the pandemic shut down most movie theaters, that confident assertion seemed more like a question. 

Marcus and Mike were still swaggering, swearing, shoot-first alphas. But their back-and-forth insult volleys, while not exactly PG-rated, were a little less graphic, and they moved a little bit slower. They were older now, their facade of invulnerability punctured, and their youthful recklessness was finally catching up to them. Mike, it turned out, had a long-lost son who was connected to the drug cartel they were trying to take down. Marcus became a grandfather and announced his intention to retire from police work. There were costs, deadly costs, to their conduct. This is what it meant to be a bad boy, for life. 

The newest installment, Bad Boys: Ride or Die, takes this notion even further but with diminishing returns. In the opening minutes, Mike, the longtime womanizer, gets married. Marcus has a heart attack at the ceremony. And when the bad guys show up and the gunfire and explosions begin, Mike's long-lost son is, naturally, involved. There's still swearing and shooting galore. There's still an anti-authoritarian streak that puts the two cops at odds with their superiors. And Mike and Marcus are still the tightest and loyalist of bros. But 2024's bad boys are not quite as bad as they once were. 

Which is a shame, because they're not quite as fun either.

Bad Boys: Ride or Die is a fan-service-laden retread of its predecessor: Once again, there are cameos and reminders of the franchise's decades-long history. Once again, there are mid-life milestones meant to reflect on growing older, realizations and revelations about the meaning of life, and goofy jokes about the indignities of aging, most of which revolve around Marcus' obsession with junk food after his doctor orders him to improve his diet. 

It's not quite a beat-for-beat remake of the previous film but it feels like an uninspired remix, with nearly every major element repeating something from Bad Boys for Life. Given that film's success—thanks to pandemic shutdowns it ended up as the top-grossing movie of 2020—that's understandable. There are scattered laughs to be had in the comic riffing; even in their dotage, Will Smith and Marcus Lawrence are still a potent on-screen odd couple. And directors Adil El Arbi and Bilall Fallah concoct some energetic (if silly) action set pieces, including a POV-heavy shootout at an abandoned gator-haunted theme park in South Florida.

But for the most part, Bad Boys Ride or Die feels creatively safe and cautious in a way that's at odds with the franchise's earlier throw-it-against-the-wall recklessness. It's studiously inoffensive, not awful but perfunctory, and vaguely ashamed of all that came before. They're still guys being guys, bros being bros—but, seemingly by design, these dudes don't rock quite like they used to. As the song goes: Whatcha gonna do? 

The post With <i>Ride or Die</i>, the Bad Boys Movies Become Referendums on Masculinity appeared first on Reason.com.

The Tribeca Film Festival will debut five short films made by AI, as detailed by The Hollywood Reporter. The shorts will use OpenAI’s Sora model, which transforms text inputs into create video clips. This is the first time this type of technology will take center stage at the long-running film festival.

“Tribeca is rooted in the foundational belief that storytelling inspires change. Humans need stories to thrive and make sense of our wonderful and broken world,” said co-founder and CEO of Tribeca Enterprises Jane Rosenthal. Who better to chronicle our wonderful and broken world than some lines of code owned by a company that just dissolved its dedicated safety team to let CEO Sam Altman and other board members self-police everything?

The unnamed filmmakers were all given access to the Sora model, which isn’t yet available to the public, though they have to follow the terms of the agreements negotiated during the recent strikes as they pertain to AI. OpenAI’s COO, Brad Lightcap, says the feedback provided by these filmmakers will be used to “make Sora a better tool for all creatives.”

When we last covered Sora, it could only handle 60 seconds of video from a single prompt. If that’s still the case, these short films will make Quibi shows look like a Ken Burns documentary. The software also struggles with cause and effect and, well, that’s basically what a story is. However, all of these limitations come from the ancient days of February, and this tech tends to move quickly. Also, I assume there’s no rule against using prompts to create single scenes, which the filmmaker can string together to make a story.

We don’t have that long to find out if cold technology can accurately peer into our warm human hearts. The shorts will screen on June 15 and there’s a conversation with the various filmmakers immediately following the debut.

This follows a spate of agreements between OpenAI and various media companies. Vox Media, The Atlantic, News Corp, Dotdash Meredith and even Reddit have all struck deals with OpenAI to let the company train its models on their content. Meanwhile, Meta and Google are looking for similar partnerships with Hollywood film studios to train its models. It looks like we are going to get this “AI creates everything” future, whether we want it or not.

The rise and fall of MoviePass is one of those stories just begging for the documentary treatment and, well, HBO has got you covered. The platform just set a premiere date of May 29 for MoviePass, MovieCrash, a documentary helmed by filmmaker Muta’Ali and produced by none other than Mark Wahlberg.

The film chronicles the “meteoric rise and stranger-than-fiction implosion” of the movie ticket subscription platform, which originally set the world on fire when it first launched back in 2011. However, it wasn’t long before the company realized that the “all you can eat” approach that works so well with gyms and other membership clubs is a weird fit for movie theaters, particularly at the service’s low price point. In just eight years, the company went from the fastest growing subscription service since Spotify to total bankruptcy.

As the trailer shows, the documentary will feature interviews with many of the major players involved in the various stages of MoviePass. This includes original co-founder Stacy Spikes and former CEO Mitch Lowe. There will also be plenty of interviews with journalists who covered the service, FTC personnel and former subscribers. Incidentally, the trailer promises an anecdote in which a customer sent a box of feces to the MoviePass offices, and we don’t want to miss that.

Though premiering on HBO at 9PM ET on May 29, the documentary will also be available on-demand via Max. Director Muta’Ali has made a few good documentaries, including Yusuf Hawkins: Storm Over Brooklyn and Cassius X: Becoming Ali.

As for MoviePass, well, it’s a long and complicated story. The app captured the hearts of theater-goers in 2011 by promising unlimited trips to the cinema for a single monthly subscription fee. The love affair didn’t last. The company ceased operations in 2019 and filed for bankruptcy in 2020. Between those dates, there have been reports of wire fraud, securities fraud and significant data breaches, among other outlandish scenarios. In short, it’s perfect fodder for a documentary.

MoviePass is actually still around. Co-founder Spikes recently bought the company’s assets, brought on new investors and re-launched the service. However, the updated pricing model is on the confusing side, with credits and tiers, and seems to have not captured lightning in a bottle for the second time.

FX’s acclaimed series, The Bear, follows the journey of a chef who returns to his roots in Chicago to manage his family’s sandwich shop. Created by Christopher Storer, season one of the streaming show earned a perfect 100 percent rating on Rotten Tomatoes and 13 Emmy nominations. Its second season was released in 2023 and broke the streaming record to become the most-watched premiere of any FX show.

Season two left fans hungry for more, but season three promises new action, more guest stars, twists, turns, and delicious drama. If you’re a fan, you’ll be thrilled to know that the upcoming season premieres this summer. We’ll tell you all about The Bear season 3 release window, cast, plot speculations, and other rumors.

Fans have been waiting a long, long time for another installment in the 28 Days Later franchise, and we now know when the next followup is coming out: June 20, 2025. Per Variety, Sony Pictures announced the release date for the upcoming film 28 Years Later on Friday. It would have been kind of cool if it were timed with the original film’s actual 28th anniversary in 2030, considering how close we are to that now (horrifying, I know), but I can't blame them for not keeping people hanging even longer.

