Keanu Reeves

KEANU Reeves’ security team slammed a fan to the ground after she attempted to get into the actor’s car.

A woman could be heard screaming for the star’s attention before attempting to get inside his vehicle.

The shock footage came just seconds after the actor graciously waved and smiled at waiting fans and photographers outside of his hotel.

At one point, the lady in question could be heard insisting she was his “divine wife” during the altercation.

Having waved to the crowds, Keanu can be seen calmly getting into his car.

Just seconds later, the woman appears to shove past his security details as she heads for his car door.

With the bodyguards attempting to hold her back, the woman screeches: “Let go of me.”

She then shouts at the window: “Keanu, it’s your divine wife!”

After repeatedly saying the star’s name, she runs around the vehicle to the other side before shouting: “Don’t let them hurt me.”

As the car attempts to drive away, the woman manages to reach the car door handle.

The bodyguards then manage to get to the woman and forcibly pull her away from the car.

Latching onto her, two men appear to pull at her before she stumbles and falls onto her back on the road.

She can be heard branding the men “a*****es” before managing to get back up.

One of the men shouts: “Get her out of here. Get her out of here.”

Someone else can be heard shouting: “You guys need a restraining order on this one.”

Keanu is currently appearing on-stage in a Broadway play.

The 61-year-old star has been performing in Jamie Lloyd’s adaptation of Samuel Beckett’s play Waiting For Godot.

The production has been entertaining guests at the Hudson Theater. 

It’s easy to miss the confidence of Billy Wilder or Frank Capra whenever some brave soul tries to make a comedy that takes America’s temperature by straddling cynicism and optimism. Those Hollywood masters could handily juggle the sweet, sour and satirical and, in Wilder’s case, even leave you believing in a happy ending.

With his writing-directing feature debut, “Good Fortune,” however, Aziz Ansari, who stars alongside Seth Rogen and Keanu Reeves (as an angel named Gabriel), swings big, hoping to capture that jokey truth-telling vibe about the State of Things. His subject is a fertile one too: the gig economy fostering our crushing inequity, but also the desperation of the have-nots and how oblivious the wealthy are about those who made them rich. So let’s stick it to the billionaires! Let Keanu help the downtrodden!

Ansari’s high-low morality tale, set in our fair (and unfair) Los Angeles, is a friendly melding of celestially tinged stories (“Heaven Can Wait,” “Wings of Desire”) and body-swap comedies (“Trading Places”). But as agreeable as it is, it can’t square its jabs with its sentimentality. It’s got heart, kind eyes, a wry smile and some funny lines, but no teeth when you really need things bitten into, chewed up and spit out.

Ansari plays Arj, living a serious disconnection between his professional identity — wannabe Hollywood film editor — and how he actually exists: task-gigging for scraps and living in his car. When a garage-reorganizing job for Jeff (Rogen), a Bel-Air venture capitalist, turns into an assistant position, Arj feels secure enough to use the company card for a fancy dinner with occasional colleague and romantic interest Elena (an underused Keke Palmer). Jeff clocks the charge the next day, though (a realistic detail about the rich watching every penny), and immediately fires Arj.

All along, Arj’s sad situation has touched Reeves’ long-haired, khaki-suited angel, whose life-saving purview (he specializes in jostling distracted drivers) is low in the hierarchy overseen by boss guardian Martha (Sandra Oh). Gabriel wants a big healing job to show Arj, with a little role-reversal magic, that being Jeff isn’t all it’s cracked up to be. Except, of course, it is. (David Mamet’s line “Everybody needs money — that’s why they call it money” comes to mind.) The newly luxe-and-loving-it Arj shows no signs of wanting to switch back (which is apparently his call to make in the rules of this scenario), leaving out-of-his-depth Gabriel in the position of convincing a sudden billionaire why he should go back to being poor.

Which is where “Good Fortune,” for all its grasp of how Depression-era screwball comedies made the filthy rich mockable, struggles to match its issue-driven humor with its fix-it heart. While it’s funny to watch Rogen’s freshly desperate character suffer food-delivery humiliation, buying the script’s changes of heart — and the film’s naïve idea of where everyone should be at the end — is another matter. That’s why screwball comedies didn’t try to upend capitalism, just have some clever fun with it and let a simple love story stick the landing. Ansari’s ambition is admirable but he’s better at diagnoses than solutions.

