Movie News

‘Ghostbusters’ Sequel Moves to Summer 2021
Ghostbusters: Afterlife,” a sequel to the blockbuster comedy, will hit theaters next summer. The movie is now expected to debut on June 11, 2021 — exactly 37 years after the original.

Like nearly every film slated for 2020, Sony has hopscotched the release date for “Ghostbusters: Afterlife” multiple times during the pandemic. It was originally scheduled to open in July before it was pushed to March 5, 2021.

Sony also announced a sequel to “Don’t Breathe” will premiere on Aug. 13, 2021. Rodo Sayagues is making his directorial debut with the horror follow-up. He also co-wrote the script with his longtime collaborator Fede Alvarez. “Don’t Breathe” became a commercial hit when it bowed in 2017, earning $157 million at the box office from a $10 million budget.

Jason Reitman directed “Ghostbusters: Afterlife,” which follows the events of 1984’s “Ghostbusters” and 1989’s “Ghostbusters II.” The upcoming installment picks up 30 years later and centers on a family that moves to a small town. There,
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Jared Leto to Return as The Joker in ‘Justice League’ Snyder Cut
Jared Leto, who starred as The Joker in 2016’s “Suicide Squad,” will return to play the clown prince of crime in Zack Snyder’s cut of “Justice League,” according to an individual with knowledge of the project.

The so-called “Snyder Cut” of “Justice League” will be a 4-hour-long, episodic presentation on HBO Max, created with a budget of around $70 million. And while initial reporting held that no additional filming would occur and new material would largely consist of special effects work, that clearly has changed.

Justice League” underwent a lot of changes during its original production, most notably when Snyder abruptly exited the movie during post-production, just months ahead of its November 2017 release date. “Avengers” director Joss Whedon was subsequently hired to “finish” the film for Snyder in time for that date, but instead he ended up overseeing extensive reshoots intended to drastically change the story — again, while still gunning for its original release date.
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‘Legally Blonde 3’ Pushes Back Release to May 2022
Legally Blonde 3” is slated to hit theaters in May 2022 after originally being scheduled for a February 2020 release.

MGM Studios announced the news on Twitter late Tuesday, following the “Legally Blonde” virtual reunion featuring Reese Witherspoon and her co-stars Selma Blair (Vivian Kensington), Jessica Cauffiel (Margot), Jennifer Coolidge (Paulette Bonafonté), Matthew Davis (Warner Huntington III), Ali Larter (Brooke Taylor Windham), Holland Taylor (Professor Stromwell), Alanna Ubach (Serena McGuire), and Luke Wilson (Emmett Richmond)

Elle Woods is back! Legally Blonde 3 coming May 2022. We rest our case,” the studio tweeted.

In May, Mindy Kaling and Dan Goor were set as the duo writing the sequel, which will feature Witherspoon reprising her iconic role from the first two “Legally Blonde” films.

Witherspoon’s Hello Sunshine is producing “Legally Blonde 3,” alongside Marc Platt and Adam Siegel, president of Platt Productions. Hello Sunshine’s head of film and television, Lauren Neustadter, is also producing.
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Grin and bear it: Jared Leto's Joker gets an unlikely second chance
Zack Snyder’s small-screen Justice League reboot will mark a return for an unloved figure. Could Leto have the last laugh?

There is nothing wrong with an actor returning to a role that someone else has been cheerfully filling for a while, but it doesn’t always go well. Just ask Sean Connery, who picked up James Bond’s Walther Ppk again in the sub-par Diamonds Are Forever despite George Lazenby having played the role in On Her Majesty’s Secret Service two years earlier.