28 Days Later, starring Cillian Murphy in what turned out to be his breakout role, came out in 2002, and was followed by a sequel with a different cast, 28 Weeks Later, in 2007. There were at one point murmurs of plans for 28 Months Later, but it looks like we’re skipping over that. The new film will be directed by Danny Boyle and written by Alex Garland, who both helmed the first movie, The Hollywood Reporter reported earlier this year. Murphy will be among its executive producers, according to Variety, but don’t get your hopes up for seeing him in a starring role. As of now, it doesn't seem like that’ll be the case.

We don’t know anything about the plot yet, but 28 Years Later will reportedly star Jodie Comer, Aaron Taylor-Johnson and Ralph Fiennes. And it could be the first of three new movies in the franchise. According to THR, the plan is ultimately for a trilogy.

Peter Jackson’s Lord of the Rings film trilogy came out right around the time movie studios decided everything needed to be a big franchise that exists in perpetuity. From that perspective, it’s a little surprising that Warner Bros. Discovery hasn’t milked Tolkien’s work more than they already have. That’ll change soon, though, as the company just announced that there are two new Lord of the Rings films in the works (you can read the full press release here).

The first is tentatively titled Lord of the Rings: The Hunt for Gollum, and it’s being directed by Andy Serkis — you may remember him for his landmark performance as Gollum in Jackson’s prior movies. The fact that Serkis is on board, and working from a script by Fran Walsh and Philippa Boyens (who co-wrote the prior Middle-earth movies along with Jackson) has me feeling a bit better about this not being simply a crass cash grab. Peter Jackson, along with Walsh and Boyens, are set to produce as well. Serkis previously served as second unit director on The Hobbit films and also directed 2022’s Venom: Let There Be Carnage.

Given the working title of the film, you won’t be surprised to learn that Serkis is also starring again as the titular Gollum. While part of me was interested to see how another actor might take on the character, Serkis so defined Gollum for the big screen that it’s almost impossible to put anyone else in the role. As for what the movie will cover, there’s no official word yet — but again, the title indicates it’ll take place between the events of The Hobbit and Lord of the Rings as Gandalf and Aragorn search Middle-earth for Gollum, trying to learn more about the ring that Bilbo and then Frodo possessed. 

Given Hollywood’s insatiable thirst for Content based on Popular Franchises, it’s a little surprising something like this didn’t happen sooner. Jackson and company followed up the original trilogy of films nine years later with the bloated and overly CGI-reliant film series based on The Hobbit and corresponding events from Tolkien’s LOTR appendices. And, of course, Amazon’s The Lord of the Rings: The Rings of Power series debuted in 2022. And before The Hunt for Gollum arrives, we’ll see another intriguing project: an anime-style film called The War of the Rohirrim. That movie arrives this December and covers events in Rohan a few hundred years before The Lord of the Rings.

As a massive Lord of the Rings fan, I’m both skeptical and excited by this announcement. The sad reality of the entertainment world is that projects like this are going to happen no matter what; there’s too much money wrapped up in things like Lord of the Rings to not try and extract more. But Serkis seems like an excellent choice to direct this movie, and hopefully they’ll find a tight, self-contained story that works as a standalone film. The mess that was made in the Hobbit films has me wary, but even in those movies I found plenty of things to enjoy — and this feels like a good opportunity to chart a positive course forward for more movies in Middle-earth.

Fans have been waiting a long, long time for another installment in the 28 Days Later franchise, and we now know when the next followup is coming out: June 20, 2025. Per Variety, Sony Pictures announced the release date for the upcoming film 28 Years Later on Friday. It would have been kind of cool if it were timed with the original film’s actual 28th anniversary in 2030, considering how close we are to that now (horrifying, I know), but I can't blame them for not keeping people hanging even longer.

28 Days Later, starring Cillian Murphy in what turned out to be his breakout role, came out in 2002, and was followed by a sequel with a different cast, 28 Weeks Later, in 2007. There were at one point murmurs of plans for 28 Months Later, but it looks like we’re skipping over that. The new film will be directed by Danny Boyle and written by Alex Garland, who both helmed the first movie, The Hollywood Reporter reported earlier this year. Murphy will be among its executive producers, according to Variety, but don’t get your hopes up for seeing him in a starring role. As of now, it doesn't seem like that’ll be the case.

We don’t know anything about the plot yet, but 28 Years Later will reportedly star Jodie Comer, Aaron Taylor-Johnson and Ralph Fiennes. And it could be the first of three new movies in the franchise. According to THR, the plan is ultimately for a trilogy.

Peter Jackson’s Lord of the Rings film trilogy came out right around the time movie studios decided everything needed to be a big franchise that exists in perpetuity. From that perspective, it’s a little surprising that Warner Bros. Discovery hasn’t milked Tolkien’s work more than they already have. That’ll change soon, though, as the company just announced that there are two new Lord of the Rings films in the works (you can read the full press release here).

The first is tentatively titled Lord of the Rings: The Hunt for Gollum, and it’s being directed by Andy Serkis — you may remember him for his landmark performance as Gollum in Jackson’s prior movies. The fact that Serkis is on board, and working from a script by Fran Walsh and Philippa Boyens (who co-wrote the prior Middle-earth movies along with Jackson) has me feeling a bit better about this not being simply a crass cash grab. Peter Jackson, along with Walsh and Boyens, are set to produce as well. Serkis previously served as second unit director on The Hobbit films and also directed 2022’s Venom: Let There Be Carnage.

Given the working title of the film, you won’t be surprised to learn that Serkis is also starring again as the titular Gollum. While part of me was interested to see how another actor might take on the character, Serkis so defined Gollum for the big screen that it’s almost impossible to put anyone else in the role. As for what the movie will cover, there’s no official word yet — but again, the title indicates it’ll take place between the events of The Hobbit and Lord of the Rings as Gandalf and Aragorn search Middle-earth for Gollum, trying to learn more about the ring that Bilbo and then Frodo possessed. 

Given Hollywood’s insatiable thirst for Content based on Popular Franchises, it’s a little surprising something like this didn’t happen sooner. Jackson and company followed up the original trilogy of films nine years later with the bloated and overly CGI-reliant film series based on The Hobbit and corresponding events from Tolkien’s LOTR appendices. And, of course, Amazon’s The Lord of the Rings: The Rings of Power series debuted in 2022. And before The Hunt for Gollum arrives, we’ll see another intriguing project: an anime-style film called The War of the Rohirrim. That movie arrives this December and covers events in Rohan a few hundred years before The Lord of the Rings.

As a massive Lord of the Rings fan, I’m both skeptical and excited by this announcement. The sad reality of the entertainment world is that projects like this are going to happen no matter what; there’s too much money wrapped up in things like Lord of the Rings to not try and extract more. But Serkis seems like an excellent choice to direct this movie, and hopefully they’ll find a tight, self-contained story that works as a standalone film. The mess that was made in the Hobbit films has me wary, but even in those movies I found plenty of things to enjoy — and this feels like a good opportunity to chart a positive course forward for more movies in Middle-earth.

FX’s acclaimed series, The Bear, follows the journey of a chef who returns to his roots in Chicago to manage his family’s sandwich shop. Created by Christopher Storer, season one of the streaming show earned a perfect 100 percent rating on Rotten Tomatoes and 13 Emmy nominations. Its second season was released in 2023 and broke the streaming record to become the most-watched premiere of any FX show.

Season two left fans hungry for more, but season three promises new action, more guest stars, twists, turns, and delicious drama. If you’re a fan, you’ll be thrilled to know that the upcoming season premieres this summer. We’ll tell you all about The Bear season 3 release window, cast, plot speculations, and other rumors.

