This is theatrical release schedule for the upcoming films that will be released in theaters in the United States and/or Canada in the next year. We don't go past 2017 until the fall. The list is continuously updated throughout the year.  If you find any errors or missing films, please email us

Geostorm - Friday, October 20
Only The Brave - Friday, October 20
Same Kind of Different as Me - Friday, October 20
The Snowman - Friday, October 20
Tyler Perry's Boo 2 - Friday, October 20
Wonderstruck - Friday, October 20
All I See Is You - Friday, October 27
Jigsaw - Friday, October 27
Suburbicon - Friday, October 27
Thank You For Your Service - Friday, October 27
The Killing of the Sacred Deer - Friday, October 27
The Square - Friday, October 27
A Bad Moms Christmas - Wednesday, November 1
LBJ - Friday, November 3
Roman J. Israel - Friday, November 3 
Daddy's Home 2 - Friday, November 10
Lady Bird - Friday, November 10
Murder on the Orient Express - Friday, November 10
Three Billboards Outside Ebbing, Missouri - Friday, November 10
Justice League - Friday, November 17
The Star - Friday, November 17
Wonder - Friday, November 17
Coco - Wednesday, November 22
Darkest Hour - Wednesday, November 22
Call Me By Your Name - Friday, November 24
The Current War - Friday, November 24

The Disaster Artist - Friday, December 1
Polaroid - Friday, December 1
All the Money in the World - Friday, December 8
The Shape of Water - Friday, December 8
Villa Capri - Friday, December 8
Star Wars: Episode VIII The Last Jedi - Friday, December 15
Ferdinand - Friday, December 15
Jumanji - Wednesday, December 22
Bastards - Friday, December 22
Downsizing - Friday, December 22
Pitch Perfect 3 - Friday, December 22
The Post - Friday, December 22
The Six Billion Dollar Man - Friday, December 22
Molly's Game - Monday, December 25

Debbie Reynolds and Carrie Fisher's stars on the Hollywood Walk of Fame.

Daisy Ridley's 2010 high school yearbook photo looks like it came out of the '80s

Marlene Dietrich died with nearly two thousand books in her apartment, many of which included notes where she bitched about people

Favorite uncredited movie role for a well-known actor due to the fact that it would give away a plot point by mentioning them?

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If a certain actor or actress is known for having played a certain character or a type or role in the past, their presence alone could influence the narrative. I think it never worked better than

Kevin Spacey in "Se7en," the secret was kept so well, remember kids once upon a time there was no internet, and we had no idea what to expect come the reveal of the killer. Not just that, the fact that Spacey knocked that performance out of the park and captured the creepy essence of his role just made the whole thing work magnificently well.

Also, I will always remember the first time Will Ferrell shows up in "Wedding Crashers." He was at his popularity peak by then and when he shows up, not only doesn't he make the film deteriorate, but it ends up being the funniest bit of the whole film.

Some of my favorites:

Kevin Spacey, Se7en
Alec Baldwin, Glengary Glen Ross
Gene Hackman, Young Frankenstein
Mark Hamill, The Force Awakens
Johnny Depp, 21 Jump Street
Tom Cruise, Tropic Thunder
Bill Murray, Zombieland
Robert De Niro, American Hustle
Will Ferrell, Wedding Crashers
Joe Pesci, A Bronx Tale
Natalie Portman, The Darjeeling Limited
Cate Blanchett, Hot Fuzz
Samuel L Jackson, Iron Man
Bruce Willis and Julia Roberts, The Player
Pamela Anderson, Borat
Charlie Sheen, Being John Malkovich
Neil Patrick Harris, Harold and Kumar Go to White Castle
Bob Barker, Happy Gilmore
Tom Cruise, Gwyneth Paltrow, Kevin Spacey, Danny DeVito, and Steven Spielberg, Austin Powers in Goldmember

Other instances when this happened:

Johnny Depp, Fantastic Beasts
Matt Damon, Interstellar, 
Matt Damon, Zero Theorem
Leonard Nimoy, Star Trek III: The Search For Spock
Boris Karloff, Frankenstein
Sean Connery, Robin Hood: Prince of Thieves
Edward Norton, Kingdom of Heaven

Ben Mendelsohn Says an "Enormously Different" Version Of ROGUE ONE Exists

"We did have multiple, multiple ways of going at any given scenario, we had multiple readings of it," the actor says.

