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News18
2 days ago
- Entertainment
- News18
Materialists On OTT: Where To Watch Dakota Johnson, Chris Evans And Pedro Pascal's Film
Last Updated: Celine Song's romantic triangle drama Materialists is all set for OTT release after theatrical run. After a theatrical run that turned heads with its stellar cast, Materialists, starring Dakota Johnson, Chris Evans and Pedro Pascal, is now heading to digital platforms. Directed by Past Lives filmmaker Celine Song, this love-triangle drama opened in theatres on June 13 and is now gearing up for its OTT debut. Here's when and where you can watch it, along with everything else you need to know about the film. When, Where And How To Watch Materialists The makers, A24, confirmed to USA TODAY that Materialists will be available for purchase digitally starting Tuesday, July 22. Viewers can rent the film on major platforms including Apple TV, Prime Video, Google TV/YouTube Movies. In the US, it will also stream via Fandango at Home and local cable on-demand services. Despite its digital release, the film continues to screen in select theatres across the country. What Is Materialists About? Set in the heart of New York City, Materialists follows Lucy Mason (Dakota Johnson), a top-tier matchmaker who's great at finding love for others but struggles with her own. Torn between her flawed ex-boyfriend John Finch (Chris Evans) and the seemingly perfect, wealthy suitor Harry Castillo (Pedro Pascal), Lucy's story unfolds in a whirlwind of emotion, timing, and introspection. The film's urban backdrop complements the intimacy of her personal crisis. Star Cast And Crew Apart from Johnson, Evans and Pascal, the film features Zoe Winters, Marin Ireland, Dasha Nekrasova, Joseph Lee and John Magaro in supporting roles. Materialists is written and directed by Celine Song, marking her sophomore project after Past Lives. It's produced by Killer Films and 2 AM, released in the US by A24, and distributed internationally by Sony Pictures Releasing International. Mixed Reviews, Strong Chemistry Despite its promising premise and star power, Materialists opened to mixed critical reception. While some found the plot too conventional, others praised the chemistry between the leads. The film, however, earned $12 million on its opening day, making it A24's third-highest opening to date. While Materialists may not have been the blockbuster some hoped for, especially following the underwhelming reception of Dakota Johnson's Madame Web, its emotional core, stylised direction and heartfelt performances continue to spark conversations. Currently, the film is not available on subscription-based platforms and can only be accessed via purchase or rent on select digital platforms. view comments Disclaimer: Comments reflect users' views, not News18's. Please keep discussions respectful and constructive. Abusive, defamatory, or illegal comments will be removed. News18 may disable any comment at its discretion. By posting, you agree to our Terms of Use and Privacy Policy.
Yahoo
5 days ago
- Entertainment
- Yahoo
Dakota Johnson & Chris Martin Split Because He Was Dependent on Her, Say ‘Sources'
A shift in relationship dynamics may have led to Dakota Johnson and Chris Martin's split, according to recent claims. It has been almost a month since news surfaced about the couple's alleged breakup. In June, it was reported that Johnson and Martin parted ways after eight years of an on-and-off relationship. The much-loved pair was first romantically linked in 2017. A new report has now shed some light on what may have gone wrong between the two. Chris Martin would lose his temper when Dakota Johnson wouldn't answer his calls, say 'sources' Chris Martin's alleged behavior with Dakota Johnson may have caused their split, a new report has suggested. RadarOnline exclusively learned from an insider that the 35-year-old actor 'loved' the Coldplay star. However, he allegedly became too 'dependent on her in the end.' The source continued to explain the troubled dynamics, claiming that if Johnson 'went away or wasn't answering his calls for any length of time,' Martin would 'fly off the handle.' The insider added that this would happen 'even when they were in the same city.' They further alleged that Martin 'didn't approve' of Johnson 'going out with friends.' According to the source, the 48-year-old singer 'preferred to stay in all the time instead of enjoying a social life.' Previously, during a 2021 interview with Elle, Johnson got candid about her relationship with Martin. At the time, the 'Fifty Shades of Grey' star revealed that she and her beau would 'go out sometimes.' However, Johnson added, 'But we both work so much that it's nice to be at home and be cozy and private.' The 'Materialists' actor also shared that 'most of the partying' took place at her house. Since Johnson and Martin sparked romance rumors in 2017, the pair has continued to keep their romance low-key. Meanwhile, following the alleged split, Johnson is 'getting her groove back now,' according to the RadarOnline insider. Reportedly, some of her friends even think the 'Madame Web' actor may 'eventually take him back.' However, the source claimed that Johnson has remained adamant that 'it's for good this time.' The post Dakota Johnson & Chris Martin Split Because He Was Dependent on Her, Say 'Sources' appeared first on Reality Tea. Solve the daily Crossword
Los Angeles Times