And yet there is something iffy about this week’s news that Jared Leto will play the Joker once again in Zack Snyder’s reworked version of Justice League, which is being brought to the small screen by HBO Max after a fan campaign. Snyder had to step away from the 2017 superhero ensemble due to a death in the family. He was replaced by Joss Whedon,
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‘Synchronic’ Review: Anthony Mackie Gets Unstuck in Time in a Messy but Fascinating Temporal Thriller
There used to be a comedian named Louis Ck who had a standup bit about the historical upside of being white. “Here’s how great it is to be white,” he would say. “I could get in a time machine and go to any time and it would be fucking awesome when I get there. That is exclusively a white privilege — Black people can’t fuck with time machines.” Justin Benson and Aaron Moorhead’s dense and dingy sci-fi thriller “Synchronic” is, among far too many other things, the story of a Black man who fucks with a time machine. Complications ensue.

This isn’t the first film to broach the subject (“Men in Black III” and Martin Lawrence’s “Black Knight” are just two of the more famous examples), and yet few of them have been as pointed or philosophical about the relationship between race and nostalgia. “Synchronic” may
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Cool Stuff: Can You Tell Me How to Build, How to Build Lego Sesame Street?
Come and play! Everything’s A-ok! Friendly neighbors there, that’s where we meet. Can you tell me how to get, how to get to Sesame Street? Starting next month, not only will you know exactly how to get to Sesame Street, but you’ll be able to build it yourself. The latest Lego Ideas set to be […]

The post Cool Stuff: Can You Tell Me How to Build, How to Build Lego Sesame Street? appeared first on /Film.
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‘Pixie’, ‘Peninsula’, ‘Paradise War’ opening in key European territories this week
Several major distributors return to UK cinemas this weekend.

France, opening Wednesday, October 21

A dozen new films opened in France this week into a complex reality for the country’s distributors and exhibitors following the introduction of a night-time curfew for Paris and eight other major cities on October 17. It was announced yesterday (Oct 22) that the measure will be extended to more than half the country this Saturday (Oct 24) following a further surge in cases over the past week.

Prior to the announcement, a dozen distributors had taken the plunge to release films on Wednesday against already difficult odds. In the backdrop,
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Former Casarotto agent launches South Africa-based agency Torchwood (exclusive)
The new literary agency will focus on local and international filmmaking talent.

Former Casarotto Ramsay agent David Kayser has teamed up with Aoife Lennon-Ritchie of The Lennon-Ritchie Agency to launch Torchwood, a new South Africa-based literary agency representing screenwriters, directors and producers.

The firm has offices in Cape Town and Johannesburg and will represent clients both in South Africa and globally. It already represents talent in the UK, Ireland, France, Denmark, Nigeria and South Africa and will represent clients internationally and locally.

Kayser and Lennon-Ritchie are founding partners and currently the sole agents on the company.

Torchwood has signed a
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Keith Allen, ‘Love Island’ star Chris Hughes join ‘Rise Of The Footsoldier: Origins’ (exclusive)
Production started this week on the fifth title in the ’Footsoldier’ series.

UK actors Keith Allen and Chris Hughes have joined the cast of franchise title Rise Of The Footsoldier: Origins as shooting got underway in Southend-on-Sea this week.

The pair join previously announced cast Craig Fairbrass and Vinnie Jones in the fifth title in the Rise Of The Footsoldier series, which began in 2007.

This outing takes the story back to the late 1980s and early 1990s, showing how three men united to form their own football hooligan gang in Essex.

Allen will play the owner of nightclub Raquel’s,
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“I only cry in documentaries”: Christoph Terhechte on his first year at Dok Leipzig
The German festival is taking place as a hybrid event from October 26-November 1.

Running as a hybrid festival, Germany’s 63rd Dok Leipzig (October 26-November 1) is the first under new artistic director Christoph Terhechte, an ex-critic who was head of the Berlinale’s Forum section from 2001-2018 and artistic director of Marrakech International Film Festival for its 2018 and 2019 editions.

