movie

Two-thousand, four-hundred and forty-eight miles. That was the span of Route 66 when highway officials stitched it together to link Chicago, Los Angeles and countless cities and towns in between. But as an enduring American symbol, this highway reaches much further than that, inspiring books, songs, movies and countless road trips.

It turns 100 this year, so with summer coming, we drove it all.

Across eight states, we scouted out vintage motels, new businesses, neon signs, friendly Muffler Men, road food, vivid characters and 20th century ruins. We also kept our eyes open for hints of the road’s evolution, from the Dust Bowl years, segregation and the postwar boom to the freeway-era slump and the reemergence of Route 66 as a long, winding and living historic landmark.

Now we’re taking you along for the ride. If you’ve ever daydreamed about covering some part of the famous roadway, hop on in and let’s get our kicks, shall we?

The most recent death on Mt. Wilson claimed the life of a man identified as New Zealand-born, L.A.-based composer Mark Smythe. Following the tragedy, his colleagues and family poured out their hearts as they remembered a man they called smart, funny and a true supporter of his peers.

Smythe died Saturday at 53 after suffering a cardiac emergency on a hiking trail, according to the coroner’s online database. His cause of death was atherosclerotic cardiovascular disease, in which plaque builds up in arterial walls and can lead to a heart attack.

The Sierra Madre Police Department said Saturday that a man — at that point unidentified — died after having a medical emergency on the trail and that no foul play was suspected. First responders arrived at the site around 10 a.m. and administered aid but were unable to save his life.

Smythe had been head of the department of Composing for Visual Media at Los Angeles Music College since last summer, according to his website. Among other honors, he was nominated for a 2023 Society of Composers and Lyricists Award for his work scoring the movie “The Reef: Stalked.”

Kate Ward-Smythe, the composer’s sister, acknowledged his death late Sunday on Facebook.

“It is a comfort to know that he was doing one of the things he loved, hiking in the hills, and we are grateful to his wonderful friends (and emergency service responders) who tried so hard to resuscitate him,” she wrote.

“Mark was a strong larger than life connector in LA, as a professor, composer, musician, and loyal friend. He was also fiercely talented, and an absolute cheerleader for music performance and recording across multiple genres.. he was only just getting started and had so much more to give .. We are heartbroken and trying to process this tragedy, as are all Mark’s friends and family.”

Bear McCreary, known for scoring TV series including “Outlander,” “The Walking Dead,” “Black Sails” and “Snowpiercer” and movies including “Happy Death Day,” “Godzilla: King of the Monsters” and Blumhouse’s “Fantasy Island,” called news of Smythe’s death “awful and surreal,” saying they had just been chatting at a mutual friend’s party a few weeks ago.

“Mark’s enthusiasm and humor were off the charts,” McCreary wrote Sunday on Instagram. “He brought a shark with a bowtie to the red carpet of an SCL awards ceremony when he was nominated for his work on a shark movie – hilarious! When he found out I was writing a metal album, he curated his favorite German folk metal bands for me (turning me on to his favorite band, Finsterforst).”

Having said he always thought he would get to know Smythe better one day, McCreary called his death “a stark reminder to spend time with the people you care about while you can.”

John Massari, who has more than 150 music credits stretching back to “Little House on the Prairie” and contributed music to TV series including “Dancing With the Stars,” “Pawn Stars” and “It’s Always Sunny in Philadelphia,” said in comments that “Mark was a bright light and a refreshing spirit in our community. He is greatly missed.”

“I’m so deeply sad to lose my friend. Mark, I miss you and love you. Thank you for your love, passion, humor, and joy and for always making me feel loved and valued,” singer Baraka May, whose voice can be heard in “Avatar: Fire and Ash,” “Wicked: For Good” and “Beavis and Butt-Head,” wrote Monday on Instagram.

“He was funny and snarky and whip-smart, yet when we collaborated, he just melted into the music and gushed like a fan with child-like wonder. What a tremendous heart and mind!” the vocalist wrote. “I had the honor of collaborating with him on three of his beautiful pieces as a conductor, and I loved his boyish, genuine joy and excitement even in our rehearsals. He wrote and voiced his music beautifully, which often felt haunting, romantic, deep, and sensitive, and his bass playing was so beautiful and thoughtful. He was such a vivid, enthusiastic music lover, and I was very much looking forward to making more music with him.”

The Los Angeles Film Conducting Intensive also mourned the loss, saying online that “Mark was a brilliant talent and a genuine friend to all, a true pillar in our scoring community.

“During the pandemic, Mark generously joined our 2020 New Music Project to support new repertoire for our music community during a time of great uncertainty and when most traditional pieces could not be performed.”

The Hollywood Music in Media Awards remembered Smythe winning a career-propelling prize at the organization’s 2013 ceremony, soon after he arrived in L.A. from New Zealand.

“He quickly built a distinguished body of work for film, shorts, and television, earned multiple HMMA nominations, served as COO of the Society of Composers & Lyricists, and returned to present at the 2018 HMMA Gala,” the organization wrote. “Mark’s talent and generosity enriched our community — he will be greatly missed.”

Smythe’s death was the second this month on Mt. Wilson. On May 3, a man identified as John McIntyre, 66, was declared dead on the same trail after falling down a ravine at Mt. Wilson Road and the Little Santa Anita fire break in Sierra Madre. His cause of death was blunt force injuries.

When Kevin Hart announced in January that he’d licensed his name to Authentic Brands Group, the popular comedian was silent on a key detail: the future of his namesake media company.

Hart sold some ownership and oversight of his brand in exchange for an undisclosed sum of money and a stake in Authentic, a New York-based firm that manages the likenesses of Marilyn Monroe, Muhammad Ali, Shaquille O’Neal and David Beckham.

Hart used the partnership with Authentic to reset his relationship with the people around him and his company, according to six current and former employees. Hart’s employees say they worry that this deal marks the beginning of the end of Hartbeat, the comedian’s namesake media company that produces films, owns a network of short-form video channels and handles marketing for brands.

Though the announcement made no mention of Hartbeat, the agreement gave Hart money to buy out his private equity partner in the company over time and regain control of the use of his name, image and likeness. Hart’s endorsement deals, which had been a pillar of Hartbeat business, will now be handled by Authentic.

Once valued at about $650 million, Hartbeat has shriveled over the past few years. The company enacted its latest round of job cuts in December, firing the heads of its scripted TV division, as well as employees working across marketing, social media and brand partnerships, said the people. Earlier this year it let go the leaders of its podcast division and later sued them for breach of contract.

Hart has withdrawn from the company, leaving day-to-day management in the hands of a small group of executives. Staff meetings have been canceled. The development of new film and TV projects has slowed. A slate of new podcasts was pitched but never produced.

Hartbeat’s struggles reflected the challenging environment for many Hollywood production companies as media giants merge and cut spending. The company is also a cautionary tale in this age of the celebrity media mogul. Financial firms have plowed money into media companies led by high-profile figures, believing they could use their notoriety to build valuable businesses. Yet even seemingly successful ones have had a hard time.

Hartbeat, like many of its peers, has suffered from mismanagement and grappled with the tension between the needs of the star and his company. Hart, one of the hardest-working people in Hollywood, tired of subsidizing a company that relied so much on him

Hart declined to comment for this story, which is based on conversations with several current and former employees. On Sunday night, Hart, who hosted the widely viewed roast of NFL great Tom Brady two years ago, was the subject of his own roast on Netflix.

Building a Billion-Dollar Business

One of the most successful stand-up comedians and actors of his generation, Hart, 46, has always been entrepreneurial. In 2017, he started Laugh Out Loud, an online video comedy business that later grew to include branded entertainment. He also operated his own production company, Hartbeat Productions, that made programs for streaming services like Peacock, Quibi and Netflix Inc.

With Hollywood in the midst of a production boom, Hart watched his fellow celebrities get rich from their media enterprises. Reese Witherspoon sold her media company, Hello Sunshine, in a deal that valued it at as much as $900 million. Hart’s friend LeBron James raised money for his company, SpringHill, at a valuation of $725 million. Hart believed he could be next.

In late 2022, Hart merged his business interests under the Hartbeat banner and raised money by selling a 15% stake to the private equity firm Abry Partners. The deal valued the company at about $650 million.

The new business was predicated on three pillars: film and TV, short-form video and advertising. Hartbeat had a deal to produce movies for Netflix, a slate of podcasts for SiriusXM Holdings Inc. and original audio series for Audible. Hartbeat also developed relationships with advertisers such as Lyft Inc., Procter & Gamble Co. and DraftKings Inc.

While Hart would star in Hartbeat projects, the goal of the company was to develop projects and new business that didn’t involve its namesake founder. The company could leverage Hart to sell projects and secure broad programming partnerships. Hart would ask that Hartbeat be involved in producing his movies and any advertising campaign for which he was a spokesperson. His fees as a producer and brand ambassador would help pay the bills. The hope was he’d convince other celebrities to use Hartbeat as well. Thai Randolph, who had been running Laugh Out Loud, was named chief executive officer.

Hartbeat opened offices in New York and Atlanta and took over a 40,000-square-foot West Hollywood office once occupied by Oprah Winfrey. Hart redesigned the space and installed a world-class art collection.

The upper-level lobby featured a work by Ghanaian artist Serge Attukwei Clottey, while the conference room had a sculpture by Zimbabwean artist Moffat Takadiwa made of computer keyboard keys. A portrait of Kobe Bryant by Julian Pace hung outside a podcast studio.

Hart’s own office featured a dressing room, a series of paintings by South African artist Feni Chulumanco, multiple TVs and a desk from a prominent French designer. “He really has almost a full-service apartment in his suite,” Kai Williamson, who worked with Hart on the project, told Architectural Digest. Hart was interviewed for a story and also filmed an episode of the design magazine’s “Open Door” video series.

While Hartbeat expanded, Hollywood entered a recession. Economic uncertainty, rising interest rates and growing skepticism about the profitability of streaming caused major media companies to fire staff and pull back on buying new projects. Hartbeat was a little more insulated than most because talent like Hart could usually still get a project made. Still, producing projects without Hart in a starring role became more difficult.

Randolph left the company in late 2023 and was replaced by Jay Levine, who had spent much of his career at Warner Bros. Discovery Inc. Levine brought in a couple of other senior leaders with experience at major media companies.

A contingent of executives pushed Hart to scale back some ambitions, the people said. The company couldn’t afford to be working in so many different businesses at the same time, especially as areas like free, advertising-supported online video, and podcasts got more competitive. Hart was one of the most prolific and productive creative people in the world, starring in and producing movies, TV shows, comedy, short-form videos and advertisements. The point of the company was to relieve the stress on him, not add to it.

While Hartbeat closed its New York office, Hart was reluctant to scale back his vision or replace some long-time lieutenants. Levine negotiated his exit at the end of 2024 and was followed out the door by the company’s chief financial officer and chief content officer. Days before Thanksgiving, Hartbeat laid off about 20 people, nearly one quarter of its work force.