His gold-touch move is giving the hilariously deadpan Reeves one of his best roles in years: a goofy meme brought to disarming life and the movie’s beating heart. Doing good can be hard work; understanding humans is harder. Plus, Reeves makes eating a burger for the first time a sublimely funny reaffirmation that sometimes, indeed, it is a wonderful life.

Fans don’t have long before it’s released on the platform

Netflix has given fans their first glimpse at a new series penned by the creator of John Wick – and fans don’t have long to wait.

Following on from the success of the Keanu Reeves-fronted franchise, Derek Kolstad has now turned his pen to the first-ever adaptation of the award-winning video game series, Tom Clancy’s Splinter Cell.

The action movie architect served as the head writer on Netflix’s upcoming animated series, Splinter Cell: Deathwatch which stars Liev Schreiber (The Perfect Couple) as the voice of black ops agent Sam Fisher. Meanwhile Kirby Howell-Baptiste (The Sandman) takes on the role of Zinnia McKenna.

The first Splinter Cell game released in 2002 with the latest dropping in 2013. Eager fans have speculated that the upcoming adaptation is set after the events of 2005’s Splinter Cell: Chaos Theory.

READ MORE: Netflix’s ‘female John Wick’ thriller with 91% score that’s better than Keanu Reeves spin-offREAD MORE: Netflix fans ‘cancel all plans’ over eight part thriller perfect for Harlan Coben fans

Netflix shared the first official trailer for the series yesterday (August 22). The 70-second clip teases plenty of action to come, and gave fans a proper look at Schreiber’s take on the legendary character as he takes on a mission that’s “personal”.

According to the brief synopsis for the upcoming series: “Legendary agent Sam Fisher is drawn back into the field when a wounded young operative seeks out his help.” It is slated for release on October 14, meaning fans have a few more weeks to wait.

One excited fan penned: “So it’s actually real. Feels like I’ve been waiting for this forever. Now all we need are some remaster/remake/sequel games. Would love to see remakes of the first two or three games.”

“The last Splinter Cell game was Blacklist released in 2013. How time flies… But I’m glad Sam Fisher is back, at least in animation,” said a second franchise fan. Meanwhile a third added: “It’s the adaptation we didn’t know we needed but now we need it.”

One John Wick fan quipped: “From the writer of the John Wick Franchise. Say less,” as another shared their surprise at Schreiber’s Sam.

“Didn’t expect Liev Schreiber to play a decent Sam Fisher!” they started. “Def not Michael Ironside but imo it’s better than what we got in Blacklist. Here’s to hoping this show succeeds so Ubisoft will give us another damn game already!”

Splinter Cell: Deathwatch releases on Netflix on October 14

The program for the upcoming Toronto International Film Festival came into sharper view with Monday’s announcement of the majority of titles for the event’s galas and special presentations section. Along with TIFF’s news, some of the larger fall festival and awards season is also beginning to take shape.

Toronto, long known as a powerful showcase for launching awards-hungry and commercially ambitious fall titles, has been seen as losing some of its strength in recent years to festivals in Cannes, Venice and Telluride. This year’s TIFF program, which marks its 50th edition, will be closely watched for how its titles are received not only at the festival itself, but in the months ahead.

Among the notable world premieres in Monday’s announcement are Aziz Ansari’s feature directorial debut “Good Fortune,” a comedy of identity-swapping and self-discovery starring Ansari and Seth Rogen with Keanu Reeves as an inept angel, and James Vanderbilt’s “Nuremberg” starring Russell Crowe as imprisoned Nazi Hermann Göring, with Rami Malek as the psychiatrist tasked with interviewing him.

Maude Apatow will make her feature directorial debut with “Poetic License,” starring her mother Leslie Mann alongside Andrew Barth Feldman and Cooper Hoffman. “True Detective” creator Nic Pizzolatto will also make his feature directing bow with “Easy’s Waltz,” a drama of down-on-their-luck entertainers starring Vince Vaughn and Al Pacino.