Terhechte took up the post at the start of the year, just before coronavirus took hold. This is one of the oldest documentary festivals in the world but none of his predecessors have had to put together a programme in the face of a pandemic.
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The Morning Watch: Zack Snyder’s ‘Justice League’ 16-Bit Trailer, History of Slasher Movies & More
The Morning Watch is a recurring feature that highlights a handful of noteworthy videos from around the web. They could be video essays, fanmade productions, featurettes, short films, hilarious sketches, or just anything that has to do with our favorite movies and TV shows. In this edition, watch a 16-bit video game version of the […]

The post The Morning Watch: Zack Snyder’s ‘Justice League’ 16-Bit Trailer, History of Slasher Movies & More appeared first on /Film.
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The Ladykillers review – a comic crime caper that still kills
Sixty-five years later the classic from Ealing Studios is still subversive, hilarious and distinctly English

It hardly makes sense to think of it as a rerelease, as the 1955 crime caper classic from Ealing Studios is perennially being revisited on screen, and in “Best Of” lists and there have been a number of adaptations, chiefly a middling but well-intentioned remake from the Coen brothers in 2004 featuring Tom Hanks as the mastermind professor first played by Alec Guinness.

The original – now getting a 4K restoration – is subversive, hilarious and as English as Elgar. That’s despite being written by the expatriate American William Rose and directed by American-born Alexander Mackendrick. Both bring a street-smart American snap to the movie, but with an exquisitely English sensibility: a mixture of cynicism with guileless innocence. The comedy works because it is as superbly constructed as a deadly-serious noir thriller – there are weirdly distinct echoes of
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Chinese War Film ‘Sacrifice’ Makes $11 Million Start in Cinemas
War film “Sacrifice” got off to a heroic start at the China box office on Friday, likely setting the tone for another good weekend in Chinese cinemas, and a barrage of films in the same canon.

By 7pm local time on its opening day, “Sacrifice” had notched up RMB74.1 million, or $11 million at current rates of exchange.

First audiences appear to have shown their critical approval too. Early viewer feedback via cinema ticketing agency Maoyan gives “Sacrifice” an excellent score of 9.4 out of 10, while rival ticketing agency Taopiaopiao viewers scored it a notch higher at 9.5. The more thoughtful cinephile site Douban has not yet given it a score.

Taken together, the film’s early box office and approval ratings allowed Maoyan to forecast that “Sacrifice” could run on to score RMB2.5 billion or $373 million. It that transpires, it would make it one of the top-grossing films anywhere in the world this year.
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Production Guild creates UK diversity taskforce
Twenty-five-strong group aims to improve production diversity and career progression opportunities.

The Production Guild of Great Britain (Pggb) has launched a diversity and inclusion action group (Diag) to improve behind the camera representation.

Increasing the number of diverse people in production positions has become a key debate issue for UK producers in film and TV and the Diag has created a 25-strong member taskforce in response.

They will meet monthly to devise action plans in areas such as training and mentorship, with an overarching target of helping to increase visibility of diversity on productions and progress those in mid-level positions to more senior roles.
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Production Guild creates diversity taskforce
Twenty-five-strong group aims to improve production diversity and career progression opportunities.

The Production Guild of Great Britain (Pggb) has launched a diversity and inclusion action group (Diag) to improve behind the camera representation.

Increasing the number of diverse people in production positions has become a key debate issue for UK producers in film and TV and the Diag has created a 25-strong member taskforce in response.

They will meet monthly to devise action plans in areas such as training and mentorship, with an overarching target of helping to increase visibility of diversity on productions and progress those in mid-level positions to more senior roles.
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Six of Mexico’s Biggest Festivals Team for Un Festival Mexicano
Mexican festivals, as in most of the world, were hit hard by the Covid-19 crisis, with many forced to cancel, reschedule or go online. Led by the Guadalajara International Film Festival (Ficg), six of the country’s most important festivals have banded together to create Un Festival Mexicano, an in person event running Nov. 20-27 in Guadalajara.

Ficg 35.2, the rescheduled 35th edition originally scheduled for March of this year, will be joined this year by representatives and films from Diego Luna and Gael García Bernal’s itinerant documentary festival Ambulante, DocsMX, and the Los Cabos, Guanajuato and Monterrey film festivals in an unprecedented union of some of Mexico’s most important and well-established cultural events.

