We have a fresh look at Bird’s retro sci-fi noir, which he has been developing since the 1990s and will debut on Netflix later this year. It does seem to have a fairly similar animation style to “The Incredibles.”

No word yet on a studio, but it will likely be either A24 or Neon, the latter of which has been Perkins’ exclusive home for the last four films he has directed.

Of course, backlash was inevitable—and it has arrived. Scorsese is now the most prominent, most respected filmmaker to publicly endorse generative AI.

Paramount is behind the film, and I gather a splashy 2027 premiere will be planned. Maybe Chazelle will make his debut at Cannes? He has 11 months to complete post-production before the next edition.

Roth’s “Ice Cream Man” is here, and the trailer goes incredibly hard. m surprised YouTube didn’t make me confirm I was 18 or older before viewing this mayhem.

In the latest issue of Sight and Sound, we are promised an “exclusive” op-ed from Tarantino about the current state of cinema, only to be met with three pages of him raving about—of all things— “The RIP.”

Kuritzkes, best known for “Challengers” and “Queer,” was on the shortlist to write the script for “Bond 26.” Steven Knight eventually got the gig. He also wrote the upcoming Don Winslow adaptation “City on Fire.”

Strong test scores helped Paramount position Jonathan Levine’s “Mr. Irrelevant” for a prestigious Christmas Day release, a window often reserved for major commercial and awards-season hopefuls.

The film is currently at $870M, with a major Japan release coming up this month — meaning it’s still very possible the billion-dollar milestone could be reached.

In a statement, Scorsese writes, “ I’m interested in the intersection of technology and storytelling, and seeing how that can push the bounds of creativity to create deeper and richer experiences for audiences.”

While “Backrooms” and “Obsession” are currently rewriting the Hollywood rule book, this Friday sees the release of what looks like another IP-driven bomb: Amazon/MGM’s “Masters of the Universe.”

The Astaire estate doesn’t want this biopic to happen, saying that Fred “was explicit in his Will that he did not want his life story to be depicted on screen” … and threatened legal action.

Amazon/MGM plans a wide theatrical release for “How to Rob A Bank” over Labor Day weekend, with a premiere date set for September 4, 2026.

The film reunites Wingard and Simon Barrett, the team behind “You’re Next” (2011) and “The Guest” (2014). Wingard is — quite sadly — coming off two massive Godzilla movies.

The new “Barbarella,” set to be directed by Edgar Wright, is “still moving forward,” and Sweeney is “already working” on it under her new producing deal over at Sony.

Major studios and streamers—including Warner Bros., Sony, Universal, Apple, Amazon, and Netflix— were vying for Park’s latest, despite no stars being attached.

Snyder’s version will be a “down and dirty” take on John Carpenter’s film, emphasizing practical effects and real-world locations. The goal appears to be a rougher, more realistic approach to the material.

Netflix wants to continue its partnership with Anna Kendrick. The streamer has teamed up with for her sophomore effort, an adaptation of Taylor Jenkins Reid’s bestselling novel “The Seven Husbands of Evelyn Hugo.”

Lilly says that, despite strong efforts, none of her latest projects have been able to get a greenlight—she believes it’s been a very difficult time to make movies because “fascism” is thriving: