Latest news with #AHouseofDynamite
Yahoo
4 hours ago
- Entertainment
- Yahoo
Burning Oscars questions heading into Venice, TIFF, and Telluride
As fall festival lineups are revealed, the awards race comes into focus. This week saw major announcements from the Venice Film Festival and the Toronto International Film Festival, making the rest of the year for Oscar watchers a bit clearer on which movies will be vying for the top awards. But some mysteries remain. As release dates loom and Telluride remains tight-lipped as usual, a number of presumed Oscar contenders are question marks at the moment. More from Gold Derby 'Freakier Friday' director on Jamie Lee Curtis and Lindsay Lohan's bond on and off set and why the body-swap sequel is 'a fantasy-slash-nightmare' Remembering Ozzy Osbourne: How 'The Osbournes' made him more palatable for awards voters Here are the questions we're asking as we look ahead at the end-of-the-year film festival line-ups. Will A House of Dynamite blowup? The fall release with equal amounts of buzz and mystery surrounding it has to be Kathryn Bigelow's first film in eight years, A House of Dynamite. The movie, which stars Idris Elba, Rebecca Ferguson, and Greta Lee, was announced by its distributor, Netflix, a little over a month ago with a teaser poster and a logline — and since then, not a peep. No trailers, no stills, nothing. But now the film has a premiere. A House of Dynamite will roll out at the Venice Film Festival. So what does the return of the first female Best Director look like? Is her next film destined for another showdown at the Oscars with ex-husband James Cameron and Avatar: Fire and Ash? Will One Battle After Another and Springsteen: Deliver Me From Nowhere screen anywhere? Two of the big presumed players of this awards season have yet to announce festival berths. An 11-time nominee, Paul Thomas Anderson has been an automatic entry into the conversation, but he has been skipping festivals as of late. The last film of his to debut at a fest was 2014's Inherent Vice, and with One Battle After Another's Sept. 26 release date quickly approaching, a last-minute Telluride premiere looking like the only possibility. The same question applies to Scott Cooper's biopic, Springsteen: Deliver Me From Nowhere, which has a bit more time to roll out thanks to a late October release date. If the inevitable Jeremy Allen White campaign for Best Actor is going to launch at a festival, Telluride is where it will start rocking. Is The Testament of Ann Lee the next Brutalist? Last year, Brady Corbet's The Brutalist came out of Venice with major awards heat. This year, that film's cowriter Mona Fastvold is looking to follow that same trajectory with The Testament of Ann Lee, a period musical shot in 70mm about the founding of the Shakers starring Amanda Seyfried that was also penned with Corbet. And like The Brutalist, The Testament of Ann Lee will be seeking a distributor at the festival. Could multiple Oscar nominations be the films' next similarity? Is Gus Van Sant back? It's been seven years since Gus Van Sant's last feature directorial effort, but you would be forgiven for thinking it had been longer. The two-time Oscar nominated director is returning to material more in the vein of 2008's Milk, his last well received film, with Dead Man's Wire, a true-crime story starring Bill Skarsgård, Dacre Montgomery, and Colman Domingo. Is Daniel Day-Lewis back-back? Another title missing from festival slates is Anemone, the feature directing debut of Ronan Day-Lewis, whose last name is not a coincidence. The project brought Ronan's dear-old dad, Daniel — missing from screens since Phantom Thread — out of retirement for a second time. But will one of the greatest actors of his generation stay back? Can Steven Soderbergh out-Soderbergh himself? Releasing two movies in a single year is old-hat for Steven Soderbergh. He's done it a few times, and in one of those cases — 2000 with Traffic and Erin Brockovich — went up against himself for Best Director (and won). With the announcement of The Christophers, starring Ian McKellen and Michaela Coel and premiering at TIFF, that will bring Soderbergh's 2025 total to three (after Presence and Black Bag). Could the Oscars bring about Soderbergh v. Soderbergh v. Soderbergh? (Almost definitely not, but it's fun to imagine.) Best of Gold Derby Everything to know about 'The Batman 2': Returning cast, script finalized Tom Cruise movies: 17 greatest films ranked worst to best 'It was wonderful to be on that ride': Christian Slater talks his beloved roles, from cult classics ('Heathers,' 'True Romance') to TV hits ('Mr. Robot,' 'Dexter: Original Sin') Click here to read the full article. Solve the daily Crossword
UPI
a day ago
- Entertainment
- UPI
Venice Film Festival: 'Frankenstein,' 'Smashing Machine' among lineup