FX’s acclaimed series, The Bear, follows the journey of a chef who returns to his roots in Chicago to manage his family’s sandwich shop. Created by Christopher Storer, season one of the streaming show earned a perfect 100 percent rating on Rotten Tomatoes and 13 Emmy nominations. Its second season was released in 2023 and broke the streaming record to become the most-watched premiere of any FX show.

Season two left fans hungry for more, but season three promises new action, more guest stars, twists, turns, and delicious drama. If you’re a fan, you’ll be thrilled to know that the upcoming season premieres this summer. We’ll tell you all about The Bear season 3 release window, cast, plot speculations, and other rumors.

Peter Jackson’s Lord of the Rings film trilogy came out right around the time movie studios decided everything needed to be a big franchise that exists in perpetuity. From that perspective, it’s a little surprising that Warner Bros. Discovery hasn’t milked Tolkien’s work more than they already have. That’ll change soon, though, as the company just announced that there are two new Lord of the Rings films in the works (you can read the full press release here).

The first is tentatively titled Lord of the Rings: The Hunt for Gollum, and it’s being directed by Andy Serkis — you may remember him for his landmark performance as Gollum in Jackson’s prior movies. The fact that Serkis is on board, and working from a script by Fran Walsh and Philippa Boyens (who co-wrote the prior Middle-earth movies along with Jackson) has me feeling a bit better about this not being simply a crass cash grab. Peter Jackson, along with Walsh and Boyens, are set to produce as well. Serkis previously served as second unit director on The Hobbit films and also directed 2022’s Venom: Let There Be Carnage.

Given the working title of the film, you won’t be surprised to learn that Serkis is also starring again as the titular Gollum. While part of me was interested to see how another actor might take on the character, Serkis so defined Gollum for the big screen that it’s almost impossible to put anyone else in the role. As for what the movie will cover, there’s no official word yet — but again, the title indicates it’ll take place between the events of The Hobbit and Lord of the Rings as Gandalf and Aragorn search Middle-earth for Gollum, trying to learn more about the ring that Bilbo and then Frodo possessed. 

Given Hollywood’s insatiable thirst for Content based on Popular Franchises, it’s a little surprising something like this didn’t happen sooner. Jackson and company followed up the original trilogy of films nine years later with the bloated and overly CGI-reliant film series based on The Hobbit and corresponding events from Tolkien’s LOTR appendices. And, of course, Amazon’s The Lord of the Rings: The Rings of Power series debuted in 2022. And before The Hunt for Gollum arrives, we’ll see another intriguing project: an anime-style film called The War of the Rohirrim. That movie arrives this December and covers events in Rohan a few hundred years before The Lord of the Rings.

As a massive Lord of the Rings fan, I’m both skeptical and excited by this announcement. The sad reality of the entertainment world is that projects like this are going to happen no matter what; there’s too much money wrapped up in things like Lord of the Rings to not try and extract more. But Serkis seems like an excellent choice to direct this movie, and hopefully they’ll find a tight, self-contained story that works as a standalone film. The mess that was made in the Hobbit films has me wary, but even in those movies I found plenty of things to enjoy — and this feels like a good opportunity to chart a positive course forward for more movies in Middle-earth.

If you're looking for a political message in Kingdom of the Planet of the Apes, consider the following: The story begins "many generations" after the death of the previous reboot trilogy's hero, Caesar. Caesar was the first ape to speak, following the spread of a strange virus. Eventually, he became the leader of the apes in a war against the remnants of humanity. Caesar's teachings—apes should not kill each other, and apes are stronger together—have become quasi-religious dogma (ape-ma?) amongst the apes who live on in the post-apocalyptic world. 

But those beliefs have been perverted by an authoritarian sect run by Proximus, a strutting, vainglorious bonobo bent on unifying and dominating the fragmented ape clans into something greater. Proximus preaches strength and glory; it turns out the bonobos, like all men, are obsessed with Rome. But his footsoldiers massacre peaceful ape clans, and his murderous forces wear face coverings and are known as "masks." His whole kingdom appears to be built on personal whim and something resembling slavery. Talk about a banana republic. 

Masks, mad dictators, post-pandemic chaos, power fantasies of restoring Rome? Perhaps this is a story about Trump? About antifa? About revolution and empire? But no, not really. It's just a story about a bunch of animated monkeys fighting. 

The sociopolitical notions about an ape society built atop the ashes of human civilization are the most interesting concepts in Kingdom of the Planet of the Apes—and the least well-explored. Rather than dig in and engage with the story's fundamentally political underpinnings, the story is, instead, content to nod in their direction while pursuing a notably less thoughtful action-adventure story. 

The end result isn't bad: Kingdom of the Planet of the Apes is a solid enough summer blockbuster, with top-notch special effects and a family-friendly emotional core that most movies of this class lack. But what's frustrating is that the movie gestures at something much more interesting than what ends up on screen.  

The story starts with a trio of young chimpanzees who belong to a peaceful, idyllic clan devoted to the raising of eagles. But soon their village is attacked by masked-wearing outsiders, including a silverback brute named Sylva. Truly, it's gorilla warfare. 

Noa, the son of the eagle clan's leader, manages to escape. The movie then becomes a sort of road movie in which Noa must return to his tribe and free them from Proximus' authoritarian rule. Easy rider, raging apes. 

Noa is no Caesar, but he's a chimp off the old block: thoughtful, full of moral conviction, yearning to grow into something more. After the attack on his village, he runs into Raka, a wise old Orangutan who has studied Caesar's teachings, and who steals every scene he's in. The pair are soon joined by Mae, a human woman who initially appears to be a mute scavenger but turns out to be something more. All of this comes to a head when Mae and Noa reach Proximus' kingdom, which consists of a gigantic, rusted-out ship that's been beached near a massive, locked bunker that he believes holds tools that will make him more powerful. There's a sort of Mad Max parallel here, but with inquisitive monkeys instead of leather-clad car fiends; perhaps this picture should have been called Furious George. 

Proximus has been studying ancient Rome, with the help of Trevathan, an older human man (William H. Macy) who has accepted the notion that apes will rule the earth. Some of the movie's most interesting scenes involve Trevathan arguing with Mae about whether to accept ape dominion. But until the movie's final moments, it's not at all clear what Mae's alternative is, or why she even thinks there is an alternative. What is Mae even fighting for? Too much of the movie's worldbuilding is shuffled into what are effectively footnotes. 

What's left is a relatively simple narrative about a young ape struggling to free his clan and finding himself in the process. It's competently told, and the computer character animation is consistently excellent, with everything from wet fur to minor skin blemishes convincingly rendered. Yet that impressive level of detail doesn't extend to the story, which at two and a half hours long threatens to turn this into Kingdom of the Planet of Bored Apes.

In many ways, it's a relief that the movie doesn't really attempt to be a Trump-era political tract. (Remember the Gorilla Channel?) But I do wish the story had taken its own ideas about politics and civilizational conflict a little more seriously. The movie is fine, but simian swagger aside, it doesn't have much thematic heft; Kingdom of the Planet of the Apes amounts to little more than a couple hours of monkeying around.  

The post <i>Kingdom of the Planet of the Apes</i> Is Just a Lot of Monkeying Around appeared first on Reason.com.

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Just out in front of all of this I am going to say if Peter Dinklage doesn’t get cast as Bijaz I am going to be extremely disappointed.  I mean, he can’t get ALL the dwarf roles, I know.  But I also think his body of work shows him to be well suited for this particular part.

So yeah, it has been confirmed that Denis Villeneuve will be bringing us a third film in the Dune saga based off of the second book in the original series (or the 14th book in the expanded Dune-verse if you’re into that) Dune Messiah.  I mentioned that in my look at Dune Part 2, and that set me on a path.