A year of chaos and conflict

In January 2025, Hart announced he would be the new CEO of Hartbeat and pledged to outline the firm’s strategy in the coming weeks. Instead, Hart went weeks and sometimes months without visiting the office, the people said, and empowered Jeff Clanagan and CFO Eric Stoneburner to run the company day to day. (Hart was on set to shoot at least a couple movies last year, in addition to his other work.)

A former concert promoter and movie producer, Clanagan had helped make Hart a major star. He had partnered with Hart to bring his stand-up specials to the big screen, producing shows such as 2013’s Kevin Hart: Let Me Explain, which grossed $32 million at the box office. Clanagan produced some of these specials under the banner of his own company, Codeblack Films, which helps promote, market and distribute video from Black creators.

Clanagan continued to operate Codeblack while serving in a senior capacity at Hartbeat, said the people. He pushed employees at Hartbeat to post its videos to the Codeblack channels as well, saying they could use the additional reach to raise awareness. The videos generated advertising sales for Codeblack.

Clanagan had employees at Hartbeat oversee Codeblack’s social media pages and asked to get those channels loaded into Hartbeat’s content management system. That gave Codeblack’s YouTube channels advantages over others because of Hart’s prominence and his company’s designation with YouTube. Employees raised concerns with human resources and the company’s lawyer.

Clanagan also became increasingly interested in video generated by artificial intelligence. He started a new app called Blktopia, a streaming service for Black viewers programmed with content from online creators and often made by AI. He urged employees to work on it, the people said. Clanagan initially responded to a request for comment and then retracted the text message.

Meanwhile, many of Hartbeat’s main businesses languished. Sales from the company’s YouTube channels fell and investment in new film and TV projects slowed. Hartbeat, once profitable, started to bleed cash. Hartbeat had hired Eric Eddings and Lesley Gwam to produce audio shows that didn’t involve Hart. While the pair developed a slate of projects, they never got approval to make them.

In mid-December, Hartbeat fired about a dozen employees, including some of those who were supposed to develop the podcasts. Eddings and Gwam then decided to start their own company and began trying to raise money. When Clanagan found out, Hartbeat fired them and sued for alleged theft of trade secrets and breach of contract.

A court approved a temporary restraining order but then rejected a preliminary injunction, saying Hartbeat had not demonstrated Eddings and Gwam had used proprietary information or trade secrets. The court said the request was “vague, ambiguous, and overly broad.” The case is ongoing.

Hartbeat also fired the heads of its TV division, Tiffany Brown and Mike Stein, who were in the middle of producing a TV show based on the film Barbershop for Amazon.com Inc. and a second season of the animated series Lil Kev.

The company made no official announcement explaining the cuts. The following week, senior leadership arranged a Zoom meeting. Hart remained off camera until it was his time to speak. He talked for a few minutes about changes at the company and took no questions. Hart changed his phone number in the weeks following the layoffs. (Some of his advisors had suggested he do this years earlier so that he wasn’t so available.)

A few weeks later, Hart announced the deal with Authentic Brands Group. Hart used some of the proceeds to buy out Abry Partners, freeing him to steer his brand deals to Authentic and outside of Hartbeat. A few of his employees and his publicist joined him at Authentic.

“This is a turning point for Hartbeat,” the company wrote in a subsequent email to employees, explaining that the deal would free Hart up to focus on what he does best, while allowing Hartbeat to stand on its own and grow beyond him.

“I know the past few months have been tough,” Hart wrote, adding that for too long the company had been too dependent on him. The email was said to be from “Kevin AKA Boss Man.” It was sent by Hart’s assistant.

Shaw writes for Bloomberg.

To describe a movie as including a ski mask, a camcorder and $50,000 in cash would certainly lead one to imagine a specific type of story. Add two men and sex work and the brain might roll around more pointed scenarios.

But none of that can prepare you for what micro-indie “Blue Film” has in store. The nexus of perversion, pain and sexual purpose driving writer-director Elliot Tuttle’s dark, discursive chamber drama is of a stripe rarely attempted in even the most self-consciously daring movies. Should you need a self-imposed break afterward from intimate two-handers, even Tuttle might understand, then wink in the general direction of his Pasolini posters. (I’m guessing at this provocateur’s wall art.)

Is it clear yet that “Blue Film,” set primarily in a house in Los Angeles over the course of a revelatory night, isn’t for everybody? Some of that “everybody,” incidentally, includes the festivals and distributors who rejected the queer filmmaker’s debut feature, despite having critical buzz, Tony-winning actor Reed Birney as one of its stars and indie guru Mark Duplass as a mentoring producer.

But certain subjects (spoilers ahead) are bound to trigger a different kind of scrutiny. Initially, our attention is on macho-posturing tattooed camboy Aaron (“Boots” star Kieron Moore), graphically boasting to his followers online of the big payday he’ll receive that evening from a submissive client. What he later encounters, however, at the door of a Craftsman on a quiet street is a masked, polite, older host (Birney) with a camera and, once it’s turned on, a lot of personal questions, the kind that begin to crack the facade of a young man used to being in control of his transactional life.

Then his client’s face is revealed and Aaron recognizes it’s his middle school teacher Hank, a convicted pedophile who once coveted him. Hank, who completed prison time for the attempted assault of a different boy, has made a cross-country trip to seek out the adult version of someone who could have been his first victim. He is still processing what he is, wondering if desire, even love, is available to him anymore.

The question is, will you care? Even viewed through Aaron’s cautious, clear-eyed empathy, it’s a steep ask. But you should. Tuttle’s fearless inquisition won’t insult your intelligence, ask your mercy or hogtie your feelings. Honestly, it’s refreshing to be repulsed and intrigued by a movie willing to plumb these psychological depths when Hollywood won’t. In its commitment to unvarnished talk — even if that leads to a clunky staginess — “Blue Film” has thoughts about identity, choice, sin and salvation. There’s a sincere engagement with humanity’s more difficult realities.

Needless to say, this type of graphically articulated exchange wouldn’t work if the performances didn’t land. Thankfully, Moore’s affecting portrayal of jumbled masculinity mixed with situational curiosity is well-calibrated, while Birney, a pro with a challenge, eases us into Hank’s weary self-possession (if not always the nauseating facts of it) before coloring outside the lines with a believably interesting philosophy about reckoning.

But “Blue Film” is tough, make no mistake. Awkward and searching, it exists in a filmic space that you could argue was opened up by last year’s courageous documentary “Predators.” And sometimes that gaze is just discomfiting, full stop. Tuttle wants that. He has room to improve but he’s someone to watch, plumbing the hard-to-fathom.

Hello! I’m Mark Olsen. Welcome to another edition of your regular field guide to a world of Only Good Movies.

This newsletter is about going to the movies, of course, but it’s about writing and reading about movies, too. And so it was exciting news this week that Film Comment, the venerable but shuttered publication that helped foster cinephilia in America, would return as a quarterly online publication.

A complete archive is now available online, going all the way back to the earliest issues in 1962. Looking for landmark writings by Manny Farber, Paul Schrader, Richard Corliss, Amy Taubin, Jonathan Rosenbaum, Kent Jones or countless others? It’s all there and well worth digging into. I began my career as an intern at Film Comment, publishing some of my own earliest pieces, and still consider it a North Star for writing about movies. Its return is most welcome.

Agnès Varda’s bruising brilliance

Sandrine Bonnaire in the 1985 movie “Vagabond.”

(Criterion Collection)

Though she became better known for her free-spirited, pixie-ish persona later in life, French filmmaker Agnès Varda was also capable of the bruising emotions of 1985’s “Vagabond,” arguably her greatest fiction feature and winner of the Golden Lion at Venice and the César for best actress for star Sandrine Bonnaire. Opening with the lead character found dead in a ditch, the film flashes backward to piece together her life from the memories of others, creating a fragmented portrait of an enigmatic young woman’s life.

Mezzanine will screen the film on Saturday at 2220 Arts + Archives, followed by a conversation between art critic Megan O’Grady and former Times staffer Carolina Miranda. Writing about the film in 1986, Sheila Benson said, “Just how Agnes Varda has kept ‘Vagabond’ from being a monumental downer is interesting, but she has. It is haunting. It is melancholy … but ultimately, beyond its central tragedy, it is an exhilarating film, the sort you leave burning to talk about with friends.”

A cartoon comes to life

Robin Williams and Shelley Duvall in the 1980 movie “Popeye.”

(Paramount Pictures / Getty Images)

It is one of the most deranged credit blocks imaginable: an adaptation of “Popeye” directed by Robert Altman, produced by Robert Evans, with a screenplay by Jules Feiffer, music by Harry Nilsson and starring Robin Williams and Shelley Duvall. When it was first released in December 1980, it was seen as too weird for kids and too naive for adults, but it has since been reconsidered as a unique snapshot of intersecting talents — a strange, wonderful, one-of-a-kind movie.

Vidiots will screen the film on Saturday afternoon with actors Paul Dooley and Donovan Scott, who played J. Wellington Wimpy and Castor Oyl. In our original 1980 review that is more positive than one might expect, Charles Champlin wrote, “Its difficulties arise not from a lack of ambition and innovation but from excesses of them.”

Neil Young + Devo = gloriously weird

Neil Young in the 1982 movie “Human Highway.”

(Shakey Pictures)

Neil Young’s place as a singer-songwriter and musician is unassailable — he’s an irascible, restless troubadour. But his sidebar work as a filmmaker, typically under the name Bernard Shakey, has had more sporadic and unpredictable output.

Young’s 1982 film “Human Highway” is probably the pinnacle of his work as a director, starring Young himself in an offbeat story of a small community in the shadow of a nuclear power plant. Dennis Hopper, Dean Stockwell, Devo and even former Times music critic Robert Hilburn all appear. Now Instant Image Hall will be screening the film on Saturday and Sunday along with a selection of Devo music videos in celebration of an exhibition at the MutMuz gallery.

After Young premiered a new cut of “Human Highway” a decade or so ago, I somehow found myself sitting across from him at a diner on a rainy midnight in downtown Toronto. (This job does have its moments.)

“My films are not super commercial, but they mean something to me,” Young said.

An Oscar-winning debut

Shirley MacLaine, Debra Winger and Jack Nicholson in the 1983 movie “Terms of Endearment.”

(Paramount Pictures)

Part tearjerker, part family drama and part comedy, 1983’s “Terms of Endearment” trademarks a certain bittersweet tone that is still just pure magic. The story of a mother (Shirley MacLaine) and daughter (Debra Winger) across many years of ups and downs in their relationship, the film was the feature debut for James L. Brooks as writer-director and won five Oscars, including three for Brooks. The Academy Museum will play the film in a new 35mm print on Sunday afternoon.

When the movie came out on 4K disc in 2023, I spoke to Brooks about it. He talked about how even though it does have moments of great emotional weight, it was intended to play with a lighter tone overall.

“The whole thing was to make it as a comedy,” Brooks said. “The whole thing was to clock laughs. You had to, in order to do it right. And of course, once the audience leaves and it has its afterlife, it’s a drama because people are watching it alone. But I swear to you, in the theaters it was a comedy.”