1 of 3 | Dwayne Johnson stars in "The Smashing Machine," a sports drama directed by Benny Safdie that will screen In Competition at the Venice International Film Festival. File Photo by John Angelillo/UPI | License Photo July 22 (UPI) -- The 82nd annual Venice International Film Festival announced its 2025 lineup Tuesday. The roster of films is a pool of both splashy titles with major names attached, to smaller flicks hoping to make more than a ripple as they take the fest plunge. Set to run from Aug. 27 through Sept. 6, some of the festival's more anticipated movies include Bugonia, a sci-fi dark comedy directed by Yorgos Lanthimos and starring frequent collaborator Emma Stone, and The Smashing Machine, director Benny Safdie's tale about two-time UFC heavyweight champion Mark Kerr, portrayed by Dwayne Johnson. Also screening In Competition is Frankenstein, Guillermo del Toro's adaptation of Mary Shelley's classic gothic novel. Oscar Isaac, Jacob Elordi and Mia Goth star in the film, which will be released on Netflix. Two other original offerings from Netflix were also selected: Kathryn Bigelow's A House of Dynamite, with Idris Elba, Rebecca Ferguson, Greta Lee, Gabriel Basso and Jared Harris on deck, and Noah Baumbach's Jay Kelly, starring George Clooney. Fellow streamer Mubi's movies are also likely to grab some eyes, as its La Grazia, from Paolo Sorrentino, will open the festival. Father Mother Sister Brother, directed by Jim Jarmusch and starring Cate Blanchett, Vicky Krieps, Adam Driver and Charlotte Rampling, will also screen. Out of Competition titles include Luca Guadagnino's After the Hunt, starring Julia Roberts, Andrew Garfield and Ayo Edebiri, and Julian Schnabel's In the Hand of Dante, featuring Martin Scorsese, Oscar Isaac, Gal Gadot and Gerard Butler. Gus Van Sant's Dead Man's Wire, starring a powerful trio of Bill Skarsgård, Colman Domingo and Al Pacino, was also selected, along with Marc by Sofia, Sofia Coppola's documentary about fashion designer Marc Jacobs, and the Werner Herzog documentary Ghost Elephants. As for indie entries, Mona Fastvold's The Testament of Ann Lee, starring Amanda Seyfried, is another piece that has some buzz. Dwayne Johnson turns 52: a look back Dwayne "The Rock" Johnson poses with his wax image, which was unveiled for the media on April 10, 2002, at Madame Tussauds Wax Museum in New York City. Earlier that year, the wrestler made his acting debut in "The Scorpion King." Photo by Ezio Petersen/UPI | License Photo
Pink Villa
a day ago
- Entertainment
- Pink Villa
Venice Film Festival 2025 Full Lineup: From Dwayne Johnson's The Smashing Machine to Julia Roberts-Andrew Garfield's After the Hunt
The Venice Film Festival is just a month away, and the movie lineup has been announced. The event will set the stage for the upcoming award season, premiering the best of Hollywood during the week that the festival will be ongoing. Among the top contenders are Dwayne Johnson 's The Smashing Machine and the Julia Roberts starrer, After the Hunt. Both Johnson and Roberts are set to mark their debut at the ceremony this year. Unlike the previous year, Netflix has come in strong with two titles competing at the film festival. Frankenstein and A House of Dynamite are among the most-talked-about films, making movie fans anticipate the release. The Venice Film Festival 2025 lineup Apart from The Smashing Machine and After the Hunt, one of the most looked-forward-to movies of the season is The Voice of Hind Rajab. The story of the film is based on a real-life incident where a young girl gets trapped in a car on fire. While she contacts the fire department, they keep her online as the ambulance approaches her. Moreover, the director of Poor Things, Yorgos Lanthimos, returns to the festival with his new film, Bugonia, which is an adaptation of the South Korean sci-fi film Save the Green Planet! The movie will star the filmmaker's frequent collaborator, Emma Stone. Meanwhile, this year's lineup is packed with exciting movies to keep the film fans, as well as the amateurs, on the edge of their seats. Some of the ace directors returning to the event include Park Chan Wook, François Ozon, and Laszlo Nemes. As for the Golden Lion achievement prize, the honor will be presented to German director Werner Herzog and Vertigo star Kim Novak. Elsewhere at the event, the two-time Oscar winner, Alexander Payne, will serve as the president of the competition jury. He will be joined at the panel by Fernanda Torres, Mohammad Rasoulof, Stéphane Brizé, Maura Delpero, Zhao Tao, and Cristian Mungiu. The Venice Film Festival is scheduled to begin on August 27, with La Grazia, directed by Paolo Sorrentino, and the closing ceremony will be held on September 6, with the film Dog 51, directed by Cedric Jimenez.