The thought of Dune Messiah being made into a film prompted me go back and re-read it to see just how strange it was going to have to be.  I hadn’t looked at it since the late 80s, so it was clearly time for a refresh.

But before I did that I went and skimmed Dune first.  I couldn’t bring myself to read it fully through… I’ve read it a few of times and both films and the mini-series were so true to so much of the start of the book that I felt like I had just read it even though it has been a few years.

Still, I jumped through enough to get a good refresher, remind myself of the timeline from the books, which as I noted in my post about Dune Part 2, were considerably different than the latest film, and a few other key items.  I had forgotten how early on in the tale Paul knows who his grandfather really is, how Paul brings a fighting technique… the “weirding way” so-called… which is what gives the Fremen mastery over the emperor’s Sardaukar, and the fact that Paul has been trained as a mentat, a human computer.

That last omitted from the film kind of annoys me if only because it is set up by a scene that could have been played for a laugh.  It could have gone something like this:

Leto: Oh, and we’re going to start training you as a mentat.

Paul: I thought you couldn’t tell somebody they were being trained until they reached the right age as they needed to be conditioned for it without their knowledge.

Leto: …

Paul: …

Leto: …

Paul: Oh, right… I guess I am that age now…

Also, the fact that Paul is a mentat… and mentats in general… make kind of a critical plot point going into the next book.  But they can probably gloss over that a bit.

Anyway, I was grounded enough to dig into Dune Messiah, which takes place years later with Paul as emperor, Princess Irulan, the old emperor’s daughter as his wife, Chani as his lover, and Alia, Paul’s sister, now the teenage high priestess of the cult of Paul.

Oh, and the Fremen jihad has cleansed the life from dozens of planets, brought hundreds under the rule of Paul, and have caused the death of something like 60 billion people along the way.  Paul isn’t all that happy about his lot or being used as the justification for such mass slaughter.  But he wasn’t happy with the old order either and he can see the future in a vague way and is trying to thread the needle to find the best path forward.

Meanwhile, the old order isn’t too happy with him either.  The Bene Gesserit, the Spacing Guild, and the Tleilaxu have teamed up to try and, if not overthrow Paul, to at least gain control of him to make him do their bidding.

And here we’ll get into some deep water with the next film.

We got a bit about the Bene Gesserit in the first film, though not as much foundation as they deserve.  They have been working to shape humanity for centuries, Paul as the Kwisatz Haderach being their ultimate goal, and they are more than a bit salty that they can’t control him after all the effort they put in to bring him into being.  (Yes, technically he wasn’t supposed to be the chosen one, but his mom decided to throw the dice and came up double six.)

But I guess we can get away with what we’ve learned about them so far.  Shady female organization, referred to as “witches” by resentful men, and wearing sinister costumes… though again, I think there was some comedy missed in not going somewhere with strange women with boxes administering painful tests being no basis for a system of government or something.

Then there is the Spacing Guild, which figures at least somewhat in the conspiracy against Paul.  I will say again, I want to see this sort of thing.

Image from Screen Rant

And the story pretty much demands it.  The Spacing Guild ambassador, in his zero-grav mobile spice huffing tank, is the conduit of the conspiracy, at least initially.  But I guess we could pass them over yet again, not get bound up in their weirdness, if the script is getting out of hand.  But if you want to know where David Lynch got his vision of the guild navigators as in the image above, Dune Messiah was the place. (He was also sizing up a second film based on the second book.)

Which leaves us with the Tleilaxu, or the Bene Tleilax, to contend with. (I didn’t casually know those two names for the same thing, I had to look that up even after reading Dune Messiah.)  They and their abilities and their skill with genetic manipulation and their ability to bring people back from the dead… kind of a big effing plot point in Dune Messiah.  You don’t dig into that, you might as well just admit you’re throwing Frank Herbert overboard and just doing your own thing.

Unlike the Spacing Guild, it is okay that they didn’t get a mention in the first two films.  In the books they get a passing mention in Dune, being the provider of specially horrible mentats.  Baron Harkonnen’s mentat, Piter De Vries, was a Tleilaxu special, and the baron mentioned that he needed to put in an order for a fresh on as De Vries seemed to be about done.

But with Dune Messiah they are out front and demand attention.  I will be very interested to see how they translate the aspects of the Tleilaxu onto the big screen.  Some of it will lend itself to a visual medium.  The metal Tleilaxu eyes and the face dancers should make for interesting sights.  But how to get across what the Tleilaxu do without having it all intoned by some character telling you what is up will be an issue.

And, like I said, Peter Dinklage better get the Bijaz role.

We have a couple of years before it will be released.

Meanwhile, now that I have wrapped up Dune Messiah, do I carry on into Children of Dune?  Again, I haven’t touched any of the Frank Herbert work besides the first book since the late 80s.  As I recall, this is where things start getting really strange.  Dune Messiah though, it was short and wrapped up the main story line pretty well.  Not the worst title you could pick up and read.

Rebel Moon: Part 2 - The Scargiver is an empty feast. It's a relentless onslaught of explosions, sci-fi tropes and meaningless exposition that amounts to nothing. And yet somehow it's still better than the first film in Zack Snyder's wannabe sci-fi epic franchise for Netflix, Rebel Moon: Part 1 - A Child of Fire. (What do these titles really mean? Who cares.) 

With all of the dull table-setting complete, Snyder is able to let his true talents soar in Rebel Moon: Part 2 by delivering endless battles filled with slow-motion action and heroic poses. It looks cool, I just wish it added up to something. Anything.

Spoilers ahead for Rebel Moon: Part 2.

If you somehow missed the first Rebel Moon film, the basic setup is that it's Star Wars meets The Seven Samurai. Sofia Boutella stars as Kora, a former elite soldier of an evil empire who is hiding out in an all-too idyllic farming village, just planting and harvesting her days away. When a group of military baddies kills the chief of the village and starts threatening a young girl, Kora goes on a murdering spree (in defense!), leaving the community open to a retaliatory attack. 

She spends the first movie recruiting potential warriors to defend the village, including a fallen gladiator (Djimoun Hounsou) and a bad-ass swordswoman (Doona Bae). (Their names are Titus and Nemesis, respectively, but those don't really matter because the characters are paper thin.)

Full disclosure: I tried writing a review for the first Rebel Moon and just gave up in disgust. It was a shockingly boring epic, so much so that it took me several days to watch without falling asleep. By the end, I was only left with a feeling of dread, knowing that there was still another two hours of Rebel Moon ahead of me.

It's somewhat empty praise, but at least I didn't fall asleep during The Scargiver. Mostly, that's due to the film actually having a sense of momentum and a lot more action. You can turn off your brain and enjoy the pretty pictures, much like you could for Snyder's Sucker Punch, Justice League and Watchmen adaptation. He's more a stylist than a natural storyteller, but occasionally Snyder's visuals, such as a baffling montage of our heroes harvesting wheat, can be almost poetic.

Netflix

It's just a shame that I didn't care much about the film's characters or any aspect of its story. James Gunn's Guardian's of the Galaxy trilogy made us fall in love with a band of misfits and screwups, with storylines that directly led to their personal and emotional growth. The crew in Rebel Moon, instead, feel like cardboard cutouts from better movies, and the overall plot feels forced (there's even setup for another film by the end). 