A ’90s noir ripe for rediscovery

Jason Patric, left, Bruce Dern and Rachel Ward in the 1990 movie “After Dark, My Sweet.”

(Kino Lorber)

Set in the Coachella Valley with the woozy feel of a day drunk and a sense of uneasy menace, 1990’s “After Dark, My Sweet” is an adaptation of the novel by pulp icon Jim Thompson, directed by James Foley.

Jason Patric, then only 23, stars as Kevin Collins, known as Collie, a former boxer who escapes from a mental institution and is now just drifting. He falls in with Fay (Rachel Ward), an enigmatic, lonely alcoholic widow, who in turn introduces Collie to a shady man known as Uncle Bud (a delightfully sleazy Bruce Dern). Soon Collie is ensnared in a plot to kidnap a sickly rich boy that immediately goes off the rails.

On Tuesday at Vidiots, there will be a screening of Patric’s personal 35mm print of the film — a gift he received some 20 years ago and has never watched before. (It is said to be in pristine shape.) Along with a video introduction from actor and filmmaker Alex Winter, there will be a Q&A afterward with Patric moderated by critic and scholar Travis Woods, who contributed a commentary track to a recent Australian Blu-ray release of the film.

Patric organized the screening as a tribute to director Foley, who died in May 2025 at age 71. “After Dark” landed in between Foley making “Who’s That Girl” with Madonna and the David Mamet adaptation “Glengarry Glen Ross.” Among his other credits are “At Close Range,” “Fear” and the last two “Fifty Shades” movies.

“He was a good friend of mine at the time,” says Patric on a recent phone call from Santa Monica. “I know this was his favorite movie and it was closest to him. It’s the only movie that he had actually written that he directed. And I thought the best way to do that is just to show the movie.”

Patric, who says Collie is his favorite character in a career that also includes “The Lost Boys,” “Rush” and “Your Friends & Neighbors,” was first given the script and in turn gave it to Foley; developed it further together, trying to retain the language of Thompson’s novel. (The screenplay is credited to Foley and Robert Redlin.)

“It’s really a subjective piece of filmmaking,” says Patric. “So as Collie’s figuring things out, the audience is figuring things out.”

In her original review of the film, Sheila Benson wrote that “Collie is one of those roles actors lust after, the damaged dreamer, maybe dumb, maybe dangerous, and Patric demolishes the conventions of the role with breathtaking skill.”

“After Dark, My Sweet” landed just ahead of the Tarantino-inspired crime movie boom of the mid-’90s, alongside such noir-influenced precursors as Dennis Hopper’s “The Hot Spot,” John Dahl’s “Kill Me Again” and Stephen Frears’ Thompson adaptation “The Grifters.”

“This is just such an exciting film to want to reintroduce to audiences,” said Woods in a call. “And to get the opportunity to see this film on the big screen, which most people haven’t had that opportunity for 36 years, it’s just one of those really cool, really only in Los Angeles cinematic moments.”

New this week

Argentinian director Lucrecia Martel, photographed at the Sunset Marquis in April.

(Jason Armond / Los Angeles Times)

• The unlikely duo of James Cameron and Billie Eilish co-directed a 3D concert film drawn from Eilish’s 2025 tour, “Billie Eilish — Hit Me Hard and Soft: The Tour (Live in 3D).” Film critic Amy Nicholson and pop music critic Mikael Wood traded their thoughts on the movie.
• Argentinian director Lucrecia Martel is among the world’s most accomplished filmmakers and the true crime tale “Our Land (Nuestra Tierra)” is her first documentary. Carlos Aguilar spoke to Martel about it.
• “Mad Bills to Pay” expands to multiple Laemmle venues after a weekend run in the Vidiots microcinema. Carlos Aguilar spoke to director Joel Alfonso Vargas about portraying the Dominican American community in the Bronx.

On one of her previous visits to Los Angeles, Argentine filmmaker Lucrecia Martel found herself having a smoke on Hollywood Boulevard.

There, while she stepped over the famous concrete-embedded stars, an unhoused man struck up a conversation with her.

“He kept explaining to me that he was poorly dressed because he was currently living on the street after someone robbed him, but he had written a screenplay,” Martel, 59, recalls in Spanish over coffee on a morning in April at a West Hollywood hotel.

“He told me they had stolen a watch from him — not a Rolex but a known brand,” she continues. “The whole time he was trying to convince me he was a millionaire who just so happened to be on the street because of random circumstances.”

One of Latin America’s most indispensable storytellers, Martel is fascinated by how prevalent that dream still is in L.A. — that movies can change your life overnight.

“That particular fantasy is par for the course in this city,” she says, though she’s not above it. It’s the reason she’s back to promote her first documentary, “Our Land,” out Friday.

Unhurried when it comes to her output, Martel has only made four fiction features, among them 2001’s “La Cienaga” and 2008’s “The Headless Woman” (returning to theaters this month in a new 4K restoration). Her biting and formally audacious narratives examine class, politics and — a speciality — the interiority of women through enigmatic portraits of psychologically complex individuals.

“Our Land,” a piercing indictment of the enduring wounds of colonialism, chronicles the murder of Indigenous Argentine activist Javier Chocobar in 2009 and the prolonged trial of the perpetrators in 2018.

Chocobar was shot during a confrontation with armed men over land in the Tucumán province of Argentina where the Chuschagasta Indigenous community has lived for many generations. Martel explores the killing not as an isolated event in her country’s recent past but as part of a long history of dispossession.

“Racism is a foundational element,” she says of her homeland. “The only consistent thing in Argentina, from the country’s birth to the present day, is the rejection of Indigenous people.”

In Argentina, Martel explains, public education has indoctrinated the population into believing Indigenous people no longer exist. Yet many Argentines proudly claim a connection to the Europeans, Italians in particular, who arrived in the country in the late 1800s and early 1900s.

“When giving speeches, our presidents always say, ‘We are a country of immigrants,’ or ‘We came from the boats,’” says Martel. “They use metaphors like these because deep down Argentines feel much more indebted to European immigration than to our Indigenous population. But more than half of the people in Argentina have Indigenous ancestors.”

In 2020, Chocobar’s three convicted murderers appealed their guilty verdicts and were set free. “Our Land” premiered at the Venice Film Festival in September 2025, which brought renewed attention to the case. A month later, the sentence was upheld and two of the men returned to prison (one died in the interim).

Martel believes that outcome was a response to her film. “Communities wage the fight but cinema helps,” she says.

“I believe that we must use cinema for its enormous power to alter perception and not soothe the rich,” Martel says. “It’s not about delivering a message but rather about showing how an idea functions.”

(Jason Armond / Los Angeles Times)

For over 14 years, Martel worked on “Our Land” on and off. This time included periods when she focused on 2017’s “Zama,” her masterful period piece following a Spanish official in 18th century Argentina “who doesn’t want to be American,” she says, referring to the continent. In her mind, both “Zama” and “Our Land” come from the same impulse to dissect colonialism.

As part of her research process, Martel and her team created a detailed archive of documents related to the case that the Chuschagasta community now has at its disposal. Over the years, Delfín Cata, one of the Indigenous men present during the attack, would call Martel. He never asked about how her film was going, but the director sensed he was tacitly checking in on her progress, hoping that she was not losing faith.

“That was a confirmation that, beyond my own interest, there were people who needed this film,” she says. “I felt the immense satisfaction of knowing I was doing something that would be concretely useful.”

For Martel, the question of whether she was the right person to make this film (one she got in Venice) seems unfair. “It’s wrong to prevent a human being from speaking about their own history because they are not a woman, because they are not Black, or because they are not Indigenous,” she says. “It’s better to make mistakes trying to understand something than not to try at all. The chances of making a mistake are enormous in a film, no matter how good your intentions are.”

A key piece of evidence in the Chocobar case, prominent in the film, is a video that one of the attackers filmed, presumably expecting the Indigenous community to react violently, to justify firing his gun at them. The Chuschagasta men that faced them weren’t armed. As used by their aggressors, the camera functioned as a weapon.

Hollywood feels incompatible with Martel’s sophisticated, confrontational movies rooted in her country’s troubles. By Martel’s own admission, it doesn’t feel like a fit for her.

“I would have to force myself to create something outside my own country, outside my own language,” she says. “And that doesn’t really appeal to me.”

Still, Marvel Studios famously asked to meet with her when seeking a director for 2021’s “Black Widow.” Martel says she was among many directors they contacted, but she was curious to take the meeting even if she knew nothing would come of it.

“They wanted to do it over Zoom and I happened to be here in Los Angeles,” she remembers. “I told them I could come in, because I wanted to see what the whole process was like.”

Martel describes the month she spent in L.A. — an eye injury prevented her from flying home sooner — as a “lot of fun in the end,” even if no blockbuster emerged from it. More recently, another Hollywood offer did tempt her, but she ultimately passed.

“It was a good book suggested to me by an actress of undoubted talent,” Martel shares, careful to avoid names. “I considered it, but you very quickly have to picture yourself spending three years or at least a year and a half living in the United States making a movie. I have a thousand things in Argentina to worry about.”

Still, Hollywood, and its significance to moviemaking, has a singular, unnerving allure on her. Two of Martel’s favorite movies set in L.A. are David Lynch’s nightmarish “Mulholland Drive” and Robert Aldrich’s psychodrama “What Ever Happened to Baby Jane?”

“There is something ruthless and utterly devoid of sanity at the heart of this film industry, and I’ve never felt that darkness as clear as in ‘Mulholland Drive,’” she says. “How can an industry that handles so many millions [of dollars] and such impeccably dressed famous people be so full of lunatics? That film captures that perfectly.”

And occasionally, she thinks, a big production breaks the mold, such as Todd Phillips’ “Joker,” which won the Golden Lion at the Venice Film Festival in 2019 when Martel served as jury president — a controversial choice.

“It certainly had an impact on me,” says Martel. “I didn’t vote for it, though. I had another favorite, a Chinese film that stood no chance of winning.”

Phillips, she thinks, created a premonition for what was to come. “For me, the real killer clowns are Trump, Milei or Orbán,” Martel says, referring to polarizing leaders. “They expose themselves to ridicule and spout all sorts of nonsense. Those are clowns. And I think that movie captured that.”

Not one to mince words, Martel elaborates on the relation of Joaquin Phoenix’s social outcast turned supervillain and President Trump.

“The origin of the Joker is social resentment,” she says. “Trump holds no resentment toward society because the system gave him everything. But he has exploited the people who do harbor resentment. That is where you see the kind of clown he is, one who knows how to use people.”

Artificial intelligence, far-right ideologies, voracious capitalism — all of it makes Martel alarmed, seeing it as pushing us collectively to the brink of collapse. But there is hope, she thinks.

“What we have invented is very dangerous but we can dismantle it,” she says. “That is the only thing I’m betting on, that, at some point, a consensus will emerge and we’ll go, ‘Let’s not do this.’”

“I believe that we must use cinema for its enormous power to alter perception and not soothe the rich,” she says. “It’s not about delivering a message but rather about showing how an idea functions.”