Yahoo
25-06-2025
- Entertainment
- Yahoo
‘Mindhunter' May Return as Three Movies, Star Holt McCallany Reveals
There is hope, Mindhunter fans. Holt McCallany, who starred in the Netflix series for two seasons alongside Jonathan Groff, recently told CBR about the long-awaited possibility of a revival and how he's spoken to the show's executive producer/director David Fincher about the series returning as possibly three films. More from The Hollywood Reporter Don't Expect Netflix to Save U.S. Broadcast Networks Somebody Listen to Phil Kathryn Bigelow's 'A House of Dynamite' Sets Fall Release for Theaters and Netflix 'I had a meeting with David Fincher in his office a few months ago, and he said to me that there is a chance that it may come back as three two-hour movies, but I think it's just a chance,' said the Waterfront star. 'I know there are writers that are working, but you know, David has to be happy with scripts.' He continued, 'I recently wrote a script that he was kind enough to give me notes on. I was in script revisions with David for two and a half years.. but [he] was very meticulous, which is why I think he's the best director in Hollywood,' The Iron Claw star said before adding, 'He gave me a little bit of hope when I had that meeting with him, but the sun, the moon and the stars would all have to align.' Mindhunter dropped on Netflix in 2017 and 2019 and followed Bill (McCallany) and Holden (Groff) investigating the psyche of serial killers. Netflix decided not to renew the series primarily because of high production costs, according to Fincher. 'It's a very expensive show, and in the eyes of Netflix, we didn't attract enough of an audience to justify such an investment' for a season three, he said in 2023. However, six years later, the fans and its passionate fanbase have continued to ask for more. Previously, in 2021, Groff also told The Hollywood Reporter he would return and gushed about his love of working with Fincher. 'To me, Mindhunter is Fincher. The whole experience for me was the honor and privilege of getting to work with him. This was the main draw for me,' Groff said. 'The minute he says he wants to do another one, I'll be there in a second. But I trust his vision and his instincts, and so I leave it always in his hands, as ever.' Best of The Hollywood Reporter 'The Studio': 30 Famous Faces Who Play (a Version of) Themselves in the Hollywood-Based Series 22 of the Most Shocking Character Deaths in Television History A 'Star Wars' Timeline: All the Movies and TV Shows in the Franchise
Yahoo
24-06-2025
- Business
- Yahoo
Don't Expect Netflix to Save U.S. Broadcast Networks
Netflix's surprise deal at Cannes Lions that it would carry the TF1 channels in France immediately reverberated around the globe. When you are talking about the preeminent subscription streaming service getting into linear TV with a major broadcaster, one can understand why. 'Holy shit,' texted one broadcast TV veteran Wednesday morning, sharing a link to The Hollywood Reporter's story on the blockbuster deal. More from The Hollywood Reporter Somebody Listen to Phil Kathryn Bigelow's 'A House of Dynamite' Sets Fall Release for Theaters and Netflix Netflix Is the New Cable TV. Its Major Deal in France Marks the Next Step It's tempting to wonder if Netflix's deal with TF1 will be a template for future maneuvers (based on the company's history, it will be), but there are ample reasons to think that while similar deals may be struck in markets around the world, the U.S. won't be one of them. At least not anytime soon. The reasons have to do with both Netflix's scale and reach, and the mature economics of broadcast and pay-TV, which have been optimized in the U.S. in a way that is unlike most other world markets. While Netflix has stopped reporting subscribers on a quarterly basis, it is no secret that it is nearing a ceiling in the U.S. Most households have Netflix, and the password-sharing crackdown, combined with the lower cost ads tier, have helped keep growth going. But there is a natural limit to that growth. At some point, every household that wants Netflix will have it, and the cost-benefit ratio of securing