We all know that reshoots happened with "Rogue One: A Star Wars Story" We also know that Gareth Edwards got pushed aside to make way for screenwriter Tony Gilroy, who got payed more than $5 Million for them. You don't get payed that much for just rewrites. Make no mistake about it, he was part of the film-making process. 

Reshoots are an infringement on the voice of the director and only result in a jumbled heap of incohesive scenes that independently look great, but, when combined, damage the original message and limit a developed story. Add in the fact that the original director got tossed aside for another one to take over and you're bound to have a lot of extra/unused material.

For more on the production mess of "Rogue One" click HERE

It is then no surprise that Ben Mendelsohn, who plays Orson Krennic in "Rogue One," mentioned to Collider about an 'enormously different' other version of the film:

"We did have multiple, multiple ways of going at any given scenario, we had multiple readings of it,"

"So should they ever decide to, there would be a wealth of ways of approaching these different things. And I know from having seen sort of the crucial kind of scenes throughout it, I know there’s vastly different readings of at least four of those scenes.

“enormous differences within, I would’ve said 20 or 30 of the scenes. There really would be. There would be enormously different renderings.”

Given that Disney has a rule of not ever releasing a "director's cut" or an "extended edition," chances are slim that we will likely ever see the version Mendelsohn is talking about, but one can only hope that Garth Edwards' ultimate vision could somehow find a way out and the director could get artistic justice for what he originally intended to show us. Mendelsohn sure is hinting at what could have been ....

Steve Martin gets backlash about Carrie Fisher tweet, deletes it -

Damien Chazelle's LA LA LAND follow-up will have him reteam with Ryan Gosling for a Neil Armstrong Biopic

"Why did you guys build a rocket set. Where are the jazz instruments?"
"Damien this is a Neil Armstrong movie."
"Shit I thought I signed on for Louie Armstrong."

According to Variety, Damien Chazelle has just inked a deal to direct the Neil Armstrong Biopic "First Man." Ryan Gosling, his "La La Land" star, will take part in the project, most probably playing Armstrong himself. 

"Spotlight" scribe Josh Singer will write the screenplay which, again according to Variety,  will be based on "James Hansen’s biography “First Man: A Life Of Neil A. Armstrong” and tells the story of NASA’s mission to land a man on the moon, focusing on Neil Armstrong and the years 1961-1969."

Good idea? I'm mixed on this being Chazelle's follow-up to "La La Land." He's built himself up a solid reputation as a director that tackles musical topics as he did in "Whiplash" and "La La Land," but, I guess, he wants to prove to the industry that he's more than just that. What made his first two films so great was the way he shot the musical sequences in such exciting, new ways. A Neil Armstrong biopic sounds bland, but, if done right, would prove he's the real deal and can tackle stuff outside his safe zone.

Poster for Wes Anderson's upcoming film, ISLE OF DOGS


Carrie Fisher Had Finished Her Scenes For STAR WARS: EPISODE 8 according to a Lucasfilm representative

It sucks to mention this in the thick of it all and it has been a tremendously sad day, but TMZ is reporting that a Lucasfilm official is saying that Fisher has “absolutely wrapped” her part in ‘Episode VIII.’ 

Carrie Fisher told her fans: "No matter how I go, I want it reported that I drowned in moonlight, strangled by my own bra.”

10 Greatest Shots by Roger Deakins

The Anti-Scorsese Tweet That Went Viral

This tweet spawned a few days of back and forth conversation/arguments on Twitter about how Scorsese treats women in his movies. Scorsese has consistently taken on male anti-heroes in his career. Exploring the male psyche & all its fury. Now, what exactly is wrong with that? Can't Scorsese continue focusing on what has been his drive and theme for the better part of 4 decades? Can't an auteur follow was obsesses him or her and what brings out the best in their body of work? The maddening Uber-PC twitter crowd will always have something to complain about.

The never-ending question about Steven Spielberg: Is he an "auteur"?

The Brilliant NEON DEMON Credits Scene

I just caught up with "The Neon Demon" again. Is there a better movie to watch on Christmas than this one? Required viewing for all you nihilists out there. Nicolas Winding Refn's film felt immensely abrasive when I first caught it at Cannes earlier this year. Refn keeps upping the ante with every scene in such carefully crafted and precise ways. The attention to detail is so obsessive and meticulous, he's like a sick, twisted version of Wes Anderson.