Un Festival Mexicano comes after a devastating reduction from 2019 of federal government support for Mexican film festivals, put through by new Mexican President Andrés Manuel López Obrador. This saw central government incentives scythed last year
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Studiocanal to Restore, Release Ousmane Sembene’s Classic ‘Mandabi’ in 4K
Studiocanal is set to restore “Mandabi,” a classic movie directed by celebrated African filmmaker Ousmane Sembène in 4K, and will release it theatrically in spring 2021.

“Mandabi,” which is adapted from Sembène’s classic novel “Le Mandat,” won the Special Jury Prize at Venice in 1968.

The author-turned-filmmaker’s second directorial effort, “Mandabi” shot mainly in his native Wolof tongue and marked the first African-language film to be produced out of West Africa.

“Mandabi” covers subjects close to Sembène’s heart, including colonialism and post-colonial identity. Sembène, who has penned a dozen novels, is also the first African director to garner international recognition, and was the first African member of a jury in Cannes in 1967, following his directorial debut with “Black Girl.”

“Mandabi” is currently available on myCANAL and will receive a theatrical release in the U.K. in March 2021. The movie will then launch theatrically in France later in the year.
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Summer of 85 review – gay photolove drama with a dark edge
François Ozon’s period piece about two teenage boys falling in love after a boating incident steers away from profundity

François Ozon gives us a histrionic dose of photolove drama in this watchable if not especially profound young-love heartbreaker, which earnestly insists on the resounding emotional power of Rod Stewart’s classic track Sailing. It’s based on Dance on My Grave, the pioneering YA novel of gay experience by British author Aidan Chambers, published in 1982.

This is a very 80s story, and the picture quality has that washed-out summer-faded quality that reminded me of the era’s denim and the films of Eric Rohmer. Félix Lefebvre plays Alex, a teenage boy who comes to a seaside town in Normandy with his parents. One day, while sailing his dinghy, Alex gets into difficulties, and is miraculously saved by David (Benjamin Voisin) a boy Alex’s age who happens to be sailing his own dinghy.
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Zeitgeist Films, Kino Lorber Take North American Rights to Sundance Winner ‘Acasa, My Home’ (Exclusive)
Zeitgeist Films, in association with Kino Lorber, have swooped for all North American rights to Sundance award winner “Acasa, My Home.”

The film, which in January picked up the Special Jury Award for cinematography in the World Cinema Documentary category at Sundance, has been selected for more than 60 festivals around the world, and is a recent documentary contender in the European Film Awards.

The film tells the story of a Romanian family with nine children that lived fully off-grid in the wilderness of the Bucharest Delta, in harmony with nature. However, when the land becomes a public park, they are evicted and forced to adapt to the big city, where they must fight for acceptance.

Acasa, My Home” is directed by Radu Ciorniciuc and produced by Monica Lăzurean-Gorgan for Manifest Film in collaboration with HBO Europe, Corso Film and Kino Company.

The film — which has been sold internationally by Autlook Filmsales
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The Secret Garden review – classic kids' tale gets lost in the undergrowth | Peter Bradshaw's film of the week
Frances Hodgson Burnett’s story of an adventurous young girl is overwhelmed by the abundant shrubbery of a garden the size of the Amazon rainforest

In these times of trial, no one could be blamed for a comfort-food yearning, a return to the Sunday teatime world of period drama reassurance featuring blue-chip character actors and national-treasure A-listers in costumes and wigs. This new version of Frances Hodgson Burnett’s 1911 children’s classic The Secret Garden is handsomely produced and earnestly acted, especially by its child star. But it is a Mr Creosote menu of bland nursery food: a giant exercise in family-friendly nostalgia on which no expense has been spared or CGI pixel unused.

The Secret Garden – a kind of mawkish and decaffeinated version of Wilde’s The Selfish Giant – is about Mary, a lonely little girl who has to return to the mother country from India when her parents die,
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