15-07-2025
- Entertainment
- Los Angeles Times
‘Superman' is a hit. But DC's work is far from over
DC's comic book movie universe needed a savior, and 'Superman' delivered. The $125-million domestic box office opening for the new movie, written and directed by James Gunn and starring David Corenswet in the title role, hit its target and set up a potentially lucrative future for the DC Studios strategy long in the making from Gunn and his co-chief Peter Safran. With a $225-million production budget, not counting marketing costs and a softer-than-expected international tally ($95 million from outside the U.S. and Canada), the movie has a ways to go before it's profitable. But importantly, the DC gang managed to make a superhero movie that fans actually enjoyed, in contrast to previous efforts including 'The Flash' and 'Shazam! Fury of the Gods.' With 'Superman' now a hit, 2025 is looking more promising as a reset year for the superhero genre as studios try to figure out the right mix and number of tights-wearing tough guys to put in theaters each year. In the last couple of years, studios fielded a slew of low-to-mid-quality superhero films that raised concerns about a simple problem for what had long been Hollywood's most important genre: There were too many of the same kind of movies, and they weren't good enough. With all that happening at once, superhero fatigue was inevitable. With rare exceptions, 2024 became a dumping ground as DC regrouped following its executive shakeup, while parent company Warner Bros. Discovery's chief executive, David Zaslav, promised a 10-year plan. The 'Joker' sequel wasn't really a superhero movie, and it bombed. Sony's 'Madame Web' and 'Kraven the Hunter' tanked as well, while 'Venom: The Last Dance' fell short of its predecessors. Walt Disney Co.-owned Marvel Studios only put out one film, 'Deadpool & Wolverine,' which topped $1 billion in ticket sales. This year has been a mixed bag for Marvel. 'Captain America: Brave New World' struggled with poor reviews and a middling box office performance ($414 million globally), followed by 'Thunderbolts*,' which was a commercial disappointment mitigated by a much warmer audience reception. Marvel's next big swing comes later this month with 'The Fantastic Four: First Steps,' which analysts say is tracking for an opening of around $100 million in the U.S. and Canada, give or take. 'Fantastic Four' is an important but peculiar property for Marvel. Like Superman for DC, it's a seminal text in comic book history, marking Marvel Comics' first superhero team. But the quartet's story has been notoriously fraught for filmmakers. 20th Century Fox produced three movies featuring the four oddly powered heroes — Mister Fantastic, Invisible Woman, Human Torch and the Thing. None of those films were good. The 2015 Josh Trank-directed reboot was an especially epic disaster. When Disney acquired Fox in 2019, it gave Marvel President Kevin Feige the coveted keys to some of the brand's most famous properties — among them, the Fantastic Four. Perhaps Feige can succeed where previous attempts failed, as the studio leans into the franchise's retro vibe. Notably, 'The Fantastic Four: First Steps' is the last Marvel Cinematic Universe movie on the release calendar for at least a year, until Sony's 'Spider-Man: Brand New Day' comes out at the end of July 2026. After that comes 'Avengers: Doomsday' that December. The big studios seem to have absorbed the lesson that audiences' appetites only go so far these days. Gunn, who speaks fans' language as well as anyone in the business, has long been vocal with his diagnosis of what ails the genre. In January 2023, shortly after he and Safran took over the DC unit, he acknowledged that superhero fatigue 'can be real, once the movies start to get repetitive.' He criticized studios for rushing into production with unfinished scripts — a point he repeated during the 'Superman' press tour. Disney CEO Bob Iger has admitted that Marvel got itself in trouble by producing too much too fast, stretching itself thinner than Mister Fantastic to generate box office and Disney+ content. In that spirit, DC Studios isn't flooding the zone. The group's next feature, 'Supergirl: Woman of Tomorrow,' starring Milly Alcock, doesn't come out until next summer. For now, 'Superman' is a welcome rebound for DC, having overcome mixed reactions to the early trailers. The political noise about the movie being 'superwoke' was just plain silly. The story is epic but drops the ponderous brooding of the Zack Snyder era. There's humor and chemistry between the two leads, Corenswet's Clark Kent and Rachel Brosnahan's Lois Lane. Worries that there would be too much screen time devoted to Superman's pooch Krypto were overblown. There are DC universe tie-ins, including a cameo from John Cena's Peacemaker, but they're not overly obtrusive. The main hurdle is the international audience, and theories abound for why the results abroad were relatively modest. Could it be that Superman's essential American-ness was a turnoff for international audiences during the divisive Trump era? Maybe it was just a matter of massive competition from movies including 'Jurassic World Rebirth' or the lack of a big global star in the main role. That's all based on analyst hunches. This much is clear: Superman's work isn't done yet, and neither is that of Gunn and Safran. 