TIFF will host the world premiere of Bobby Farrelly’s comedy “Driver’s Ed,” starring Kumail Nanjiani, Sam Nivola and Molly Shannon. Alex Winter directs and also appears in the comedy “Adulthood” alongside Josh Gad, Kaya Scodelario and Billie Lourd. David Mackenzie’s crime thriller “Fuze” stars Aaron Taylor-Johnson, Sam Worthington, Theo James and Gugu Mbatha-Raw.

Baz Luhrman will unveil “EPiC: Elvis Presley in Concert,” which utilizes previously unseen footage the director discovered while researching his 2022 film “Elvis.” The result is what Luhrman has described as “not specifically a documentary, nor a concert film.”

Saoirse Ronan stars in “Bad Apples,” which is premiering at the 2025 Toronto International Film Festival.

(Republic Pictures )

Other world premieres include Jonathan Etzler’s “Bad Apples,” starring Saoirse Ronan; David Michôd’s “Christy,” starring Sydney Sweeney as boxer Christy Martin; and Alice Winocour’s fashion world drama “Couture,” starring Angelina Jolie.

At this stage in the season, interpreting how a Toronto title is announced can give some clues as to where it may be popping up beforehand. “International Premiere” can mean a title is also first playing a week earlier at Telluride, while “North American Premiere” can mean something is playing first at Venice. “Canadian Premiere” means it is likely playing both Telluride and Venice (or already premiered at Cannes) before coming to Toronto.

The only title listed as an international premiere is Clint Bentley’s “Train Dreams,” which premiered earlier this year at the Sundance Film Festival.

North American premieres likely headed to Venice include Gus Van Sant’s “Dead Man’s Wire,” starring Bill Skarsgård and Colman Domingo; Guillermo del Toro’s “Frankenstein,” starring Oscar Isaac and Jacob Elordi; Mark Jenkin’s “Rose of Nevada,” starring Calum Turner and George MacKay; Mona Fastvold’s “The Testament of Ann Lee,” starring Amanda Seyfried; and Benny Safdie’s “The Smashing Machine,” starring Dwayne Johnson.

Canadian premieres include Edward Berger’s “Ballad of a Small Player” starring Colin Farrell; Jafar Panahi’s Cannes-winning “It Was Just an Accident”; Richard Linklater’s “Nouvelle Vague,” about the making of Jean-Luc Godard’s “Breathless”; Kleber Mendonça Filho’s “The Secret Agent,” which won best actor at Cannes for Wagner Moura; Daniel Roher’s “Tuner,” starring Leo Woodall and Dustin Hoffman; and Joachim Trier’s “Sentimental Value,” starring Stellan Skarsgård and Renate Reinsve.

Michaela Coel, left, and Ian McKellen star in “The Christophers,” which is premiering at the 2025 Toronto International Film Festival.

(Department M / Butler & Sklar Production)

Toronto’s previously announced titles include the opening night selection “John Candy: I Like Me,” a documentary on the beloved Canadian-born actor, directed by Colin Hanks and produced by Ryan Reynolds, as well as the world premiere of Rian Johnson’s third Benoit Blanc film starring Daniel Craig, “Wake Up Dead Man: A Knives Out Mystery.”

Other previously announced world premieres include Derek Cianfrance’s “Roofman,” starring Channing Tatum and Kirsten Dunst; Nicholas Hytner’s “The Choral,” starring Ralph Fiennes; Paul Greengrass’ “The Lost Bus,” starring Matthew McConaughey; Hikari’s “Rental Family,” starring Brendan Fraser; Nia DaCosta’s “Hedda,” starring Tessa Thompson; Steven Soderbergh’s “The Christophers,” starring Ian McKellen and Michaela Coel; and Agnieszka Holland’s “Franz,” a biopic of Franz Kafka.

Other titles already announced for TIFF that will be premiering elsewhere include the Canadian premiere of Chloé Zhao’s highly anticipated “Hamnet,” starring Paul Mescal and Jessie Buckley; and the North American premiere of Rebecca Zlotowski’s “A Private Life,” starring Jodie Foster, which premiered at Cannes.

More of the Toronto program will be announced in the coming days and weeks, including the Platform section for emerging voices and the popular Midnight Madness section. This year’s Toronto International Film Festival runs from Sept. 4 to 14.