She points to one of her subjects in “Our Land,” an Indigenous man who told her he loves the 1959 Charlton Heston epic “Ben-Hur,” a passion she does not share but understands.

“That’s a blow for all of us who make auteur cinema,” Martel says with a laugh. “That feeling that ‘Ben-Hur’ evoked gave him the strength to continue fighting for his community’s territory.”

The night before our interview, Martel rode around L.A. on a scooter holding onto a friend. These days she uses a cane to help her with mobility. “The city has great light,” she says, still open to being surprised by it.

Movie theaters are no longer just for watching stories — they’re becoming live entertainment portals. In a pivot toward live music entertainment, AMC is launching a real-time, interactive concert experience across 300 of its locations.

Unlike the static concert films of the past, the new tech allows artists on a remote stage to see, hear, and respond to the theater audience, effectively turning your local cinema into a stadium.

Pop stars Bebe Rexha, Paris Hilton, Kim Petras and Maren Morris are the first headliners for the concert series hitting AMC screens this June. The program moves away from pre-recorded content, opting instead for live broadcasts that allow artists to perform for a national theater audience in real time.

The movie theater chain is partnering with live entertainment company, Arena One, to bring this technology to 89 markets across the country.

“This is a highly immersive, communal experience, combining the energy of a live concert with the scale, comfort, accessibility and affordability unique to AMC,” Adam Aron, the chief executive officer of AMC Entertainment said during an earnings call Tuesday afternoon.

These one-night-only live events are meant to simulate the look and feel of going to a concert in-person — without the often-pricey cost of admission. According to AMC, the prices for these tickets will range from $40 to $75, depending on the artist and the market.

“The next chapter of live shows isn’t about proximity to big venues, it’s about creating visceral, intimate, affordable live connection between artists and fans no matter where they are,” Rohit Kapoor, Arena One’s founder, said in a statement.

“Arena One gives artists a new cinema-native canvas to create live performances, while amplifying the raw energy and shared fandom that makes live shows unforgettable.”

Music has been a hot topic for movie theaters of late as the industry continues to navigate rough waters amid hopes of a durable post-pandemic recovery.

Between box office-topping biopics like “Michael,” documentaries like “EPiC: Elvis Presley in Concert” and concert films like the forthcoming Billie Eilish movie “Hit Me Hard and Soft: The Tour,” movies rooted in music are consistently drawing sizable and enthusiastic theater audiences.

Aron, AMC’s CEO, added, “We believe that this innovation can open an entirely new chapter in live entertainment while driving incremental attendance and revenue across our circuit.”

Beanie Feldstein and Bonnie-Chance Roberts are expecting a baby, the “Booksmart” actor and her wife announced Monday on social media.

“Limited Edition Scouse Beanie Baby coming soon!!” the couple said in a joint Instagram post, captioning a carousel of pictures showing Feldstein with and without her wife, both dressed in shades of pink and white, plus a white-frosted cake ringed with the pink inscription “B+B are having a baby.”

Anyone want to place a bet on whether it’s a girl?

The “Beanie” in the baby caption is self-explanatory, while “Scouse” is a reference to the accent in Roberts’ Liverpool home town.

Feldstein and film producer Roberts, who met in 2018 during preproduction on the 2019 movie “How to Build a Girl,” made their red-carpet debut at the movie’s premiere and then got married in June 2023. The wedding festivities spanned two days in New York’s Hudson Valley and incorporated a summer camp theme.

Feldstein told Vogue at the time that the ceremony’s outdoor and rustic nature was inspired by “our happy place together.” The “Lady Bird” actor grew up going to summer camp and said her family has a history of finding love in those childhood spaces.

“To get married at a camp was a truly beautiful emotional homecoming,” she said.

Friends including Whitney Cummings, Kaitlyn Dever, Ben Platt, Olivia Wilde, Uzo Aduba, Joey King and Monica Lewinsky chimed in with glee in comments on the joint post.

“Luckiest baby,” wrote Wilde, who directed “Booksmart.” “And I’m finally a grandma!!!!”

Times staff writer Alexandra Del Rosario contributed to this report.

Everyone wants to be “The Devil Wears Prada 2,” as the 20-year sequel strutted to an estimated $77 million in the U.S. and Canada in its opening weekend, highlighting the spending power of women moviegoers at the box office.

The film, which returned stars Meryl Streep, Anne Hathaway, Emily Blunt and Stanley Tucci, nudged out Lionsgate’s “Michael” for the domestic top spot at theaters this weekend. In its second outing, the Michael Jackson biopic brought in $54 million, upping its overall North American total to $183.8 million and its cumulative global haul to $423.9 million.

Worldwide, Walt Disney Co.-owned 20th Century Studios’ “The Devil Wears Prada 2” brought in $233.6 million, according to studio estimates. The theatrical revenue, both domestic and worldwide, edged studio expectations. Already, the film has brought in 72% of the total revenue that the original movie made ($326 million).

The 2006 original has become a cult classic, with lines like Streep’s infamous “that’s all” and Tucci’s “gird your loins” now millennial catchphrases. The popularity of that film has continued over time with repeat viewings on cable television and the Disney+ streaming service.

“Nostalgia is a big driving factor for movies like this,” Andrew Cripps, head of theatrical distribution for Walt Disney Studios, said. “It’s just one of those movies that got into the zeitgeist.”

The fashion-forward sequel had a production budget of about $100 million. The film notched a 77% approval rating on aggregator Rotten Tomatoes.

Women comprised the majority of the audience for “The Devil Wears Prada 2” this weekend, representing 71% of moviegoers, according to data from EntTelligence.

The strong showing for “The Devil Wears Prada 2” highlights the spending potential of female moviegoers, who have had few big movies aimed at them in the last few years.

Despite the billion-dollar blockbuster that was “Barbie” in 2023, Hollywood has largely failed to consistently deliver big films targeted to women. That’s led multiple box office analysts and studio executives to note that the industry is leaving money on the table.

In the past, comparable titles to “The Devil Wears Prada 2” would have been 2008’s “Mamma Mia” or the “Sex in the City” film, but those kinds of movies are now few and far between.

More recent female-focused fare includes last year’s “Wicked: For Good” and Taylor Swift’s “The Official Release Party of a Showgirl,” though “Wicked” has the benefit of also having a longtime Broadway fanbase.

“There haven’t been enough movies for females,” Cripps said. “When you can give them a good movie, as long as the movie plays well and I think this one plays brilliantly, there’s a big audience out there.”

Universal Pictures, Nintendo and Illumination’s “The Super Mario Galaxy Movie” continued its run with a third place finish of $12.1 million at the box office this weekend, followed by Amazon MGM Studios’ “Project Hail Mary” in fourth and Neon’s horror flick “Hokum” in fifth, according to Comscore data.

“All the President’s Men” was released 50 years ago this month, an anniversary that’s been greeted with equal parts rue and reverence by the journalists, political junkies and discerning cinephiles who have worshiped the film for five decades.

As a member of all three of those constituencies, I’ve done my share of genuflecting, most recently as chief film critic at the Washington Post, whose city room was as vivid and fully realized in the movie as Robert Redford’s Bob Woodward and Dustin Hoffman’s Carl Bernstein.

Like so many Posties of my generation, I’ll never forget the so-real-it’s-surreal experience of walking into the fifth-floor newsroom for the first time in 2002. By then, standard-issue electric typewriters and six-ply carbon paper had been replaced by far less visually interesting computers. But the office’s pervading atmosphere of hard work and quiet focus felt uncannily similar to its big-screen analog.

For the last two years, I have been researching a book about the making of “All the President’s Men,” whose production involved almost as many contingencies and unresolved questions as Watergate itself. Among the film’s many mysteries, one I’ve found particularly intriguing has to do with Katharine Graham, publisher of the Washington Post and CEO of its parent company during the Watergate investigations. As the movie amply demonstrates, it took guts for Woodward and Bernstein to persevere with their reporting in the face of terrified sources and their own growing paranoia. But, unbeknownst to many observers at the time, Graham was enduring even more withering pressures, with determination that was all the more impressive for being almost entirely invisible.

I’m still in the process of discovering why she remained invisible in “All the President’s Men.” For now, it’s clear that the backstory is more nuanced than mere oversight or, as many are quick to assume, simple sexism.

In fact, William Goldman’s first script of the film featured a sequence with Graham and Woodward, a scene that appeared in every subsequent draft. Based on an actual meeting between the two, it’s a cagey game of cat-and-mouse, with the publisher taking the measure of a nervous, still-inexperienced journalist, looking for reassurance that his reporting will prove out.

Earlier this year, at a January staged reading of “All the President’s Men” at Harmony Gold Theater in Hollywood — a fundraiser for the Stella Adler Academy — it was possible for fans to conjure what might have been. Mark Ruffalo played Woodward and Ethan Hawke played Bernstein in a version of the movie assembled from different Goldman drafts.

A high point of the evening was when Ruffalo and actor Susan Traylor brought the Graham-Woodward scene to tentative, tense and teasingly playful life. After grilling Woodward about his sources and coyly asking him about Deep Throat’s identity, Traylor’s Graham asked him if the truth about Watergate would ever be revealed. “It may never come out,” Ruffalo’s Woodward replied. “Don’t tell me ‘never,’” Graham laments, before bringing the meeting to a close with a gently peremptory “Do better.”

In poring over director Alan J. Pakula and Goldman’s papers, I’ve probably read that scene dozens of times. But when I heard it play out in real time, I was ambushed by the emotions it stirred — a mixture of pride in Graham’s legacy and deep sadness at how that legacy has been so inexplicably ignored in recent years.

I was also sad that Redford, who died in September, wasn’t there. He often expressed regret that Graham wasn’t a featured character in “All the President’s Men.” Keenly aware of how her spine and steadfastness made Woodward and Bernstein’s work possible, he wanted to honor that crucial support. When I interviewed him for the first time in 2005, he insisted that fearless owners were every bit as important in preserving democracy as the reporters he and Hoffman helped glamorize.

Over the next two decades, every time I saw Redford, he bemoaned the “downward slide of this thing,” by which he meant the constellation of institutions “All the President’s Men” celebrates: not just journalism and a robust First Amendment but a Washington where investigators, prosecutors, judges, the Senate and Congress did their jobs regardless of partisan loyalties, and a Hollywood where a studio as mainstream as Warner Bros. would agree to finance a tough-minded film about a contentious and still-raw period in recent history.

Granted, that film was based on a bestselling book and anchored by two huge stars. But today, with political and corporate leaders — including media companies — falling over each other to curry favor with President Trump, “All the President’s Men” feels like an artifact from a vanished age.

Nowhere is this more distressingly true than at the Post itself, where the newsroom immortalized by the movie has been slashed by more than a third, and where Jeff Bezos, who bought the paper in 2013, seems intent on erasing Katharine Graham’s legacy until it vanishes completely. During the first Trump administration, Bezos stood up to threats against the Post and the press at large that would make Nixon blush, or at least pea-green with envy.