what few holdouts are left no longer works. Netflix has already shifted its focus toward time spent, attempting to keep its existing consumers engaged for longer, which will ultimately benefit its advertising business. Netflix does not break out subscriber numbers by country, but it is reasonable to assume that it has not reached its ceiling in many large markets. France may be one of them. There are surely others. Adding a broadcast network may be a way to pick up share as consumers naturally migrate toward streaming. It can also ramp up the amount of local content on the platform, something that many countries (including France) are urging Netflix and other streaming services to do. And for local broadcasters like TF1, partnering with Netflix could be a lifeline that helps them adapt to a media consumption landscape that is radically changing. If the price is right, and the fees are reasonable, the result could make for a compelling pitch to Netflix, which is trying to become, quite simply, TV, with content for everyone. The U.S., however, is a different story. American media companies spent years optimizing their portfolios to maximize revenues and profits from pay-TV providers. That means bundling broadcast and cable channels together in rights talks (want ABC and ESPN? You need to pay for FXX and Freeform. Want CNN or TNT? You need TruTV and Destination America), and also demanding particularly high fees for the most in-demand channels … including broadcast networks. While that strategy is beginning to be undone (see NBCU's Versant spinoff, and Warner Bros. Discovery's looming split), the odds seem long that any U.S. media company will be willing to unbundle a broadcast network from its other offerings anytime soon. In addition, most of those companies have since launched their own mass market streaming services, with platforms like Peacock and Paramount+ giving access to live broadcast streams, as well as on-demand content from their other channels. Then there is the cold, hard economics of American pay-TV, a mature market where efficiencies and profits have been maximized for the old model of operating. Even if Fox was willing to license a feed of Fox without Fox News, or Paramount was willing to license CBS without Nickelodeon or MTV, the current value of retransmission fees for those broadcast networks continues to rise. Kagan says that in 2024, the multichannel broadcast fee (essentially a fee that the pay-TV company passes on to consumers to cover broadcast carriage fees) was $21.48 per subscriber per month. While that covers all the local broadcast stations in a given market, the bulk of that goes to the local NBC, ABC, CBS and Fox stations. That would put the wholesale price of a major broadcast network in the U.S. at about $3-$5 per subscriber per month. Netflix's standard plan is currently $18 per month. It isn't hard to see that unless the economics change dramatically, the math doesn't work to replicate the TF1 deal in the U.S. Of course, the economics always could change. Right now, media executives expect the pay-TV bundle to hit a floor of subscribers, though no one is quite sure of how low that floor will go. If the floor is lower than these companies think, or if there is a true collapse of pay-TV, companies may rethink their bundling and distribution strategies to reorient around reach, a shift that would benefit the likes of Netflix and YouTube. And of course Netflix could decide to follow the Amazons, YouTubes and Rokus of the world and try to become an aggregator, offering other channels and content for an additional fee. Does that go against the company's all-in, consumer-friendly subscription model? Sure. Has Netflix been willing to change its own strategy with the times? Absolutely. Best of The Hollywood Reporter How the Warner Brothers Got Their Film Business Started Meet the World Builders: Hollywood's Top Physical Production Executives of 2023 Men in Blazers, Hollywood's Favorite Soccer Podcast, Aims for a Global Empire Error in retrieving data Sign in to access your portfolio Error in retrieving data Error in retrieving data Error in retrieving data Error in retrieving data