'Bluey' is still the king of streaming. The beloved Australian kids' cartoon about a family of heeler dogs topped Nielsen's rankings for the first half of 2025, generating 25 billion minutes viewed on Disney+, the TV measurement firm said Monday. 'Bluey's' dominance is easy to explain. The Joe Brumm creation from Queensland's Ludo Studio is the rare kids' program that little ones like mine request all the time without eliciting groans from their parents. Also, there are more than 150 episodes of about seven minutes in length, so it's readily bingeable and rewatchable. Among Nielsen's list of original programs, Netflix's 'Squid Game' ranked highest, thanks to its second season, which premiered late last year on the streamer. It scored 15 billion minutes watched January through June. Netflix had four of the top 10 most-viewed original programs: 'Squid Game,' 'The Night Agent' (No. 3 wtih 12.2 billion minutes), 'Ginny & Georgia' (No. 4, 10.2 billion minutes) and 'You' (No. 9, 8.1 billion minutes). However, other services managed to penetrate the top ranks despite having fewer subscribers. Prime Video's 'Reacher' was No. 2 with 13.3 billion minutes, while the smaller Apple TV+ scored a No. 5 series with 'Severance' (9.3 billion minutes). Paramount+ notched two slots in the top 10, with (no surprise) Taylor Sheridan shows: '1923' (No. 6, 8.5 billion minutes) and 'Landman' (No. 10, 7.8 billion minutes). HBO Max and Hulu got into the ranking with, respectively, 'The Pitt' (No. 7, 8.23 billion minutes, in an impressive haul for a first season) and stalwart 'The Handmaid's Tale' (No. 8, 8.17 billion minutes). In other TV measurement news, Nielsen on Tuesday said broadcast's share of TV viewing fell to 18.5% in June, marking the first time the category has fallen below 20%. Read/watch: Emmy nominations are announced today. How many of your favorites are making the cut? Listen: Rocker Kurt Vile has new music.
Sydney Morning Herald
11-07-2025
- Entertainment
- Sydney Morning Herald
Dakota Johnson is the most unfairly maligned actress in Hollywood
We should ignore the mournful eulogies for the 'movie star.' As the cinematic titans of the '90s and 2000s shuffle off towards the Sunset Boulevard Retirement Village, Timothée Chalamet, Florence Pugh and Austin Butler have cemented their status as household names, box office drawcards and awards-show darlings. But every generation of actors has a black sheep – the one whose talent is routinely debated, whose success baffles the masses, and whose occasional missteps obscure their accomplishments, their genius only recognised in hindsight. Gene Kelly, Tom Cruise, Demi Moore, and Colin Farrell all weathered excessive criticism before finding their rightful place in the pantheon. Dakota Johnson is this era's black sheep. While her contemporaries have been showered in praise, Johnson is misunderstood and maligned, the subject of mockery and meme fodder. Her acting has been described as wooden, one-dimensional, and bland. Audiences have lambasted her for awkward line readings and detached onscreen appearances, lacking warmth and personality. She's 'won' two Golden Raspberry Awards for Worst Actress for Fifty Shades of Grey and Madame Web. Most notoriously, she became the poster child for online 'nepo baby' backlash (daughter of actors Don Johnson and Melanie Griffith). Her career is perceived as all family, no talent. Dakota Johnson isn't a bad actor – she's great. But goodness, she needed a new agent yesterday. She is abysmal at choosing projects. Her acting reputation's become inseparable from her awful films. Most people's introduction to Johnson was as the lead in the critically derided Fifty Shades of Grey. She was predictably swept up in the tsunami of bad reviews, although her performance was the only watchable part. In a movie that, despite its scandalous subject, manages to be both boring and bizarrely straitlaced, Johnston almost convinces you there's chemistry between her and the wooden plank that is Jamie Dornan. Just as it took Kristen Stewart a full decade to even begin washing away the cinematic stench of the Twilight films, the reputational damage from the Fifty Shades series still stubbornly lingers. Johnson's been in some other stinkers (Wounds, Black Mass, How to Be Single). Yet even when saddled with cringey dialogue and a plot that openly defies logic, she consistently shows herself capable of single-handedly lifting the material with sheer charm, undeniable charisma, and an admirable commitment to the bit. Frankly, could anyone have saved the rampant garbage fire that was Madame Web? Yet when Johnson does land a good script, competent co-stars, and a proper director, it is something to behold. Primarily because that allows Johnson to showcase her greatest strength as an actor: the delicate art of subtlety. Not one to chew scenery, the cocked eyebrow, the minuscule, knowing smile, or the perfectly timed pause of repressed emotion. Genuine responses, shielded vulnerability, perfect timing. In a good movie, it looks effortless. In a bad movie, it looks like no effort. In Luca Guadagnino's 2018 remake of horror classic Suspiria, Johnson is perfect as our gateway to the desperate, claustrophobic world of balletic revulsion. She goes toe-to-toe with the great Tilda Swinton in arguably the best horror ensemble of the century. Johnson further held her own against Oscar-winning powerhouse Olivia Colman in the psychological drama The Lost Daughter, portraying a troubled mother teetering on the brink of mental collapse.