You could put your TV on mute and still get caught up in its sumptuous visual imagery. Refn should have shot it as a silent film. His images feel so controlled and calculated. I know many at Cannes were headed towards the exit as the film rolled along, up until its climax, which is so jaw-dropping and in your face that I couldn't help, but be delighted by its in-your-face, middle finger wagging gesture at the audience member.

One of those surreal moments happens when the end credits occur, they totally catch you off guard. I loved it though, and watched them all the way through whereas I'm normally one of those people who leaves when the credits start rolling. 

This is a letter Robin Williams wrote to the school of his child co-star, after she was expelled for missing class to film Mrs. Doubtfire.

This is a letter Robin Williams wrote to the school of his child co-star, after she was expelled for missing class to film Mrs. Doubtfire.

First Official Image from Pixar's next movie 'Coco'

"At the center of Pixar’s next original film, Coco, is a 12-year-old boy who’s breaking all the rules — or at least his family’s. Miguel, voiced by newcomer Anthony Gonzalez, is a member of the shoemaking Riveras, your average Mexican family that’s completely banned music for generations. So, maybe not so average. Ever since his great-great-grandmother Imelda was left alone by her husband (who abandoned his family to pursue a life hitting high notes), there’s been a strict no-music ban in the Rivera household, upheld primarily by Miguel’s Abuela (Renee Victor). That won’t stop Miguel from pursuing his passion, having grown up idolizing the music and advice of the late singer Ernesto de la Cruz (Benjamin Bratt). In fact, it’s his worship of De La Cruz—and a shocking discovery about him—that’s brought Miguel to the singer’s grave…and you, reader, to EW’s exclusive new first look at Coco. In the shot above, you’re catching Miguel in a beautiful, pivotal moment: He’s just committed a literal grave act and borrowed — just borrowed! — the guitar hanging in De La Cruz’s tomb. Unfortunately, it’s Dia de Muertos, and Miguel’s well-intentioned deed of grave robbery is badly-timed, and he’s about to be inadvertently sent to the Land of the Dead, where he’ll come face to face with the same great-great-relatives who banned music in his family. Just guess how happy they’ll be when they find out how he got there."

As an added note I ranked the Pixars earlier this year. That can be found right HERE.

After careful analysis, we can conclude 2002 was the year Robert De Niro stopped caring [Infographic OC]

I always believed, and still do to this day, that Robert De Niro still has a few great screen performances left in him. He showed shades of greatness as the obsessive-compulsive dad in "Silver Linings Playbook". That performance was the De Niro we knew as an actor, filling that role with layers of emotions and comedic insight. That film earned him the seventh Oscar nomination of his career. Safe for that David O. Russell film, what else has he done these last 15 years or so that would merit a mention?

Although I'm a diehard fan of his earlier work, and have been disheartened by the projects he's chosen the last two decades or so, that hasn't stopped me from following whatever projects he signs on to next because, well, I'm hopeful and know he still has it in him to deliver something special. Again, look what he did with "Silver Linings Playbook," such a comic, resonant and touching performance which earned him well-deserved praise.

The good news is that his next film will start shooting this spring and that it teams him up with Martin Scorsese, a director who has always brought out the best in De Niro ("Goodfellas," "Raging Bull," "Cape Fear," "The King of Comedy," "Mean Streets," and "Taxi Driver")

What has been your favorite post-2000 De Niro role?

These five come to mind for me: "Meet The Parents," "Silver Linings Playbook," "The Score," "Stone," and "Being Flynn."  Yes, these performances show that De Niro can still care about his craft, but they all pale in comparison to his work from the '70s, '80s and '90s.

Joan Crawford, 1932

Joan Crawford, 1932 is listed (or ranked) 39 on the list


Happy Holidays from World of Reel (and Michael Shannon)

The great modern-day Actor/Director partnerships

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It seems harder and harder for a director to have himself an acting muse in this day and age of cinema. Gone are the legendary collaborations: Scorsese/De Niro, Wilder/Lemmon, Hitchcock/Stewart, Fellini/Mastroianni, Kazan/Brando, Brooks/Wilder, Kurosawa/Mifune, Ford/Wayne, Bergman/Ullmann, Herzog/Kinski, Leaud/Truffaut, Dietrich/Von Sternberg. What modern-day actor/director partnership could one day be deemed worthy of the 11 mentioned? Here are a few that have contending potential.