Hounsou tries to sell the pathos of Titus with his eyes, but he can only do so much. And while Bae's warrior woman exudes cool (and has a very compelling flashback), she's mostly wasted when the action really heats up. Then there's Jimmy, a robot voiced by Anthony Hopkins, who is briefly introduced in the first film and pops up for a few minutes here to kick butt. Why? It doesn't matter. Somehow that character is also important enough to serve as the narrator for both Rebel Moon films (but really it seems Snyder just wanted Hopkins' voice adding gravitas).

Perhaps the only real saving grace for Rebel Moon: Part 2, much like the first film, is Ed Skrein as the villainous Atticus Noble. As a sadistic baddie, he's really nothing new, but Skrein's heightened scenery chomping makes the character interesting to watch. Where Darth Vader exudes a calm sense of dread, Skrein's Noble is entertainingly chaotic, like the Joker crossed with Christoph Waltz's Hans Landa from Inglorious Basterds. He just has a lot of fun being bad — that's something!

Given how popular the first film was (according to Snyder and Netflix, anyway), we'll likely see more Rebel Moon down the line. Snyder previously said he'd like to do a six-hour director's cut of both films, and he recently told Radio Times that he'd like to stretch the Rebel Moon series out to four or six films. Somehow, that just feels like a threat. 

Do you like rip-roaring science fiction books? Do you like movies? Then you are in for a treat in, well, two years. Amazon MGM Studios just set a release date of March 20, 2026 for Project Hail Mary, according to Deadline. It’s based on the Andy Weir novel of the same name, which was one of our favorite books of the past few years, so color us excited.

The film stars honorary SNL cast member Ryan Gosling and will be directed by Phil Lord and Christopher Miller, the duo behind The Lego Movie and, allegedly, most of the good parts of Solo: A Star Wars Story. Lord also wrote a little-known movie called Spider-Man: Into the Spider-Verse.

The script was penned by Drew Goddard, who cut his teeth on TV shows like Buffy the Vampire Slayer and Lost before moving onto features. He directed Cabin in the Woods, which is somehow both iconic and underrated at the same time. If the name Andy Weir sounds familiar, it’s because he wrote a book called The Martian, which inspired the Matt Damon film. Incidentally, Goddard also wrote that script.

I’ve read the book and loved it. It’s more fantastical than The Martian, but still filled with the same science-based solutions to massive life-or-death problems. This time, the entire Earth is on the chopping block, instead of one lone astronaut. It’s also pretty dang funny, just like The Martian, so Lord and Miller are a good match to direct. The pair also signed on to direct an adaptation of another Weir novel, Artemis, but that project looks to have stalled.

Or course, a lot can happen in two years. Here’s to hoping our humble little society keeps clunking along so we can chomp down some popcorn in 2026. Speaking of, that year will also see the release of The Mandalorian & Grogu, the Rey Skywalker film, the sequel to The Super Mario Bros. Movie, Toy Story 5, The Batman Part II and, reportedly, Avengers: The Kang Dynasty. 

I have been waiting for so many things in this movie, like the OG Wolverine costume and hair. And Madonna's Like a Prayer, for some reason. But no cocaine because that's the one thing [Kevin] Feige said they can't do. The R rating lets Wolverine really be Wolverine. — Read the rest

The post Deadpool & Wolverine red band trailer has arrived – let's f*cking go! appeared first on Boing Boing.

Just out in front of all of this I am going to say if Peter Dinklage doesn’t get cast as Bijaz I am going to be extremely disappointed.  I mean, he can’t get ALL the dwarf roles, I know.  But I also think his body of work shows him to be well suited for this particular part.

So yeah, it has been confirmed that Denis Villeneuve will be bringing us a third film in the Dune saga based off of the second book in the original series (or the 14th book in the expanded Dune-verse if you’re into that) Dune Messiah.  I mentioned that in my look at Dune Part 2, and that set me on a path.

The thought of Dune Messiah being made into a film prompted me go back and re-read it to see just how strange it was going to have to be.  I hadn’t looked at it since the late 80s, so it was clearly time for a refresh.

But before I did that I went and skimmed Dune first.  I couldn’t bring myself to read it fully through… I’ve read it a few of times and both films and the mini-series were so true to so much of the start of the book that I felt like I had just read it even though it has been a few years.

Still, I jumped through enough to get a good refresher, remind myself of the timeline from the books, which as I noted in my post about Dune Part 2, were considerably different than the latest film, and a few other key items.  I had forgotten how early on in the tale Paul knows who his grandfather really is, how Paul brings a fighting technique… the “weirding way” so-called… which is what gives the Fremen mastery over the emperor’s Sardaukar, and the fact that Paul has been trained as a mentat, a human computer.

That last omitted from the film kind of annoys me if only because it is set up by a scene that could have been played for a laugh.  It could have gone something like this:

Leto: Oh, and we’re going to start training you as a mentat.

Paul: I thought you couldn’t tell somebody they were being trained until they reached the right age as they needed to be conditioned for it without their knowledge.

Leto: …

Paul: …

Leto: …

Paul: Oh, right… I guess I am that age now…

Also, the fact that Paul is a mentat… and mentats in general… make kind of a critical plot point going into the next book.  But they can probably gloss over that a bit.

Anyway, I was grounded enough to dig into Dune Messiah, which takes place years later with Paul as emperor, Princess Irulan, the old emperor’s daughter as his wife, Chani as his lover, and Alia, Paul’s sister, now the teenage high priestess of the cult of Paul.

Oh, and the Fremen jihad has cleansed the life from dozens of planets, brought hundreds under the rule of Paul, and have caused the death of something like 60 billion people along the way.  Paul isn’t all that happy about his lot or being used as the justification for such mass slaughter.  But he wasn’t happy with the old order either and he can see the future in a vague way and is trying to thread the needle to find the best path forward.

Meanwhile, the old order isn’t too happy with him either.  The Bene Gesserit, the Spacing Guild, and the Tleilaxu have teamed up to try and, if not overthrow Paul, to at least gain control of him to make him do their bidding.

And here we’ll get into some deep water with the next film.

We got a bit about the Bene Gesserit in the first film, though not as much foundation as they deserve.  They have been working to shape humanity for centuries, Paul as the Kwisatz Haderach being their ultimate goal, and they are more than a bit salty that they can’t control him after all the effort they put in to bring him into being.  (Yes, technically he wasn’t supposed to be the chosen one, but his mom decided to throw the dice and came up double six.)

But I guess we can get away with what we’ve learned about them so far.  Shady female organization, referred to as “witches” by resentful men, and wearing sinister costumes… though again, I think there was some comedy missed in not going somewhere with strange women with boxes administering painful tests being no basis for a system of government or something.

Then there is the Spacing Guild, which figures at least somewhat in the conspiracy against Paul.  I will say again, I want to see this sort of thing.

Image from Screen Rant

And the story pretty much demands it.  The Spacing Guild ambassador, in his zero-grav mobile spice huffing tank, is the conduit of the conspiracy, at least initially.  But I guess we could pass them over yet again, not get bound up in their weirdness, if the script is getting out of hand.  But if you want to know where David Lynch got his vision of the guild navigators as in the image above, Dune Messiah was the place. (He was also sizing up a second film based on the second book.)

Which leaves us with the Tleilaxu, or the Bene Tleilax, to contend with. (I didn’t casually know those two names for the same thing, I had to look that up even after reading Dune Messiah.)  They and their abilities and their skill with genetic manipulation and their ability to bring people back from the dead… kind of a big effing plot point in Dune Messiah.  You don’t dig into that, you might as well just admit you’re throwing Frank Herbert overboard and just doing your own thing.

