Before audiences and fans get a first look at the brand new trailer for DIGGER, which debuts on July 13, Warner Bros. Pictures has released a video profiling the works of the biggest movie star on the planet – Tom Cruise!
It’s a great video showing Cruise’s movies before transitioning into a first look at director Alejandro G. Iñárritu’s latest film. Kudos to whoever cut this teaser!
“everything you’ve done has come to this…”
Cruise’s latest film is a sure bet for Best Picture, Best Director, and several technical categories, including editing, sound, and cinematography. The actor could finally walk away with a Best Actor Oscar for the film.
Tickets are on sale now for EVIL DEAD BURN – from the director of INFESTED.
EVIL DEAD BURN unleashes the franchise’s most savage and terrifying ride to date, blazing onto big screens with an all-new chapter of carnage and demonic mayhem.
After the loss of her husband, a woman seeks solace with her in-laws in their secluded family home. As one by one they are transformed into Deadites—turning the gathering into a family reunion from hell—she comes to discover that the vows she took in life live on… even in death.
EVIL DEAD BURN stars Souheila Yacoub, Tandi Wright, Hunter Doohan, Luciane Buchanan, Errol Shand and Maude Davey. The film is directed by Sébastien Vaniček and written by Sébastien Vaniček and Florent Bernard.
It is produced by Rob Tapert and Sam Raimi. The executive producers are Bruce Campbell, Romel Adam, Sarah Spurway, Jose Cañas and Lee Cronin.
Vaniček is joined behind the camera by director of photography Philip Lozano, production designer Nick Connor, editor Maxime Caro, makeup and effects designer Jane O’Kane and costume designer Sarah Voon. The music is by Double Danger.
New Line Cinema and Screen Gems present a Ghost House Pictures production, EVIL DEAD BURN. It will be distributed domestically by Warner Bros. Pictures and is set to open in theaters in North America on July 10, 2026.
(L-R) MAUDE DAVEY as Polly, SOUHEILA YACOUB as Alice, TANDI WRIGHT as Susan, and HUNTER DOOHAN as Joseph in New Line Cinema’s “Evil Dead Burn,” a Warner Bros. Pictures release.
Duncan Jones’s ROGUE TROOPER had its World Premiere at Annecy International Animation Festival in France and was met with stellar reviews. Jones films include Moon, Source Code, Warcraft, and Mute.
Synopsis: An animated science fiction feature from Rebellion and Liberty Films, Rogue Trooper tells the story of 19, a ‘Genetic Infantryman’, who finds himself the sole-survivor of an invasion force. Desperate to track down the traitor who sold him and his comrades out, the super soldier is accompanied by three killed-in-action squad mates, whose personalities have been stored in his gun, helmet and backpack.
Based on the classic 2000 AD comic series created by Gerry Finley-Day and Dave Gibbons, Rogue Trooper has been written and directed by Duncan Jones(Moon, Source Code, Warcraft, Mute). It will star breakout talent Aneurin Barnard(The Goldfinch, Dunkirk) as the eponymous Rogue Trooper, alongside Hayley Atwell(Captain America: The First Avenger, Mission: Impossible – Dead Reckoning Part One),Jack Lowden(Slow Horses, Dunkirk), Daryl McCormack(Bad Sisters, Good Luck To You Leo Grande) and Reece Shearsmith(Inside No. 9, Saltburn).
Rounding out the cast is an incredible ensemble, which includes Jemaine Clement(Avatar 2: The Way of Water), Matt Berry(What We Do in the Shadows), Diane Morgan(Cunk on Earth),Alice Lowe(Black Mirror),Asa Butterfield(Sex Education, Hugo) and Sean Bean(Game of Thrones, The Lord of the Rings).
Deadline‘s Damon Wise says: “Jones lays some of this aesthetic in the opening credits, the best of the year alongside Jane Schoenbrun’s Teenage Sex and Death at Camp Miasma: While Bear McCreary’s tongue-in-cheek, faux-jingoistic theme “The Rogue Trooper March” plays, Jones uses black-and-white frames from the original comic-book, giving his director credit a well-earned speech bubble that says, quite simply, “BTHOOM”!” and the “‘2000AD’ Adaptation Is A Fast, Funny, Visually Mind-Blowing Old-School War Movie.”
Wendy Ide of Screen Daily says: “…there is much to admire in a picture which delivers plenty of space-ship crunching action and regional British insults but also manages to critique the cynical economic motivations of endless, pointless wars.”