Now, Bezos has become a one-man meme of what author Timothy Snyder calls “obedience in advance,” quashing an endorsement of Kamala Harris, ostentatiously grinning his way through Trump’s second inauguration, vastly overpaying for a promotional film about First Lady Melania Trump and staying conspicuously mum (at least publicly) when a Post reporter’s home was raided by the FBI in January.

All of this has come at an enormous moral and material cost, with thousands of readers canceling their subscriptions and an alarming number of the Post’s finest reporters and writers leaving for other publications and platforms. As my former boss Marty Baron told my former colleague Ruth Marcus in the New Yorker in February, Bezos’ turnaround has been “sickening” to witness: “a case study in near-instant, self-inflicted brand destruction.”

Of course, that brand was built, in no small part, by “All the President’s Men,” which taught a generation how to walk, talk, dress and act like real reporters. (Hint: A good corduroy jacket and a pen in your mouth can’t hurt.)

In 1976, Pakula was interviewed about his dealings with Graham, whom he admired tremendously and with whom he would become close friends. “I could do a film about the Katharine Graham story,” he enthused. “It’s a superb story.”

Thirty years later, Steven Spielberg would bring Pakula’s idea to fruition with “The Post,” about Graham’s decision to publish the Pentagon Papers, a dress rehearsal for the even higher stakes of Watergate a year later.

“The Post,” which starred Meryl Streep in a shrewdly judged performance of aristocratic assurance and creeping insecurity, premiered in Washington less than a year into Trump’s first administration. Bezos attended that screening, which many of us saw as tacit acknowledgment that he was taking her lessons in character, comportment and competence to heart.

That was clearly wishful thinking. Graham may have finally assumed her rightful place in the newspaper-movie canon, but we’re still left to ponder her absence from the most iconic journalism movie of the 20th century.

It’s no longer the shoe-leather reporters who need a big-screen tutorial in how to do their jobs. It’s their bosses. A simple place to start would be to memorize the best two-word speech to never appear in a major motion picture: Do better.

Ann Hornaday was a film critic at the Washington Post from 2002 to 2025, when she retired. “All the President’s Men” plays at TCM Classic Film Festival Saturday at 2:45 p.m.

Each of us has a shortlist of movies we find ourselves rewatching, movies we will finish even if they’re half-over when we tune in. Even if it’s being streamed with commercials. Even if it’s playing on a 19-inch black-and-white television with no sound in a crowded dive bar.

For the past 20 years, “The Devil Wears Prada” has been one of those films for me and other Americans who entered the workforce just in time to say goodbye to pensions and hello to increases in student loan debt. Generation X had the highest homeownership rate relative to their age, so when the housing bubble popped in 2008, it hit Gen X the hardest. And yet this same group of workers is also shouldering the care of aging parents and adult children. According to Pew Research, more than half of 40-year-olds (“elder millennials”) and more than a third of 50-year-olds fall into this category, doing so with shrinking financial margins because wages have lagged behind the cost of living our entire adult lives.

While the current No. 1 movie at the box office — the biopic chronicling Michael Jackson’s rise from Gary, Ind., in 1966 to headlining stadiums in 1988 — may evoke a sense of nostalgia for Gen X, the sequel to “Devil” (which opens in theaters Friday) feels more like a peer review.

Twenty years ago, when we last saw our protagonist, Andrea Sachs, she had decided to leave her big corporate job because success in that environment required her to be someone she didn’t like or respect. As young professionals, seeing a fictional character like Sachs leave a toxic work environment felt like a satisfying conclusion in 2006. However, over the decades, you learn work/life balance is an oxymoron and characteristics such as integrity and loyalty are often valued but rarely useful on a spreadsheet.

Don’t get me wrong — I love the campy humor, the fashion and soundtrack of the first “Devil.” However, the thing that elevated the Oscar-nominated film to its cultlike status is the same thing that lifted similarly edgy coming-of-age stories such as “The Graduate” in 1967, “American Graffiti” in 1973 and “Fast Times at Ridgemont High” in 1982: truth. Despite the fantasy elements of beautiful and talented people dressed in clothing designed by the upper echelon of the fashion industry, “Devil” has a sequel because what Sachs was experiencing felt real. Many of us have been there — behind on rent, desperately trying to build a career, navigating friends and romance.

The line the character Nigel told an overwhelmed Sachs in the original — “let me know when your whole life goes up in smoke … means it’s time for a promotion” — was more than a humorous quip. It was also foreshadowing for the young professionals in the audience who had not yet learned that being good at your job, or even great, wasn’t enough to keep it.

We know that all too well now. Just this week, the Wall Street Journal reported corporate layoffs in the first quarter of 2026 surpassed 200,000. Of course, it wasn’t always like this.

According to the Economic Policy Institute, in the immediate three decades after World War II, workers saw their hourly compensation in line with the country’s productivity growth. That’s because during the height of the Cold War — when employers offered employees pensions and union participation was at its peak — corporate America was incentivized to offer labor a larger share of the profits as a way to counteract communism. However, when the Soviet Union fell in the early 1990s, so did the motivation from domestic CEOs to share profits with workers. The split between capital and labor began measurably in 1970, and the gap has only increased since.

Twenty years ago — before the 2008 recession, the pandemic and the nearly $1-trillion price tag stemming from the Afghanistan war — it was believable a young professional like Sachs would walk away from a good corporate job for the sake of her integrity. However, given how fraught the current work environment feels, with the shadow of artificial intelligence looming over entry-level positions across multiple disciplines, would we find Sachs’ actions believable today? Or laudable? Or would we demand that she compromise her principles because it’s pragmatic to let go of the idealism of youth? Time has forced many of us to begrudgingly accept that possibility. Our younger selves might not approve, but our older selves know that’s how most people survive long enough in their careers to have a sequel.

YouTube: @LZGrandersonShow

SEOUL, May 1 (UPI) — South Korean entertainment giant CJ ENM premiered its AI-hybrid feature film The House this week, presenting the low-budget occult thriller as a test case for how artificial intelligence could help revive a struggling film industry.

The 60-minute film, unveiled Thursday at CGV Yongsan I’Park Mall in Seoul, follows a young woman who can see dead souls after moving into a decrepit apartment building. It is scheduled to be released Friday on CJ ENM’s streaming platform TVING.

Taken on its own merits, The House is far from innovative. It scans as a fairly forgettable horror flick, leaning heavily on gloomy atmospherics, digital gore and jump scares in service of a paper-thin story.

But behind the scenes, the film represents a cutting-edge use of fast-evolving technology that dramatically reduces both costs and production time.

CJ ENM said the actors’ performances were filmed entirely indoors on a green-screen stage, while every background and visual effect was created with AI, using Google tools including Imagen, Nano Banana and Veo.

“We have expanded the production paradigm,” Jeong Chang-ik, head of CJ ENM’s AI Studio and lead producer of The House, said at a panel discussion after the premiere Thursday.

The film cost about $337,000 to produce — at least five times less than a comparable conventional production, Jeong said.

He added that the efficiency gains could be especially significant for genre films, disaster movies and other effects-heavy productions.

“From our perspective, there isn’t much difference in production costs between making a scene where a main character drinks coffee at a cafe and making a scene where that main character defeats a monster,” he said. “In reality, there is a huge difference, but in terms of AI, the difference is not much.”

Actor Kim Shin-yong, who plays a security guard in the film, said the process differed sharply from traditional chroma-key filming, where performers must imagine effects that are added later.

“I could perform while seeing the completed backgrounds in real time, which made immersion much better,” Kim said, adding that the entire shoot took just four days.

The rapid adoption of AI has raised alarm across the global entertainment industry, helping fuel strikes in Hollywood in 2023 amid concerns over job losses and creative control. But the technology is already being widely integrated across production pipelines.

The team behind The House said the goal is not to replace actors or creators, but to integrate AI into existing production workflows.

Ahn Sung-min, director of customer engineering at Google Cloud Korea, said AI is being used not to “take the place of creation,” but to help realize creators’ intent within the filmmaking process.

CJ ENM executives also pushed back on the idea that AI could replace human performers.

“We are actually certain that AI cannot replace the acting of actors,” Baek Hyun-jung, head of content innovation, said. “That’s why we designed this hybrid approach — to preserve the actor’s unique expressiveness while using AI for backgrounds and effects.”

The experiment comes as South Korea’s film industry faces mounting pressure from rising production costs, reduced investment and competition from streaming platforms.

Korean Film Council data showed theater admissions fell 13.8% in 2025 from a year earlier, while revenue from domestic films plunged 39.4%.

Despite the global popularity of Korean content, Culture, Sports and Tourism Minister Chae Hwi-young said in September that the reality facing the country’s creative industries is one of “despair.”

He singled out the film sector as the most vulnerable, noting the number of commercial Korean productions has dropped from around 60 per year to about 20 in 2025.

“Investment has stopped, and the film production scene has run out of money,” Chae said. “The ecosystem of the film industry is collapsing to the point where filmmakers can’t make a living.”

Some A-list filmmakers have responded with dramatic measures such as “microbudget” productions. Train to Busan director Yeon Sang-ho’s 2025 film The Ugly was made for around $150,000 and performed respectably, drawing more than 1 million theatrical viewers before landing on Netflix.

Against that backdrop, AI is increasingly being seen as a potential lifeline for the industry.

For CJ ENM, The House builds on a growing slate of AI-driven projects, including the animated series Cat Biggie, released online last year.

The new film is less a finished template than a proof of concept. Its visual seams remain visible, and panelists acknowledged that AI tools still struggle with consistency, particularly in longer narrative works.

Still, executives said AI will likely become inseparable from mainstream filmmaking.

“I think AI will be the next generation after CGI,” Baek said. “The era in which the boundaries between regular movies and AI movies disappear will surely come quickly.”

For years, the NFL has playfully scoffed at conspiracy theories its drama is scripted.

Now, the league has hired some of the best writers in the entertainment industry to do just that.

The NFL is going Hollywood, looking to expand its audience with theatrical motion pictures and its first scripted streaming series. This isn’t just about using the names and logos of real NFL teams, but diving headlong into storytelling about the league in the form of upcoming movies — one about John Madden, another a Christmas Day release about an unlikely hero for the New York Giants — and “The Land,” a dramatic Hulu series centered on fictional characters and the Cleveland Browns starring Christopher Meloni, Mandy Moore and William H. Macy.

It’s the next step in the partnership between the NFL and Skydance Sports, the forming of a premier content studio aimed at creating must-watch storytelling and attracting everyone from hardcore football fans to people who otherwise have no real interest in the game.

The NFL has long contended it’s the world’s greatest reality show and the numbers support that. According to Sportico, NFL games were 84 of the top 100 most-watched television shows last year. And the year before, it was 93 of 100.

“When you have an audience as big as the NFL’s, there are a lot of different demographics to service and engage even more deeply,” said Jason Reed, who heads Skydance Sports. “Those movies work as a fan service. They service towns, fans of those franchises, and they really connect. What they also do is pick up this other group of people who maybe wouldn’t watch a football game.”