Ben Stein's quote about 'Ferris Bueller's Day Off' will make you see the movie on a whole deeper level.

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For those of you who don't know, Stein played the Economics teacher in the movie. His quote is as follows:

"This is to comedies what Gone with the Wind (1939) is to epics", Stein said. "It will never die because it responds to and calls forth such human emotions. It isn't dirty. There's nothing mean-spirited about it. There's nothing sneering or sniggering about it. It's just wholesome. We want to be free. We want to have a good time. We know we're not going to be able to all our lives. We know we're going to have to buckle down and work. We know we're going to have to eventually become family men and women and have responsibilities and pay our bills. But just give us a couple of good days that we can look back on."

He basically nails the timeless nature of the film and why it has stood the test of time. There aren't many films from the 80s that have the rewatchability of "Ferris Bueller's Day Off." Funny how critics basically panned the film when it came out, but, over time, it has become one of the more beloved films of my generation. Richard Roeper's favorite movie of all-time, by the way!

Composer John Williams: Never seen a STAR WARS movie

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I am not a die-hard "Star Wars" fan, but John Williams' "Star Wars" score is as iconic as they get. He's scored all 8 films of the saga and basically made a career out of it, although his 1975 score for Spielberg's "Jaws" is, for my money, is as good as anything ever composed for a "Blockbuster" movie.

He spoke to The Mirror recently and revealed that, shock, he's never seen any of the "Star Wars" movies.

“I let it go. I have not looked at the ‘Star Wars’ films and that’s absolutely true. When I’m finished with a film, I’ve been living with it, we’ve been dubbing it, recording to it, and so on. You walk out of the studio and, ‘Ah, it’s finished,’ Now I don’t have an impulse to go to the theater and look at it. Maybe some people find that weird, or listen to recordings of my music very, very rarely.”

So there you go. It's not the only iconic score he's done. Remember, he has scored practically every Spielberg since "Jaws." I'd say the best work he's done is the following: "Schindler's List," "Jaws," "Raiders of the Lost Ark," "Harry Potter," "E.T," and "Superman." 

12 Great films made by directors over 80

"Patriots Day" earns its stripes

"Patriots Day" is a fervently patriotic, but solidly made thriller from director Peter Berg. At first, I was ready to dismiss this picture as another America-rah-rah kind of film and the trailer did hint at that being the case. What I wasn't expecting was how cinematic Berg's film would be. The electrifying manhunt for the two terrorist suspects that concocted the tragic Boston Marathon Bombings back in 2013 is more than enough to sustain your attention throughout this 133-minute film. The way Berg does business here is blunt and effective, he doesn't hold back and just lets the story take over you.

The bombings, which caused 3 deaths and injured 264, led to a massive manhunt, but the film doesn't only focus on that. It also focuses on the heroic tales of simple folks that tried to make a difference that day. The extensive research that Berg and company made does show, the professionalism at hand leads to a hard-earned film that does the city proud. I would know, I now live in Boston and at the press screening for the film, more than a few week ago, there weren't many dry eyes in the house. Mark Whalberg's, fictionalized, Sergeant Tommy Saunders might be the main hero of the film, but it's the people of Boston that come through in being the heart and soul of the film.

Shuttling through an array of characters and storylines, "Patriots Day" is a messy film, it sometimes over-excitingly gets over-cooked, but there is something to be said about a film with this much heart. The sappy sentimentalism is there, so is the need to oversimplify its message of good vs evil and the much-feared "America rah-rah" is there, but when Berg sticks to investigative chaos and action sequences we are sucked right back into its frames. None more immersive than the Watertown confrontation between Boston Police and the two terrorists. In the blink of an eye this seemingly quiet neighborhood gets turned into hell on the streets, as bombs explode, artillery gets used and horrific screaming occurs with every jolt. It recalls the very best of Paul Greengrass, who is an obvious influence for Berg here, and catapults you right into the thick of things in that historic day [B]

Martin Scorsese's hilarious cameo in Albert Brooks' The Muse (1999)

New R rated image from ALIEN: COVENANT

Ok who put the Gallon jar of Strawberry Sauce in the microwave? Could you not??? Some poor Janitor is going have to clean this mess up.