Unlike the Spacing Guild, it is okay that they didn’t get a mention in the first two films.  In the books they get a passing mention in Dune, being the provider of specially horrible mentats.  Baron Harkonnen’s mentat, Piter De Vries, was a Tleilaxu special, and the baron mentioned that he needed to put in an order for a fresh on as De Vries seemed to be about done.

But with Dune Messiah they are out front and demand attention.  I will be very interested to see how they translate the aspects of the Tleilaxu onto the big screen.  Some of it will lend itself to a visual medium.  The metal Tleilaxu eyes and the face dancers should make for interesting sights.  But how to get across what the Tleilaxu do without having it all intoned by some character telling you what is up will be an issue.

And, like I said, Peter Dinklage better get the Bijaz role.

We have a couple of years before it will be released.

Meanwhile, now that I have wrapped up Dune Messiah, do I carry on into Children of Dune?  Again, I haven’t touched any of the Frank Herbert work besides the first book since the late 80s.  As I recall, this is where things start getting really strange.  Dune Messiah though, it was short and wrapped up the main story line pretty well.  Not the worst title you could pick up and read.

Rebel Moon: Part 2 - The Scargiver is an empty feast. It's a relentless onslaught of explosions, sci-fi tropes and meaningless exposition that amounts to nothing. And yet somehow it's still better than the first film in Zack Snyder's wannabe sci-fi epic franchise for Netflix, Rebel Moon: Part 1 - A Child of Fire. (What do these titles really mean? Who cares.) 

With all of the dull table-setting complete, Snyder is able to let his true talents soar in Rebel Moon: Part 2 by delivering endless battles filled with slow-motion action and heroic poses. It looks cool, I just wish it added up to something. Anything.

Spoilers ahead for Rebel Moon: Part 2.

If you somehow missed the first Rebel Moon film, the basic setup is that it's Star Wars meets The Seven Samurai. Sofia Boutella stars as Kora, a former elite soldier of an evil empire who is hiding out in an all-too idyllic farming village, just planting and harvesting her days away. When a group of military baddies kills the chief of the village and starts threatening a young girl, Kora goes on a murdering spree (in defense!), leaving the community open to a retaliatory attack. 

She spends the first movie recruiting potential warriors to defend the village, including a fallen gladiator (Djimoun Hounsou) and a bad-ass swordswoman (Doona Bae). (Their names are Titus and Nemesis, respectively, but those don't really matter because the characters are paper thin.)

Full disclosure: I tried writing a review for the first Rebel Moon and just gave up in disgust. It was a shockingly boring epic, so much so that it took me several days to watch without falling asleep. By the end, I was only left with a feeling of dread, knowing that there was still another two hours of Rebel Moon ahead of me.

It's somewhat empty praise, but at least I didn't fall asleep during The Scargiver. Mostly, that's due to the film actually having a sense of momentum and a lot more action. You can turn off your brain and enjoy the pretty pictures, much like you could for Snyder's Sucker Punch, Justice League and Watchmen adaptation. He's more a stylist than a natural storyteller, but occasionally Snyder's visuals, such as a baffling montage of our heroes harvesting wheat, can be almost poetic.

Netflix

It's just a shame that I didn't care much about the film's characters or any aspect of its story. James Gunn's Guardian's of the Galaxy trilogy made us fall in love with a band of misfits and screwups, with storylines that directly led to their personal and emotional growth. The crew in Rebel Moon, instead, feel like cardboard cutouts from better movies, and the overall plot feels forced (there's even setup for another film by the end). 

Hounsou tries to sell the pathos of Titus with his eyes, but he can only do so much. And while Bae's warrior woman exudes cool (and has a very compelling flashback), she's mostly wasted when the action really heats up. Then there's Jimmy, a robot voiced by Anthony Hopkins, who is briefly introduced in the first film and pops up for a few minutes here to kick butt. Why? It doesn't matter. Somehow that character is also important enough to serve as the narrator for both Rebel Moon films (but really it seems Snyder just wanted Hopkins' voice adding gravitas).

Perhaps the only real saving grace for Rebel Moon: Part 2, much like the first film, is Ed Skrein as the villainous Atticus Noble. As a sadistic baddie, he's really nothing new, but Skrein's heightened scenery chomping makes the character interesting to watch. Where Darth Vader exudes a calm sense of dread, Skrein's Noble is entertainingly chaotic, like the Joker crossed with Christoph Waltz's Hans Landa from Inglorious Basterds. He just has a lot of fun being bad — that's something!

Given how popular the first film was (according to Snyder and Netflix, anyway), we'll likely see more Rebel Moon down the line. Snyder previously said he'd like to do a six-hour director's cut of both films, and he recently told Radio Times that he'd like to stretch the Rebel Moon series out to four or six films. Somehow, that just feels like a threat. 

Do you like rip-roaring science fiction books? Do you like movies? Then you are in for a treat in, well, two years. Amazon MGM Studios just set a release date of March 20, 2026 for Project Hail Mary, according to Deadline. It’s based on the Andy Weir novel of the same name, which was one of our favorite books of the past few years, so color us excited.

The film stars honorary SNL cast member Ryan Gosling and will be directed by Phil Lord and Christopher Miller, the duo behind The Lego Movie and, allegedly, most of the good parts of Solo: A Star Wars Story. Lord also wrote a little-known movie called Spider-Man: Into the Spider-Verse.

The script was penned by Drew Goddard, who cut his teeth on TV shows like Buffy the Vampire Slayer and Lost before moving onto features. He directed Cabin in the Woods, which is somehow both iconic and underrated at the same time. If the name Andy Weir sounds familiar, it’s because he wrote a book called The Martian, which inspired the Matt Damon film. Incidentally, Goddard also wrote that script.

I’ve read the book and loved it. It’s more fantastical than The Martian, but still filled with the same science-based solutions to massive life-or-death problems. This time, the entire Earth is on the chopping block, instead of one lone astronaut. It’s also pretty dang funny, just like The Martian, so Lord and Miller are a good match to direct. The pair also signed on to direct an adaptation of another Weir novel, Artemis, but that project looks to have stalled.

Or course, a lot can happen in two years. Here’s to hoping our humble little society keeps clunking along so we can chomp down some popcorn in 2026. Speaking of, that year will also see the release of The Mandalorian & Grogu, the Rey Skywalker film, the sequel to The Super Mario Bros. Movie, Toy Story 5, The Batman Part II and, reportedly, Avengers: The Kang Dynasty. 

Streaming services have taken over as one of the best ways to catch the latest movies. Whether they're making a stop in theaters before rolling out digital rentals or they launch as first-run originals from the likes of Netflix, Apple TV, or HBO; we're rounding up the best titles so you're not left in the dark — until it's time to start the film, that is. Check back each week (usually on Friday) to see the latest additions for movies that are now available to stream, the latest theatrical releases, and movies coming next week.

There's a well-known saying about finding connection in the nation's capital city: If you want a friend in Washington, get a dog.

Robot Dreams, a new animated film that is up for this year's Academy Award for best animated feature, proposes a sort of twist on that idea. What if you are a dog? And you live in New York City? But you still want a friend.

Well then. Maybe the answer is to get a robot.

Robot Dreams is a whimsical, wordless story set in a fantasy version of early 1980s New York in which every person is an animal. It follows Dog, a lonely apartment dweller in the East Village who spends his days playing Pong and watching television, as he purchases a mail-order robot who quickly becomes his best and closest friend. But after a swim on a day trip to the beach, Robot becomes inoperable. Dog is forced to leave Robot on the beach for the long winter, when the beach is closed. What will he do without his best friend?