Pulling back the curtain on the league is a challenge. The NFL isn’t likely to sanction unflattering content, at least not much of it, yet the goal is to make the stories as realistic as possible. How will the writers handle issues such as concussions, drug use or domestic violence? That was addressed in a presentation at last month’s owners meetings by JW Johnson of the Haslam Sports Group, who oversees the business strategy of the Browns.

“We don’t want this to be — no offense to our friends at ESPN — a ‘Playmakers’ situation,” said Johnson, referring to the popular but short-lived series on the Cougars, a fictional football team, that explored mature themes and was canceled after one season after pressure from the NFL. “We want this to be a really fan-friendly show that also has the authenticity of what happens in a locker room and on the field. We’re very comfortable with it.”

David Corenswet as “John Tuggle” and Isabel May as as “Katie” in Mr. Irrelevant: The John Tuggle Story,” from Paramount Pictures.

(Sarah Enticknap / Paramount Pictures)

Dan Fogelman, creator of “This is Us,” and a lifelong football fan, had long envisioned writing a dramatic series based on his favorite sport. That led to “The Land,” which began production last fall and does not have an official premiere date.

“We’re not making this stuff up out of thin air,” said Fogelman, who also created the Hulu series “Paradise,” a post-apocalyptic political thriller. “The characters are flawed and they do bad things, but the NFL has been great about that. I was worried up top, and it just hasn’t been an issue because we’re not out there looking to be salacious. We’re not trying to do ripped-from-the-headlines, crazy, exaggerated versions of reality. We want things that really happen, done accurately and in a cinematic way.”

To that end, he brought in actual NFL players as consultants to help with the storylines and make sure the details make sense.

“We had a bunch of NFL players come and visit us in our little office, and we’re on the second floor,” he said. “Some of my heroes were in that room. I was genuinely concerned the floor was going to fall through.”

Enter NFL Films, which for more than six decades has turned a violent sport into an art form, filling the frame with meticulous focus on a Matthew Stafford spiral — and without the benefit of a second take. Those camera operators are heavily involved in the production of both the upcoming movies and the streaming series.

“That’s our whole thing,” Reed said. “How do we support great filmmakers and make sure they know how to access the resources and expertise that NFL Films has developed over 60 years, and combine those two together? That, to me, is the secret sauce of the venture.”

What’s more, what the father-and-son combination of Ed and Steve Sabol created in NFL Films provides an incredible library for future projects.

“The well is infinite,” said Jessica Boddy, vice president of commercial operations and business affairs for NFL Films. “We’ve only scratched the surface.”

For Fogelman, “The Land” is scratching a creative itch he’s felt since childhood.

“I’ve wanted to do this show for 20 years,” he said. “I’m a failed athlete myself. My connection with my father growing up — he worked a lot — was I grew up in Pittsburgh as a Steelers fan and also migrated to New Jersey, where we became Giants fans. My dad would let me watch games with him if I was quiet and didn’t act goofy. We would also throw the football back and forth.

“Now, many decades later, my father is 83, and our connection is that we talk every Monday after Giants games. He now talks with my son and me. For me, football has been very much in the fabric of my life and my relationship with my friends. This has been something I’ve been chasing for a very long time.”

Sophy Romvari’s luminous debut feature “Blue Heron” is a loving and studious act of remembrance. Her protagonist and surrogate, Sasha (Amy Zimmer), attempts to understand her family’s past through a reverent process of recreation. While she finds that not everything can be understood, there is beauty and solace in the journey itself — and maybe a kind of catharsis.

“Blue Heron” is an autobiographical project, but it’s more apt to call it a memoir. Sasha admits she doesn’t remember much of her childhood and doesn’t even trust the fragments. But she will try anyway. As Sasha zooms in on her iPhone, standing at the bluff overlooking her hometown, Romvari rolls up the back of a moving truck to deliver a lush slice of ’90s childhood nostalgia, picking up the memory as her Hungarian immigrant family — two parents, three brothers and one sister — arrive at their new home on Canada’s Vancouver Island.

Father (Ádám Tompa) settles into work on the home computer; Mother (Iringó Réti) attempts to amuse the kids with trips to the beach and nature preserves. Snippets of summer filter through the eyes and ears of 8-year-old Sasha (Eylul Guven) and in the photos snapped by their parents.

But a disquieting presence looms: Jeremy (Edik Beddoes), the eldest son. Blond, light-featured and tall, he is visually distinct from the three other children and his silent rebellion permeates the atmosphere.

His misbehavior is minor — irritating but untenable when stacked together — like bouncing a ball against a wall, disappearing for fun or climbing on the roof. He mostly just seems like a moody, unsatisfied teen, drawing elaborate maps and sometimes playing with his siblings sweetly. It all seems like harmless mischief until it escalates.

The movie’s title refers to a key chain from a gift shop that Jeremy, who almost never speaks, presents to his younger sister. Like him, the film is quiet and meditative, bathed in the cool blues and verdant greens of the setting, captured in Maya Bankovic’s saturated cinematography. We are transported to a place of natural beauty and a period of seemingly unlimited time. But Jeremy-related tension simmers beneath the domestic surface, just as it does in Chantal Akerman’s 1975 landmark “Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles,” referenced in a shot of a mother and daughter peeling potatoes.

“Blue Heron,” though, is not just going to simply be a throwback family drama about a troubled boy and his younger sister. The film suddenly zooms out, linearly, to two decades later. Zimmer’s older version of Sasha is grappling with her brother’s void and she does so with her mind, her work, her actions. She conducts a focus group of social workers for a documentary in order to try to understand Jeremy’s behavior and the treatment he got at the time. She scrubs through video and photos and interviews a case worker. She escapes into old movies.

In Romvari’s award-winning 2020 short “Still Processing,” a companion piece to “Blue Heron,” she processes the loss of two brothers through photography, sifting through boxes of old photos and film negatives shot by her father, who trained as a cinematographer in Hungary. It seems natural for Romvari to access the emotional through artistic practice, to give her — and Sasha — something to do with their hands. The tactility of the photographs in “Still Processing” provide an access point to the past. Romvari weeps as she spreads them out on a table, saying “hi” softly to her brothers. But there’s a remove in the rigorous focus on the snapshots that perhaps also protects her from the full crushing weight of these emotions.

But in a film like “Blue Heron,” anything is possible, including time travel, and for Romvari, it’s the channel that she offers Sasha to achieve the closure that she needs: a visit to a time she doesn’t really remember, even as she’s building an archive of materials to bolster herself.

If young Sasha watches (and Guven is absolutely terrific at watching), the older Sasha speaks. Zimmer, a New York City comedian, is tasked with a heavy, grief-laden dramatic role, and she’s utterly convincing, entrancing in her stillness. But she also has a way with words, a clarity that rings with a rare kind of honest empathy, especially in a letter that Sasha reads to her parents.

That letter is what “Blue Heron” represents for its filmmaker — an attempt to re-create the past, to bring it back to life. Even if imperfect, the value is in the effort, in the ongoing practice of remembering, as an act of devotion to family and self.

Michael Jackson’s famous clan stepped out to celebrate the premiere of the new “Michael” biopic, but some of the Jacksons snubbed the event and have opposed the film.

On Monday at the Dolby Theatre in Hollywood, several members of the Jackson family gushed about the Antoine Fuqua-helmed film, which depicts the origin story of the King of Pop and follows the hitmaker from childhood through his upward trajectory to superstar status in the 1980s.

Michael Jackson’s nephew Jaafar Jackson, son of Jermaine Jackson, starred in the title role, and his aunts and uncles dropped accolades for his performance in red carpet interviews. Marlon Jackson said, “Watching the movie, sometimes we think we’re watching Michael up there, that’s how good he is.”

La Toya Jackson called his performance “absolutely excellent” and echoed Marlon, saying that she forgot she was watching Jaafar: “I thought I was watching my brother.”

But not all of the Jacksons were up for celebrating the film. Most notably absent were the “Beat It” singer’s pop star sister, Janet Jackson, and his daughter, Paris Jackson. The eldest of the siblings, Rebbie Jackson, also skipped the event. And although the film includes portrayals of many of the Jackson siblings, some also asked to be left out of the biopic, including Janet.

“I wish everybody was in the movie,” La Toya Jackson told Variety at the premiere. “She was asked and she kindly declined, so you have to respect her wishes.”

Last month, rumors began to swirl that the “All for You” singer attended a family screening of the film and wasn’t pleased. Page Six reported that Janet and Jermaine got into a spat, with Janet critiquing almost every scene.

At Monday’s premiere, “Entertainment Tonight” asked La Toya about the controversy, which she was quick to shut down. “There was absolutely no problem whatsoever, none whatsoever,” she said. “Please believe it.”

Although both of Michael Jackson’s sons, Prince and Bigi, have supported events for the film (Prince attended Monday’s premiere, and Bigi attended a Berlin premiere last week), and Prince served as an executive producer and was regularly on set, Paris Jackson has been vocal about her lack of involvement.

Last year, she posted on social media that she gave feedback on an early draft of the film, but her notes weren’t addressed. “I’ve left it alone,” she said. “It’s not my project, they’re going to make whatever they’re going to make.”

Paris Jackson, who works in the entertainment industry as a model, actor and musician, said she had stayed quiet about her feelings toward the “sugar-coated” project because she knew many people would be happy with it. “The film panders to a very specific section of my dad’s fandom that still lives in the fantasy,” she said.

“The thing about these biopics is, it’s Hollywood. It’s fantasy land. It’s not real, but it’s sold to you as real,” she continued. “The narrative is being controlled, and there’s a lot of inaccuracy, and there’s a lot of full blown lies, and at the end of the day, that doesn’t really fly with me.”

In earlier drafts of the “Michael” script, plot points included sexual abuse allegations brought by 13-year-old Jordan Chandler in 1993. Reportedly, the Michael Jackson estate became aware of a contract that legally barred the dramatization of the Chandler family and had to scrap parts of the script.

The film was originally set to premiere last year, but the production needed a new ending and weeks of reshoots to make the new iteration of the film work. In the version that hit theaters this week, “Michael” concludes in 1988, with a teaser for a potential Part 2.

Colman Domingo and Nia Long, who portray Michael Jackson’s parents, Joe and Katherine Jackson, appeared on “Today” this week and addressed the elephant in the movie theater.

“The film takes place from the ‘60s to 1988, so it does not go into the first allegations,” Domingo said. “Basically, we center it on the makings of Michael. So it’s an intimate portrait of who Michael is … through his eyes. So that’s what this film is.

“And there’s a possibility of there being a Part 2 that may deal with some other things that happen afterward,” he continued. “This is about the making of Michael, how he was raised, and then how he was trying to find his voice as an artist and be a solo artist.”

Long added that there might be a sequel, “if the price is right.”

The DC universe is going full on body horror.

DC Studios released its first trailer for “Clayface” on Wednesday, giving audiences a glimpse of the gruesome origins of the shape-shifting Batman villain.

Set to an eerie rendition of the Flaming Lips’ “Do You Realize??,” the teaser flashes among various images of up-and-coming Hollywood actor Matt Hagen (portrayed by Tom Rhys Harries) before and after a violent encounter as the camera slowly zooms toward his haunted eyes and bloody, bandaged face as he is recovering on a hospital bed.