There is a rumor that a trailer is supposed to happen today, so I'll keep an eye out for that. In the meantime, we have this lovely new image from Ridley Scott's much anticipated sequel to "Prometheus."

Emma Stone Says Directors Have Given Her Improvised Jokes to Male Co-Stars

If you haven't yet seen "La La Land," PLEASE go and catch it, if anything, for Emma Stone's career-peak performance. The film is a knockout, but she carries it with the raw, amicable talent of a true movie star. She will, most probably, win the Best Actress Oscar and you won't hear any complaints on my end about it (although, if this were a fair and just world, Isabelle Huppert would win it hands down for "Elle," but Oscar voters don't usually warm up to a film that has, oh the horror, subtitles.

In a new cover story/interview with Rolling Stone, Stone reveals some of the more upsetting behavior she's encountered as a woman on a movie set.

If the rumors that actresses get paid considerably less than their male co-stars is accurate, and I do believe it is, I think it's okay to be pissed when you're providing extra value that your male co-star isn't or isn't capable of.

"There are times in the past, making a movie, when I've been told that I'm hindering the process by bringing up an opinion or an idea," she said. "I hesitate to make it about being a woman, but there have been times when I've improvised, they've laughed at my joke and then given it to my male co-star. Given my joke away."
"Or it's been me saying, 'I really don't think this line is gonna work,' and being told, 'Just say it, just say it, if it doesn't work we'll cut it out,'" she continued. "And they didn't cut it out, and it really didn't work!"

On a lighter note, I do like this paragraph from the RS interview:

"Drinking helps. "Do you want sake?" she asks. We get a bottle and Stone pours me a glass, per Japanese custom. I return the favor, mentioning that I once discussed this bit of etiquette with a chef in Tokyo, who likened filling one's own sake glass to public masturbation.

"Masturbation? I've only heard it's bad luck!" Stone says, laughing. When I finish my glass a few courses later, I space-out and absentmindedly refill it myself. She gasps: "You just jerked-off on the table."
I apologize and pour her some more. "Go ahead, please," she says. "Jerk me off, too."

Read Rolling Stone's full interview with Stone here.

MOONLIGHT tops Village Voice critics poll

For more results click HERE

Jerry Lewis gives a painfully awkward interview to THR

Jerry Lewis is a tough interview. Everybody in the industry knows that. I remember a few years ago jumping on the opportunity to interview Lewis, who was directing a musical theatre version of The Nutty Professor at the Tennessee Performing Arts Center in Nashville, and my then editor quickly shutting down the idea by saying "trust me, you don't want to do that." He ended up going to interview Lewis, whom I heard quickly turns on you if you're a young journalist being sent to interview him. I've never seen a Lewis interview go well with a Journalist in his 30s or, even, 40s. He likes these old-school journalists that have been around and know his repertoire front to back and, even then, he can still turn on you if he doesn't like the questions. Anyway, The Hollywood Reporter's Andy Lewis found that out the hard way. 

A rough, not official Top 38 of 2016

BLADE RUNNER 2049 will be rated R, 8 Official Images Released


Wes Anderson officially announces title and cast of his next film, "Aisle of Dogs"

Of all the great Wes Anderson movies, and there quite a few, I've always a real fondness for "The Fantastic Mr. Fox," a stop-motion animation treat from 2009 that was the most formally realized picture of his career. So it is with great joy that I just found out Anderson's next movie, another stop motion animation venture, will be titled "Aisle of Dogs" and due to come out in 2018. If that wasn't enough he has amassed another fantastic cast to take part in this adventure.

The full cast:

Bryan Cranston
Bill Murray
Jeff Goldblum
Scarlett Johansson
F. Murray Abraham

Edward Norton
Tilda Swinton
Kunichi Nomura
Harey Keitel
Akira Ito
Akira Takayama
Koyu Rankin
Yoko Ono (!)
Courtney B. Vance (!)
Greta Gerwig (!!!)
Frances McDormand
Bob Balaban
Liev Schreiber

As it stands I'd rank the Wes Anderson films this way:

1) The Fantastic Mr. Fox
2) The Royal Tenenbaums
3) The Grand Budapest Hotel
4) Moonrise Kingdom
5) The Darjeeling Limited
6) Rushmore
7) The Life Aquatic With Steve Zissou
8) Bottle Rocket

Martin Scorsese: 'Cinema is gone'

Good on you Marty, keep speaking the truth and fighting the good fight. Before anyone goes on to say that he's just an old, bitter man ... Please, do realize that he is not necessarily talking about European or Asian cinema. This is a sly aim at Marvel and Disney. The way they are running things these days does indeed signify the end of something in cinema. What exactly? I am not sure, but it isn't anything positive. The way they are trying to monopolize and mass-market their "movies" to the general public is definitely a doomsday for big-studio American filmmaking.