The answer, it turns out, is that he'll have to find a new friend—perhaps in the form of Duck, a pretty, sporty pal he meets flying kites in Central Park, or perhaps in the form of a new Palbot, one who isn't the same as his old Robot, but who offers a different form of companionship. Robot, meanwhile, spends the winter on the beach, dreaming of Dog, and hoping for a way to escape his strange entrapment.

Robot Dreams is a tale of love and friendship, and it is decidedly sweet-natured without being sentimental. The story's indie comic roots—it was adapted from a 2007 comic of the same name—are obvious: More than most animated films, it captures the distinctive, quirky sensibility of hand-drawn, indie comic line work.

That gives the central story an affable, fablelike quality. It also allows for a level of environmental and period specificity that is rare in any sort of film, animated or otherwise. The movie's early 1980s NYC setting is rendered in pointillistic detail, with intricate sign work and gritty city blocks populated by animal versions of New York street characters.

That includes the city's difficult, impersonal bureaucracy: One reason Dog can't rescue Robot from the beach is that there's a grumpy NYPD officer who refuses to let him through the locked gate onto the sand. Dog visits the city courthouse to plead his case, but his application for a special winter visit to the beach is quickly denied. There's a layered, lived-in quality that even the busiest Pixar movies and the most precisely recreated historical live-action films lack.

The contrast between the ordinariness of the scenario, the unconventional intricacy of the animation, and the fantastical animal characters gives the movie a peculiarity and a particularity that keeps the low-key sweetness afloat. There's magic in the mundanity of it all, which, come to think of it, is how love and friendship work too.

The post Oscar-Nominated <i>Robot Dreams</i> Is a Gentle Animated Love Story About Dogs, Robots, and 1980s New York appeared first on Reason.com.

I knew what I was getting into when I sat down for a press screening of Dune Part 2: A towering sci-fi epic best viewed on an enormous theater screen, just like Denis Villeneuve's first Dune film. What I didn't realize was that it would also give me a serious back massage — it really does kick butt. That was my experience at an Atlanta-area AMC, where the film whipped the Dolby Cinema seats into such a frenzy that, for one thrilling sequence, I felt like I was actually riding a sandworm plowing through the spice-filled desert of Arrakis.

Now, I can't guarantee you'll have the same ride at a normal theater (unless the subwoofer is cranked up obscenely high). What makes AMC's Dolby Cinema locations unique is that they feature rumbling transducers in every recliner seat, in addition to powerful dual-laser Dolby Vision projectors and enveloping Atmos sound. I've seen tons of films in AMC Dolby Cinemas since those screens began rolling out in 2017, but Dune Part 2 is the first time the haptic seats actually felt like they enhanced my moviegoing experience. When I rushed out to the bathroom in the middle of the film, I noticed that my body was still vibrating, the way you sort of feel after a deep massage by expert fingers.

Technically, you're still better off watching Dune Part 2 in IMAX theaters — it was actually filmed for that enormous format, and true IMAX theaters also deliver enough walloping low-end sound to shake your core without the need for rumbling seats. But it's hard to find full-sized IMAX screens, and for most US viewers it'll likely be easier to find a nearby AMC Dolby Cinema.

Let's be clear: I'm no fan of theater gimmicks, like the moving seats and various weather effects in 4DX cinemas. So I'm genuinely surprised how much I appreciated a heavy dose of recliner rumbling in Dune Part 2. Perhaps it's because the film is also fanbtastic — not that I expected any less from Villeneuve, a director who turned the first Dune into a cinematic feast and was also miraculously able to deliver a Blade Runner sequel that surpassed the original.

Photo by NIKO TAVERNISE for Warner Bros.

Dune Part 2 picks up where the first film abruptly ended, with Paul Atreides and his mother making their way through the desert with its native inhabitants, the Fremen. It's immediately clear that this isn't actually a sequel to the first film, it's genuinely a second half, with all of the action and more spectacle that many felt were lacking before.

Personally, though, I just loved being back in Villeneuve's vision of Frank Herbert's universe. As much as I appreciate the bombastic costumes and environments from David Lynch's Dune adaptation, I find this iteration far more immersive: Every room seems genuinely lived in, every custom feels like an organic outgrowth of a society that's existed for thousands of years. It's the sort of attention to detail we don't often see in films and TV today, when it's easier to shoot faux desert scenes on ILM's StageCraft set (aka "The Volume," the technology that was so thoughtlessly implemented in Quantumania).

Warner Bros.

Even if you don’t end up seeing Dune Part 2 in a Dolby Cinema (I swear, this isn’t an ad), it’s a film worth seeing on the big screen. Its vast scale and ambition can’t be contained on a TV, and its elaborate soundscape (including Hans Zimmer going extra hard for the score) deserves more than tinny flatscreen speakers or a mere soundbar.

Dune has always seemed like an unadaptable work, something so massive that it could only truly exist in Frank Herbert’s shroom-filled dreams. But once again, Villeneuve and his creative team have seemingly done the impossible: They’ve turned the fantasy of Dune into a cinematic reality. You owe it to yourself to pay tribute.

Bangladeshi Robocop includes dance numbers. [via Marshall Julius on Twitter]

That's the headline, that's the lede, that's the entire content of this post. You're welcome.

Bonus track:

Previously: Robocop creator Ed Neumeier plans new sequel to original, ignoring the others and the reboot

The post Bangladeshi Robocop includes dance numbers appeared first on Boing Boing.

As Argentine President Javier Milei continues to slash government spending, he aims to limit state support for local film production too, sparking protests from the industry. But rather than hinder the nation's film industry, Milei's reforms could encourage innovation among Argentine filmmakers and lead to a domestic cinematic boom. 

Government intervention reaches every facet of Argentine culture, from radio and television to music and literature, but nowhere is it more visible than in cinema. Argentina follows the French model of cultural protectionism, where a government agency farms taxes from the film industry to fund domestic production.

Except for a few countries with large film industries, several nations—especially in Europe and Latin America—have adopted different variations of the French model, arguing that their domestic markets are not large enough to sustain private movie studios. The allure of the French model lies in its potential for governments to promote specific values through film. It's equally appealing to filmmakers who believe studio interference and mass market appeal compromise their artistic visions. Video essayist Evan Puschak claims the French model "support[s] an independent cinema that is bold in terms of market standards and that cannot find its financial balance without public assistance." 

But the French model is flawed, and nowhere are these flaws more visible than in Argentina, where the National Institute of Cinema and Audiovisual Arts (INCAA) carries it out.

The main issue with the INCAA is its fiscal voracity: Beyond its 10 percent cut of every movie ticket, the institute collects taxes from the entire telecommunications sector. More recently, it has begun seizing revenue from streaming platforms. As a result, prices have skyrocketed, rendering movie theater outings and home movie watching unaffordable luxuries for many Argentines.

What does the INCAA provide in return to taxpayers? Very little. 

Since its establishment, the organization has been plagued with inefficiencies. Argentina's cinema law allocates half of the INCAA's revenue solely to administrative expenses, leaving the other half for its purported function of film production. But in practice, as much as 70 percent of the INCAA's funds end up in the administrative sinkhole while the institute operates at a deficit, relying on subsidies from the national government.

When it comes to film promotion, rather than tying its grants to commercial success, the INCAA distributes subsidies without taking into account any audience feedback. The results speak for themselves: Out of the 241 Argentine movies released in 2023, less than 20 had over 10,000 viewers in theaters, and only three of those made a profit at the box office. Most Argentines choose to watch foreign productions instead, with only around 10 percent of ticket sales going to domestic films. 