The clip also includes footage of Hagen’s clay-like, malleable face, which he appears to gain after some sort of scientific procedure.

According to the DC description, “Clayface” will see Hagen transformed into a “revenge-filled monster” and explore “the loss of one’s identity and humanity, corrosive love, and the dark underbelly of scientific ambition.”

“Clayface,” set for an Oct. 23 release, will be the third DCU film to hit theaters since James Gunn and Peter Safran took over DC Studios and reset (most of) its comic book superhero franchise. The studio’s upcoming slate also includes “Supergirl,” which will hit theaters June 26, as well as “Man of Tomorrow,” the sequel to Gunn’s 2025 blockbuster “Superman,” announced for 2027.

Who is Clayface?

Clayface is a DC Comics villain usually affiliated with Batman. The alias has been used by a number of different characters over the years, but they all usually possess shape-shifting abilities due to their clay-like bodies. Created by Bill Finger and Bob Kane, the original Clayface was a washed-up actor turned criminal who first appeared in a 1940 issue of “Detective Comics.”

Matt Hagen was the name of the second Clayface, who first appeared in an issue of “Detective Comics” in the 1960s. He was the first to have shape-shifting powers, which he gained after encountering a mysterious radioactive pool of protoplasm.

Other versions of Clayface have been introduced in various media since.

Who is in ‘Clayface’?

The upcoming film stars Tom Rhys Harries as rising Hollywood actor Hagen. The cast also includes Naomi Ackie, who is seen in the trailer, reportedly as the scientist Hagen turns to for help following his disfigurement. Also set to appear are David Dencik, Max Minghella and Eddie Marsan, as well as Nancy Carroll and Joshua James.

Who are the ‘Clayface’ filmmakers?

Director James Watkins, known for horror films including “Speak No Evil” (2024), is helming “Clayface.” The script was written by prolific horror scribe Mike Flanagan (“The Haunting of Hill House,” “Doctor Sleep”) and Hossein Amini (“The Snowman”).

The producers are Matt Reeves, Lynn Harris, James Gunn and Peter Safran. Exective producers include Michael E. Uslan, Rafi Crohn, Paul Ritchie, Chantal Nong Vo and Lars P. Winther.

Amid the bustle and glitz of last week’s CinemaCon in Las Vegas, one question loomed over the annual trade convention — how will the proposed Paramount Skydance-Warner Bros. Discovery deal affect the movie theater business?

That anxiety showed up in a state of the industry speech from Cinema United trade group President Michael O’Leary, who reiterated his organization’s opposition to further industry consolidation.

It showed up in a trailer for Amazon MGM Studios’ upcoming film “Spaceballs: The New One,” when a voiceover poked fun at Hollywood studios “merging willy-nilly” as images of the Paramount sign and Warner Bros. water tower flashed across the screen.

And the subject again took center stage — literally — when Paramount Chief Executive David Ellison himself gave a speech during his studio’s presentation at Caesars Palace. He sought to reassure the assembled movie theater operators and exhibition executives that the combined company would indeed release a minimum of 30 films a year.

“I wanted to look every single one of you in the eye and give you my word,” he said during an onstage speech, in which he also committed to a 45-day theatrical window and 90-day period before films go to streaming services. “People can speculate all they want, but I am standing here today telling you personally that you can count on our complete commitment. And we’ll show you we mean it.”

It’s true that Paramount has nearly doubled its theatrical releases since Ellison took over. As he noted in his speech, the storied studio is now planning 15 films this year, up from eight in 2025.

But as I’ve written previously, theater owners and other studio executives question how releasing 30 movies a year across the combined Paramount-Warner Bros. would work — not only in terms of giving each film the proper marketing campaign to succeed in theaters but also because of the massive cost cuts that will inevitably occur once the merger is final.

Still, Ellison’s commitment to 30 films a year got a round of enthusiastic applause — and at least one high-profile boost.

A day earlier, AMC Entertainment Holdings Inc. Chief Executive Adam Aron told me in an interview that he backed Ellison’s takeover of Warner, saying he and AMC believed in the tech scion’s talent as a filmmaker and a movie executive, as well as his pledge to release those 30 films a year.

“We’re enthusiastic that David will fulfill his promises,” Aron said. “And that in the end, this will prove to be a good thing for our company and our industry.”

Not everyone shares that enthusiasm.

More than 4,000 people have now signed an open letter opposing the Paramount-Warner deal, arguing that consolidating two studios will lessen consumer choice and job opportunities for creatives, particularly at a time when Hollywood is already struggling. (Notable signatories include “Dune” director Denis Villeneuve, actors Glenn Close and Emma Thompson, as well as director and producer JJ Abrams.)

O’Leary of Cinema United similarly wasn’t convinced.

“While recent pledges attempt to address the threats of consolidation to our industry, they are not yet sufficient in addressing our concerns,” he said in a statement released hours after Ellison’s speech. “We remain open to tangible commitments that will ensure a vibrant global theatrical exhibition industry for years to come.”

Elsewhere at CinemaCon, the mood was upbeat.

Warner Bros. film chiefs Mike De Luca and Pam Abdy struck a triumphant tone after an award-winning year for the studio, capped off by the best picture win for “One Battle After Another.”

They unveiled footage from new films like the upcoming “Digger” from director Alejandro G. Iñárritu and brought out lead actor Tom Cruise to a sustained standing ovation from the audience. And both De Luca and Abdy espoused optimism for the future of the theatrical business. The studio plans to release 14 films this year and as many as 18 for 2027.

“The film business has always required smart betting, and we have 4 billion reasons from last year to think we’re holding the right cards,” De Luca said during the presentation, referring to the studio’s worldwide box office revenue last year.

“We all know they’re not all going to work. That comes with taking swings,” Abdy said of the studios’ films. “There’s no version of this business that’s risk-free. But our job is to step up, make our bets and own it when it doesn’t work.”

But the end of the presentation felt more somber, with the executives asking the heads of Warner Bros.’ labels to come to the stage and be recognized. Shortly after, they asked Warner Bros. employees in the audience to stand for applause. It was hard to escape the feeling that this may be the end of an era.

Stuff We Wrote

Film shoots

Number of the week

1,000

Last week, Walt Disney Co. began a sweeping round of layoffs that’s expected to cull 1,000 jobs across multiple divisions.

As my colleague Meg James reported, the cuts hit Disney’s television and movie studios, sports giant ESPN, its product and technology unit, corporate functions and marketing. Even Marvel Studios’ visual development team was affected.

The layoffs are one of the first major moves under new Disney Chief Executive Josh D’Amaro, who took the reins of the company last month. In a message to employees, he said the company needed to “constantly assess how to foster a more agile and technologically-enabled workforce to meet tomorrow’s needs.”

What I’m watching

Some friends and I watched “Fukushima: A Nuclear Nightmare” this past weekend, a truly eye-opening documentary that explains what happened during the March 11, 2011, nuclear accident and whether the world has learned anything from it.

Patrick Muldoon, known for his roles on “Days of Our Lives,” “Melrose Place” and “Starship Troopers,” has died. He was 57.

The actor and producer reportedly died Sunday, his manager confirmed to Variety. According to Deadline, Muldoon died suddenly after a heart attack. The Times has reached out to Muldoon’s reps for comment.

Muldoon originated the role of Austin Reed on the daytime soap opera “Days of Our Lives.” He first portrayed the aspiring boxer and brother of Lisa Rinna‘s Billie Reed from 1992 to 1995, and returned to reprise the role from 2011 to 2012 (the character had since become a forensic accountant).

“Austin is a wonderful role,” Muldoon told The Times in 1995. The actor explained he took his “sweet time” mulling over whether to leave the show because “it was one hell of a decision to make.”

“I’m leaving for no other reason than why other people leave soaps,” Muldoon said at the time. “To take a shot at doing other things like nighttime, movies and other things. … I feel confident right now so I figured I better take the shot sooner than later. If I don’t, I’ll always wonder ‘what if.’ ”

He played the recurring villain Richard Hart on the primetime soap “Melrose Place” for three seasons beginning in 1995. Muldoon’s big-screen roles include Zander Barcalow, a pilot and rival of Casper Van Dien’s Johnny Rico, in Paul Verhoeven’s 1997 movie “Starship Troopers.”

Born September 27, 1968, in San Pedro, Muldoon’s early passions included football. He started playing at the age of 6 and would go on to play at Loyola High School and then at USC.

“I did fairly well for being a smaller tight end,” Muldoon told The Times in 2012, adding that getting run over during practice by USC teammate Junior Seau — the late linebacker who had a 20-year NFL career — was among the factors that led him to pursue acting instead. Muldoon began his acting career during the sport’s offseason, and his earliest roles were on shows such as “Who’s the Boss?” and “Saved by the Bell.”

In addition to acting, Muldoon was a producer with credits on films such as “Riff Raff” (2024), “Marlowe” (2022), “The Card Counter” (2021) and “The Comeback Trail” (2020). Most recently, he shared on Instagram his excitement of being among the executive producers for the upcoming film “Kockroach.”

Nearly two years after actor Alec Baldwin was cleared of criminal charges in the “Rust” movie shooting death, a long simmering civil negligence case is inching toward a trial this fall.

On Friday, a Los Angeles Superior Court judge denied a summary judgment motion requested by the film producers Rust Movie Productions LLC, as well as actor-producer Baldwin and his firm El Dorado Pictures to dismiss the case.

During a hearing, Superior Court Judge Maurice Leiter set an Oct. 12 trial date.

The negligence suit was brought more than four years ago by Serge Svetnoy, who served as the chief lighting technician on the problem-plagued western film. Svetnoy was close friends with cinematographer Halyna Hutchins and held her in his arms as she lay dying on the floor of the New Mexico movie set. Baldwin’s firearm had discharged, launching a .45 caliber bullet, which struck and killed her.

The Bonanza Creek Ranch in Santa Fe, N.M. in 2021.

(Jae C. Hong / Associated Press)

Svetnoy was the first crew member of the ill-fated western to bring a lawsuit against the producers, alleging they were negligent in Hutchins’ October 2021 death. He maintains he has suffered trauma in the years since. In addition to negligence, his lawsuit also accuses the producers of intentional infliction of emotional distress.

Prosecutors dropped criminal charges against Baldwin, who has long maintained he was not responsible for Hutchins’ death.

“We are pleased with the Court’s decision denying the motions for summary judgment filed by Rust Movie Productions and Mr. Baldwin,” lawyers Gary Dordick and John Upton, who represent Svetnoy, said in a statement following the hearing. “He looks forward to finally having his day in court on this long-pending matter.”

The judge denied the defendants’ request to dismiss the negligence, emotional distress and punitive damages claims. One count directed at Baldwin, alleging assault, was dropped.

Svetnoy has said the bullet whizzed past his head and “narrowly missed him,” according to the gaffer’s suit.

Attorneys representing Baldwin and the producers were not immediately available for comment.

Svetnoy and Hutchins had been friends for more than five years and worked together on nine film productions. Both were immigrants from Ukraine, and they spent holidays together with their families.