Scorsese had this to say to the Associated Press:
"Cinema is gone, the cinema I grew up with and that I'm making, it's gone."
"The theater will always be there for that communal experience, there's no doubt. But what kind of experience is it going to be?" he continues. "Is it always going to be a theme-park movie? I sound like an old man, which I am. The big screen for us in the '50s, you go from Westerns to 'Lawrence of Arabia' to the special experience of '2001' in 1968. The experience of seeing 'Vertigo' and 'The Searchers' in VistaVision."
"It should matter to your life, unfortunately the latest generations don't know that it mattered so much."
"TV, I don't think has taken that place. Not yet, I tried it. I had success to a certain extent. 'Vinyl' we tried but we found that the atmosphere for the type of picture we wanted to make — the nature of the language, the drugs, the sex, depicting the rock 'n' roll world of the '70s — we got a lot of resistance. So I don't know about that freedom."
"If the younger people have something to say and they find a way to say through visual means as well as literary, there's the new cinema, I'm worried about double-think or triple-think, which is make you believe you have the freedom, but they can make it very difficult to get the picture shown, to get it made, ruin reputations. It's happened before."
"He wanted to make this film extremely differently from anything out there," says Thelma Schoonmaker, Scorsese's editor since "Raging Bull. ''He's just tired of slam-bam-crash. Telling the audience what to think is what he really hates. Trying to do a meditative movie at this point, in this insane world we're in now, was incredibly brave. He wanted to stamp the film with that throughout: the pace, the very subtle use of music."
"How many movies start without music at the very beginning under the logos?" she adds. "He said, 'Take out all that big Hollywood.'"

New ALIEN: COVENANT photo of Katherine Waterston armed

Scorsese will use CGI technology for "The Irishman" to make Robert De Niro Look As Young As He Did In ‘The Godfather: Part II’

Charlie Chaplin sans Mustache, 1916

Charlie Chaplin, 1916 is listed (or ranked) 38 on the list

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Isn't the resemblance to Cillian Murphy kinda striking?

THE EMOJI MOVIE trailer will almost convince you that American cinema is dead

Yes, we all know Hollywood is running out of ideas. I have been warning people for months now that they're making an Emoji movie. People didn't believe me. Well, here you go. Further proof that a movie can get made about just about anything. I'm really curious how they will market this thing. I mean, what's the target demographic for this? People that like to use emojis? Teenyboppers that can get suckered into seeing just about anything as long as it is rammed and marketed down their throats. Total brainwash. This might go down as one of the worst ideas for a movie in a very long time. Anthony Leondis directs and this guy is known for the direct to DVD "Lilo & Stitch 2: Stitch Has a Glitch." Yikes, kill me now. Hey, maybe Almodovar and Scorsese were right about the sad state of affairs in American cinema ...

The synopsis has it like this:

THE EMOJI MOVIE unlocks the never-before-seen secret world inside your smartphone. Hidden within the messaging app is Textopolis, a bustling city where all your favorite emojis live, hoping to be selected by the phone’s user. In this world, each emoji has only one facial expression – except for Gene (T.J. Miller), an exuberant emoji who was born without a filter and is bursting with multiple expressions. Determined to become “normal” like the other emojis, Gene enlists the help of his handy best friend Hi-5 (James Corden) and the notorious code breaker emoji Jailbreak (Ilana Glazer). Together, they embark on an epic “app-venture” through the apps on the phone, each its own wild and fun world, to find the Code that will fix Gene. But when a greater danger threatens the phone, the fate of all emojis depends on these three unlikely friends who must save their world before it’s deleted forever.

“The Emoji Movie” opens on August 11, 2017.

A shot of Chaplin directing "The Gold Rush" which debuted in 1925.

"In 1942, he released a new version of the silent film by adding a musical score, narration which he recorded himself, and tightening the editing. It received Academy Award nominations for Best Music and Best Sound Recording."