“A hellzapoppin’ comic book adaptation,” says Drew Taylor at The Wrap, who praised the fact that the film was made independently and looks far better than that would normally suggest. “It’s an absolute hoot,” he writes. “An otherworldly war movie populated by anthropomorphic weapons, arcane mythology and the kind of go-for-broke 1980s fantasy movie spirit that is (sadly) in short supply these days.” While “gloriously overstuffed” and “packed with characters and bits of lore, technology and philosophizing” he says that “encyclopedic knowledge” of the source material “isn’t necessary to have a good time”.
When asked by Deadline in April what prompted the BAFTA Award Winning director/writer to make the film:
JONES: They’ve got an absolute treasure trove of characters, and there’s a lot of them that I would’ve been gagging to do and absolutely would love the chance to do. But Rogue was always the one that felt most appealing to me. It’s funny, when I was in school, I was a big fan of Plato’s Republic and the tripartite division of the soul between the head, the stomach, and the heart. And I always read Rogue Trooper thinking of that division of the soul, with the characters of Bagman, Gunnar and Helm. And when we started making the film, I finally had the opportunity to talk to the authors and ask them if that had been in their thinking. Obviously, it wasn’t. [Laughs.] It wasn’t at all! but it meant something to me.”
I think 2000 AD’s got an amazing library of characters, and I think what’s great about them is that they don’t feel like the same man and woman, just in a different uniform, which some comic movies tend to feel like. There’s some really interesting, bizarre stories that are in 2000 AD for those who want to have a play. Again, leaning into the Britishness or at least the Europeanness of 2000 AD, I would love to see more British filmmakers come on board and make this a bit of a renaissance for the kinds of British films that we haven’t really ever had the chance to make. The way that we made Rogue Trooper really does open up the opportunity to do some things at this scale on a UK indie budget. [Laughs.] Come and join us. It’ll be fun.”
For more on the film, check out the interview with Duncan Jones and Stuart Fenegan as they “Break Down the DNA of Their New Sci-Fi Movie, ‘Rogue Trooper’” HERE.
A24 Films has released the first preview for director Jesse Eisenberg’s film THE DEBUT.
When Mona Friedman is cast in a bit part at a small community theater, she transforms from a shy, unassuming housewife into a zealous method actor willing to do anything to protect the artistic integrity of her marginal role – even if it means waging war against the show’s domineering director.
Starring Julianne Moore, Paul Giamatti, Halle Bailey, Jesse Eisenberg, Cara Buono, Craig Bierko, Eldar Isgandarov, and Bernadette Peters, here’s a first look at the brand new trailer.
Giamatti has received two Academy Award nominations throughout his career. He has not yet won an Oscar. He was nominated for Best Lead Actor for THE HOLDOVERS in 2024 and lost to Cillian Murphy for OPPENHEIMER and in 2006 for CINDERELLA MAN and lost the Best Supporting Actor Oscar to George Clooney for SYRIANA. Unfortunately, and surprisingly, Giamatti was left out of the Best Actor race for SIDEWAYS.
The below-the-line artists for THE DEBUT include Director of Photography Drew Daniels, Production Design by Anne Ross, Editing by Robert Nassau ACE, Costume Design by Stacey Battat, Music and Lyrics by Jesse Eisenberg with Music by Emile Mosseri.
The last time I reviewed this light-hearted French series “Art of Crime” was 18 months ago, ending with Season Seven. Here is the usual link to previous reviews to prep you for this pair of two-part mysteries for our cop and art expert duo to solve in the latest round: https://www.wearemoviegeeks.com/tag/art-of-the-crime-season-7/
In Season Eight, Florence (Eleonore Bernheim) and Antoine (Nicolas Gob) are still up in the air about their romantic status. By now, he’s ready to take the plunge, but too emotionally bottled up to just say it. Not really a problem, since she’s too hyper with conflicts over such a big decision to listen, anyway. The unfortunate one stuck in the middle is their beleaguered boss, Alex Pardo, (Benjamin Egner), who finds himself separately enduring their travails as if he were a shrink for both. Perhaps more accurately, a referee.
The first case involves the murder of a popular romance/crime novelist’s researcher. The author, Patricia Richter (Catherine Marchal) might be either another potential target or the perp. Her upcoming novel would kill off her long-standing studly hero, greatly upsetting a large, avid fan base. “Heresy!” they shout, in various ways, including some laced with menace. The novel was to be based on a few Raphael paintings, making Florence’s expertise key to the solution. Since the nascent tale includes a florid, if not lurid, love element, the script ups the ante from her usual imaginary chats with the artist du jour by showing the principals mentally enacting scenes from the book as they read it, providing a delightful, elaborate sendup of soap opera histrionics. Two 45-minute segments provide just the right running time for the material. It’s one of the better scripts from Angele Herry-Leclerc and Pierre-Yves Mora, who have written almost all of the series’ 26 episodes. Credit also to Florian Crepin’s direction – especially in those fantasy sequences.