On Oct. 21, 2021, he was helping prepare for an afternoon of filming in a wooden church on Bonanza Creek Ranch. Hutchins was conversing with Baldwin to set up a camera angle that Hutchins wanted to depict: a close-up image of the barrel of Baldwin’s revolver.

The day had been chaotic because Hutchins’ union camera crew had walked off the set to protest the lack of nearby housing and previous alleged safety violations with the firearms on the set.

Instead of postponing filming to resolve the labor dispute, producers pushed forward, crew members alleged.

New Mexico prosecutors prevailed in a criminal case against the armorer, Hannah Gutierrez, in March 2024. She served more than a year in a state women’s prison for her involuntary manslaughter conviction before being released last year.

Baldwin faced a similar charge, but the case against him unraveled spectacularly.

On the second day of his July 2024 trial, his criminal defense attorneys — Luke Nikas and Alex Spiro — presented evidence that prosecutors and sheriff’s deputies withheld evidence that may have helped his defense . The judge was furious, setting Baldwin free.

Variety first reported on Friday’s court action.

Film buffs understand that nearly every movie is, at heart, a travelogue — even if it occurs in your neighboring town — and that most travelogues can come across like love stories, whether anyone ends up together or not. That’s the whimsical, charged appeal of the Charli XCX-starring “Erupcja,” a mélange of romance, escape and disruptive coincidence in modern Warsaw from American micro-auteur Pete Ohs.

If you put footage of a smoke-spewing volcano under that Polish title, you’ll gather what the word means, which is exactly what Ohs does at the beginning, color-tinting his boxy frame ’60s-arthouse-style and adding a vintage Mancini-esque track from a Polish chanteuse. All the better to seed the belief that we’re about to experience something dreamy and convulsive.

That said, a volcano isn’t why British couple Bethany (Charli XCX) and Rob (Will Madden) have arrived in Warsaw. That rumbling you hear could also just be suitcases rolled over ancient streets. Besotted Rob’s surprise plan was to propose to Bethany in Paris — as revealed to us in omnipotent voice-over (by Jacek Zubiel) that fills in the feelings and backstories of our protagonists.

Bethany chose Warsaw, however, because she has a rekindling in mind, in the form of her longtime friend Nel (Lena Góra), a florist for whom Bethany’s unprompted arrival under her balcony one night — stealing away from her Airbnb with Rob — is complicated and exciting. With the news breaking that Italy’s Mount Etna has just erupted, grounding planes across Europe, a mighty passion they forged as teenagers, fueled by drugs, clubbing, heart-to-hearts and poetry, has once more been unleashed. It’s just their thing: Whenever Bethany and Nel connect, a volcano announces itself somewhere in the world. Woe be to the moony boyfriend or, in Nel’s case, exasperated girlfriend (Agata Trzebuchowska), left behind to dust off the ash.

“Erupcja,” which Ohs also photographed and edited with impressionistic verve, unfolds as if Jacques Rivette’s playful air of mystery and Roberto Rossellini’s earthy melancholia had somehow come together to form a zillennial with a restless heart. Ohs makes movies with the in-the-moment creative participation of his cast — he, Charli, Madden, Góra and playwright Jeremy O. Harris, who portrays a friendly American artist, are the credited writers and the whole enterprise goes down like a cocktail of ruminations and swerves invented on the spot, but not haphazardly.

You get the buzz (music by Charlie Watson and Isabella Summers plays a big part), the hangover, but also an aura of remedy and renewal. It’s all very human, evident in the pop star’s subtly frisky portrait of someone drawn to abandon (Charli should definitely continue acting), but also in Madden’s unshowy, mature hurt and in how Góra suggests the more grounded half of a self-mythologizing duo. Ohs works in evocative details: inserted frames of color, like mood flashes, or a shot of a lonely phone ringing, never getting picked up.

He leaves it up to you to wonder if Bethany and Nel have ever been more than friends — “It’s not Romeo and Juliet,” Nel coolly declaims from her balcony upon glimpsing Bethany waiting below — but what’s fun is how that’s ultimately beside the point. The edgy appeal of “Erupcja” is in the way it maps humans as molecules and electrons, fizzed by location, inspired by connection, driven to hover, fuse and release. The characters may get bounced around a bit and some will feel stranded, but you’ll know you’ve been taken somewhere new by this charming indie.

BACK in the 80s and early 90s, this movie star was known for huge blockbuster films, and was one of the biggest names in Hollywood.

Sadly, in 1991, the actor’s beloved wife died and he started to take a step back from the limelight and eventually quit fame – but now the 72-year-old star is making his big comeback.

Rick Moranis, famed for 80s films like Ghostbusters, thrilled fans when he made a rare appearance at CinemaCon 2026.

The much-loved actor was spotted at the big event with the cast of the Spaceballs sequel as he prepares for his return to the big screen.

It was announced last year that the Canadian actor would be reprising his role as Dark Helmet.

The original movie, which is a spoof of Star Wars, came out in 1987 and starred many notable names, including Mel Brooks, Daphne Zuniga, Bill Pullman, the late John Candy, and Joan Rivers, among others.

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Many of Rick’s former co-stars have returned for the sequel, such as Mel, Daphne, Bill, and George Wyner.

There are also several new faces among the cast, including Josh Gad and Keke Palmer.

The cast joined Rick at a panel event to promote the movie at CinemaCon.

Despite the star rarely being seen in the last three decades, the actor hasn’t changed much in appearance.

The Flintstones star wore his trademark round-framed glasses, which he was famed for in his iconic movies.

Other than Spaceballs, Rick starred in many successful films in the 1980s and 1990s, including Honey, I Shrunk the Kids and its sequels, and playing Barney in The Flintstones.

Sadly, Rick started to take a step back from Hollywood when his wife, Anne Belsky, passed away from breast cancer in 1991.

During the 90s, he slowly started to quit fame to focus on parenting his two children.

Although Rick hasn’t been seen on screen, he hasn’t entirely distanced himself from acting.

He lent his voice to several animated projects over the years, including Disney‘s Brother Bear in 2003, and its sequel, Brother Bear 2, in 2006.

Rick’s voice also appeared in a 2018 episode of The Goldbergs and a 2020 episode of the Disney+ docuseries Prop Culture.

However, he hasn’t appeared in a live-action film since Disney’s Honey, I Shrunk Ourselves, which was released directly to video in 1997.

But Rick is now set to be back on the big screen, with production for Spaceballs 2 underway.

The hotly-anticipated sequel is set to hit cinemas in 2027.

It has been just one day at CinemaCon in Las Vegas, and there’s already a palpable sense of relief in the air.

Attendance at this year’s show is up about 5% from last year, according to Cinema United, the trade group that organizes the four-day convocation of thousands of movie theater owners, studio executives and industry folks at Caesars Palace.

Groups of people wearing orange-colored lanyards are everywhere throughout the hotel and casino, with many filling the Colosseum on Monday afternoon for a presentation from specialty film companies Angel Studios, Sony Pictures Classics and StudioCanal.

“The energy in every room reflected a sector that believes deeply in its own future,” said Stephanie Silverman, owner of the Belcourt Theatre in Nashville who serves on Cinema United’s strategic planning committee. “For independents, that sense of collective purpose is powerful — we’re not just holding on, we’re building toward something real and lasting.”

Amid such upbeat sentiment, CinemaCon allows theater owners and their business partners to see what’s coming from each studio and get a snapshot of the year ahead.

On Monday, Provo, Utah-based Angel Studios showed footage from their upcoming film “Young Washington,” about the early life of the first U.S. president, as well as a trailer from an animated retelling of George Orwell’s “Animal Farm.”

“Theatrical isn’t fragile,” Shelley Schulz, vice president of domestic theatrical sales and exhibitor strategy at Angel Studios, said during the presentation. “It’s not fading. It’s evolving.”

European indie film studio StudioCanal also unveiled some of its upcoming films, including scenes from a new animated “Shaun the Sheep” movie that got laughs from the audience, before bringing out director Danny Boyle to applause and cheers to speak about his new film “Ink,” about the beginnings of the British tabloid “The Sun.”

Later this week, Warner Bros., Universal, Amazon MGM, Paramount and Disney will unveil footage from their upcoming releases and likely bring their major stars on-stage to build excitement about this year’s slate.

As I reported Monday, a string of recent hits like Amazon MGM Studios’ “Project Hail Mary” and Universal Pictures, Nintendo and Illumination’s “The Super Mario Galaxy Movie” have pushed year-to-date domestic box office revenue about 23% higher than the same time last year.

The upswing signals that the exhibition business is embarking on its long-awaited recovery from the devastating downturn that occurred in the aftermath of the pandemic.

Studio executives and theater operators chalk up the improved prospects in part to a better and more plentiful crop of bankable movies that are bringing people back to the multiplex.

Exhibitors feel better about the lineup this year — it’s full of major franchises like “Star Wars” and Marvel superheroes as well as well-known animated titles such as “Toy Story 5” and “Minions & Monsters.” Also coming are anticipated films from acclaimed directors Christopher Nolan and Steven Spielberg.

“We’re getting into that cadence we needed in terms of having good movies, different types of movies being released every weekend,” Cinépolis USA Chief Executive Luis Olloqui told me ahead of CinemaCon. “This year in general, we’re feeling more confident, more optimistic.”

It’s quite the turnaround from the anxiety I heard last year leading into CinemaCon, when theater owners grappled with the box office downturn and the general shakiness of the industry.

Not to say that this year is all roses.

As I wrote, there are still major question marks facing the industry, including how Paramount Skydance’s proposed acquisition of Warner Bros. Discovery will affect the business. Paramount Chief Executive David Ellison has said the combined company will release 30 films a year, but exhibitors fear that cost cuts from the deal could impede that goal, which many believe is unrealistic.

And Hollywood is still going through a painful retrenchment.

Just last week, Sony Pictures Entertainment said it would cut hundreds of jobs across its film, TV and corporate divisions. Then came the news about upcoming layoffs at Disney, which could number as many as 1,000.

It hasn’t been much better in the exhibition space, either. In February, Dallas-based Look Dine-In Cinemas abruptly closed three Southern California locations; then, in March, the iPic chain filed for Chapter 11 bankruptcy protection and said it planned to pursue a sale of its assets.

A better box office this year wouldn’t solve all of these problems, but it would inject more hope into an industry that has been in turmoil since the pandemic.

Stuff we wrote

Film shoots

Number of the week

Warner Bros. Discovery Chief Executive David Zaslav could get as much as $887 million to leave the company after the Paramount Skydance acquisition.

That amount “represents one of the highest golden parachute estimates ever observed,” investor advisory firm Institutional Shareholder Services wrote in a recent report. The firm said support for the proposal “is not warranted.”

Warner shareholders will vote April 23 on the proposed takeover.

What I’m watching

For years, one of the shows on my weekly must-watch list is “Ghosts,” the delightful comedy about a couple who moves into a historic mansion haunted by its previous inhabitants. After a long week, the antics of Viking ghost Thorfinn always make me laugh.