The Age
11-07-2025
- Entertainment
- The Age
Dakota Johnson is the most unfairly maligned actress in Hollywood
We should ignore the mournful eulogies for the 'movie star.' As the cinematic titans of the '90s and 2000s shuffle off towards the Sunset Boulevard Retirement Village, Timothée Chalamet, Florence Pugh and Austin Butler have cemented their status as household names, box office drawcards and awards-show darlings. But every generation of actors has a black sheep – the one whose talent is routinely debated, whose success baffles the masses, and whose occasional missteps obscure their accomplishments, their genius only recognised in hindsight. Gene Kelly, Tom Cruise, Demi Moore, and Colin Farrell all weathered excessive criticism before finding their rightful place in the pantheon. Dakota Johnson is this era's black sheep. While her contemporaries have been showered in praise, Johnson is misunderstood and maligned, the subject of mockery and meme fodder. Her acting has been described as wooden, one-dimensional, and bland. Audiences have lambasted her for awkward line readings and detached onscreen appearances, lacking warmth and personality. She's 'won' two Golden Raspberry Awards for Worst Actress for Fifty Shades of Grey and Madame Web. Most notoriously, she became the poster child for online 'nepo baby' backlash (daughter of actors Don Johnson and Melanie Griffith). Her career is perceived as all family, no talent. Dakota Johnson isn't a bad actor – she's great. But goodness, she needed a new agent yesterday. She is abysmal at choosing projects. Her acting reputation's become inseparable from her awful films. Most people's introduction to Johnson was as the lead in the critically derided Fifty Shades of Grey. She was predictably swept up in the tsunami of bad reviews, although her performance was the only watchable part. In a movie that, despite its scandalous subject, manages to be both boring and bizarrely straitlaced, Johnston almost convinces you there's chemistry between her and the wooden plank that is Jamie Dornan. Just as it took Kristen Stewart a full decade to even begin washing away the cinematic stench of the Twilight films, the reputational damage from the Fifty Shades series still stubbornly lingers. Johnson's been in some other stinkers (Wounds, Black Mass, How to Be Single). Yet even when saddled with cringey dialogue and a plot that openly defies logic, she consistently shows herself capable of single-handedly lifting the material with sheer charm, undeniable charisma, and an admirable commitment to the bit. Frankly, could anyone have saved the rampant garbage fire that was Madame Web? Yet when Johnson does land a good script, competent co-stars, and a proper director, it is something to behold. Primarily because that allows Johnson to showcase her greatest strength as an actor: the delicate art of subtlety. Not one to chew scenery, the cocked eyebrow, the minuscule, knowing smile, or the perfectly timed pause of repressed emotion. Genuine responses, shielded vulnerability, perfect timing. In a good movie, it looks effortless. In a bad movie, it looks like no effort. In Luca Guadagnino's 2018 remake of horror classic Suspiria, Johnson is perfect as our gateway to the desperate, claustrophobic world of balletic revulsion. She goes toe-to-toe with the great Tilda Swinton in arguably the best horror ensemble of the century. Johnson further held her own against Oscar-winning powerhouse Olivia Colman in the psychological drama The Lost Daughter, portraying a troubled mother teetering on the brink of mental collapse.