Argentine movie critic Gustavo Noriega wrote that "an Argentine filmmaker who doesn't find success is equivalent to an unproductive public employee."

The French model has failed to bring innovation and profit to the Argentine film industry. Film journalist Leonardo D'Espósito tells Reason that Argentine cinema has become "stagnant within a few themes" and "inoffensive, innocuous." Instead, D'Espósito says filmmakers focus on "surface-level, minimal, folkloric accidents."

But things are changing. In prioritizing Argentina's socioeconomic emergencies, Milei plans to reduce the state's footprint in cinema and the arts. While the INCAA falls under the Ministry of Human Capital, Milei plans to limit INCAA spending, establish criteria of accountability and efficiency, and offer incentives to supplement the grants with private investment. Ultimately, these measures have the potential to transform Argentine cinema from a fledgling industry to a market ripe with potential. 

"They shouldn't be afraid of the market," Argentine filmmaker Ariel Luque tells Reason, referring to his colleagues. In Argentina, "film schools don't teach any other way of funding besides the INCAA. People tell me they were never taught how to do a market study or seek investors." Luque's support of Milei has led to hostility from within the film community, which he says has been co-opted "for Gramscian purposes" by Kirchnerism, the left-wing movement that ruled Argentina before Milei.

"Cinema stopped being about the public and became about propaganda," Luque says. "There's no cinema without an audience….The state as a producer doesn't work. State intervention in art is always self-serving."

Although skeptical of a withdrawal of state support for film, D'Espósito is optimistic about some of Milei's reforms. "Great works," he says, are those that show "'the local' touch on universal themes" and can "captivate other spectators" from different cultures. And those can be translated to other cultures, captivate other spectators," he said. He is hopeful that Milei's changes could lead to a realistic, market-friendly, and export-oriented film policy, citing South Korea as an example.

Milei's plans do not mean the demise of Argentine cinema. Instead, they offer filmmakers an opportunity to showcase their ingenuity and tap into the financial resources available in the global market.

The post Milei's Free Market Reforms Can Reshape Argentine Cinema appeared first on Reason.com.

As I watched the gigantic, awesome, triumphant, overwhelming, punishingly large and loud Dune: Part Two in IMAX earlier this week, I couldn't help but think of an old meme. 

Sometime before the 2021 release of Dune: Part One, a clever anonymous poster mocked up a "know your candidates" page featuring Joe Biden and Bernie Sanders. Only the "issue" they were discussing wasn't health care or foreign policy. It was, "What is Dune about?" 

In the meme, Sanders' answer was typically long-winded and discursive: "Well, it's hard to say Dune is about any one thing, because Dune is rich with themes. The first book, for example, is about ecology, and the hero's journey, and as a criticism of the Foundation series' take on declining empires, among other things. The second book subverts the hero's journey told in the first book, and the later books follow in…" and then the fake Sanders answer trails off the page. 

The meme version of Biden simply responds: "Dune is about worms." 

The magic of director Denis Villeneuve's two-part adaptation of Frank Herbert's 1965 sci-fi novel is that it captures both of the fake candidate answers from the meme. It's an intricate desert epic about ecological balance, the harshness of nature, the economics of resource extraction, imperialism, tribal politics, corporate intrigue, groovy psychedelic drugs, culture clash, and Golden Age science fiction missing the point, among other things. 

But it's also about, you know, worms. 

Specifically: very, very big worms. 

Even more than the first film, which covered a little more than half of Herbert's novel, Dune: Part Two is a showcase for cinematic grandiosity, for movies as conveyors of sheer, terrifying enormity. The movie is the tale of young Paul Atreides, a young duke whose family was killed by their rivals the Harkonnens after a distant emperor granted the Atreides charge of the planet Arrakis. 

Arrakis isn't just any planet: It's the home to spice, a psychedelic drug that also happens to power interstellar travel, which is made by the planet's native giant sandworms. Imagine if oil was also LSD, and it was produced by roving, murderous whales who lived deep in the desert sands. 

The first installment was the story of Atreides' journey to Dune and the defeat of his family. The second is the story of his triumphant revenge, as he unites the local people, the Fremen, in defiance of the Harkonnen overlords.

Herbert's novel is replete with descriptions of corporate structures and what amount to company strategy discussions about economic fundamentals and resource extraction metrics, all mixed with complex political machinations and semi-inscrutable hallucinogenic dream logic featuring religious prophecies and drug-addled visions, plus a lot of asides about the elegant sustainable eco-technology of life on a barren sand planet. At times, reading Dune resembles reading minutes from a corporate board meeting while tripping balls with green-tech climate activists in the desert. 

Anyway, you can probably see what meme-Bernie was talking about. 

The movie, however, captures all of this clunky complexity quite well, capturing desert life among the Fremen and gesturing at their political structures and religious beliefs without subjecting viewers to drawn-out exposition. Villeneuve and co-screenwriter Jon Spaihts understand that a thoughtfully imagined fictional world doesn't need to constantly stop to explain itself; it can just go about its business. 

But then, in the midst of all this, there are the worms. In contrast to Dune: Part One, which closed with a hint of the possibility, this time Paul Atreides gets to ride them. And it is awesome. 

In Dune: Part Two, Villeneuve delivers a handful of truly gargantuan set pieces featuring Arrakis' skyscraper-sized sandworms as they plow through the desert of the film's alien planet. Along with his work on the first-contact film Arrival, they mark Villeneuve as Hollywood's most successful purveyor of colossal mystery.

As with that movie's obelisk and its tentacled alien inhabitants, there's something truly alien about the sandworms of Arrakis, and also a sense of scale and vastness that few other filmmakers convey. Watching a sandworm plunge through desert valleys, blasting tidal waves of sand in its wake, on an oversized IMAX screen in kneecap-rattling surround sound is the sort of audiovisual experience that big-budget, big-screen movies were made for. Dune: Part Two is a glorious, overwhelming sensory smorgasbord. 

In recent years, far too many blockbusters have served up weightless, ugly, computer-generated, mediocre-at-best set pieces. Villeneuve's Dune films are reminders of what real cinematic spectacle looks like. They are movies about worms—really big worms. Hell yeah, they are.  

The post <i>Dune: Part Two</i> Is a Glorious Sci-Fi Spectacle appeared first on Reason.com.

After a not-quite accidental encounter, an unassuming Oxford student named Ollie (Barry Keoghan) befriends a popular classmate, the handsome and wealthy Felix (Jacob Elordi). Felix invites Ollie to spend the summer with him at Saltburn, his eccentric family's opulent mansion in the English countryside. Murder and madness ensue.

Critics correctly noted that Amazon Prime Video's Saltburn bears a striking resemblance to another film that depicts an ingratiating young man's quest for social acceptance (and it's a mild spoiler to mention this, so be warned): The Talented Mr. Ripley. But as far as the film's message is concerned, the critics wildly missed the mark, describing Saltburn as an eat-the-rich comedy that "skewers" the ultra-wealthy and rejoices in "class war."

This interpretation could not be more wrong. Felix and his family are not villains—they are victims of scheming outsiders who covet all they have and seek to destroy it. If anything, the rich people in the film are toonice and generous; they should have thrown Ollie out on day one. Forget Ripley; Saltburn has much more in common with the critically acclaimed but widely misinterpreted Parasite, in which a wealthy Korean household is preyed upon by a lower-class family (the eponymous parasites). Both films are, if anything, reactionary, something almost no one seems to have noticed.

The post Review: Is <i>Saltburn</i> an Eat-the-Rich Comedy? Not Quite. appeared first on Reason.com.