The second pair offers a different type of attraction, via an opening sequence showing considerable boobage in a misty, languid Turkish bath sequence based on paintings by Jean Auguste Dominique Ingres (Either they’re running out of artists I’ve heard of, or my inner troglodyte is showing). The designer of a virtual reality game arising from his work – particularly the longstanding mystery surrounding the whereabouts of a missing valuable original – is the victim. Again, several have motives to sort through, requiring the usual form of effort by the stars and a few key supporting characters.
Florence’s amusingly annoying art historian father, Piere (Philippe Duclos) manages to reinsert himself into both cases. He’s always a welcome addition for viewers, if less so for his long-suffering daughter. Alex also plays a bigger role in their efforts this season than he often has, lending a stabilizing presence to the emotional pinballing of the two leads. Season Nine aired in France a couple of months ago. Let’s hope it finds its way across the Atlantic faster than this one did.
RATING: 2 1/2 out of 4 stars
THE ART OF CRIME Season 8 Episode 1 will stream June 23, 2026 in the U.S. and Canada on MHz Choice.
Fresh off the worldwide blockbuster success of summer 2024’s funniest comedy, Despicable Me 4, Illumination expands its joyful animated universe with a riotous new chapter, featuring all-new characters, in the biggest global animated franchise in history: Minions & Monsters. This is the rambunctious, ridiculous and totally true story of how the Minions conquered Hollywood, became movie stars, lost everything, unleashed monsters onto the world and then banded together to try and save the planet from the mayhem they had just created.
The acclaimed voice cast includes Academy Award® winner Allison Janney, two-time Academy Award® winner Christoph Waltz, Academy Award® winner Jeff Bridges, two-time Academy Award® nominee Jesse Eisenberg, Zoey Deutch (Nouvelle Vague) and Academy Award® nominee and comedy iconoclast Trey Parker, co-creator of South Park. The cast also includes Saturday Night Live alum Bobby Moynihan and Phil LaMarr (Futurama, King of the Hill).
Minions & Monsters is directed by Academy Award® nominee Pierre Coffin, a director of the first three Despicable Me films and the first Minions film. Coffin has also provided the voice for the Minions since their film debut in 2010. The film is written by Brian Lynch (Minions, The Secret Life of Pets films) and Pierre Coffin and is produced by Illumination’s Academy Award® nominated founder and CEO Chris Meledandri and by Bill Ryan (executive producer, The Super Mario Bros. Movie). The executive producer is Brian Lynch.
More than ten years after their creation, the Minions have become the most iconic animated characters of their generation. Globally recognized and beloved by fans of all ages, they have propelled Illumination’s Despicable Me and Minions to a global box office of more than $5.6 billion.
Johnny Knoxville and the gang return for one final fling at the big screen. Featuring all-new stunts and stupidity along with the greatest hits and biggest laughs from the past, jackass: best and last is a joyously raucous celebration of all the mischievous camaraderie that you’ve come to love and expect from these idiots over the past 25 years. So, grab your dumb little buddies, raise your glasses, and come experience the cinematic event that promises to be the last time you’ll ever laugh this hard in a theatre.
Directed by Jeff Tremaine, the film opens in theaters on June 26.
The St. Louis screening is on Thursday, June 25th at 7pm at Marcus Ronnie’s Cinema (5320 S Lindbergh Blvd). Doors open at 6pm. Seating is NOT reserved.
FOR A CHANCE TO WIN PASSES: email michelle@wearemoviegeeks.com
Rated R for extremely dangerous stunts and crude material throughout, graphic nudity, pervasive language and sexual material.
Arriving early is recommended, as admission is not guaranteed once the theater reaches capacity.
Chris Pontius and Johnny Knoxville in jackass: best and last from Paramount Pictures.
Paramount Pictures and MTV Entertainment Studios Present
THE DEATH OF ROBIN HOOD is a far cry from the familiar myth of men in green tights, with a stern, wild-haired Hugh Jackman playing an aging Robin Hood who is far closer to the real northern England outlaws who inspired the legend in the first place, although the film ultimately is about a hopeful tale of a chance of redemption late in life.
But this is not a tale of that medieval outlaw in his prime, but an aged one. The film must first begin in a place of darkness, literally, to show us who this Robin Hood is. As the film’s tagline says, he’s no hero but a brutal robber and murderer who struck both rich nobles and prosperous farmers, leaving a trail of victims of his bloody deeds. Now, near the end of his life, he is pursued by relatives of his victims, seeking revenge.
In this very different take on the Robin Hood myth, THE DEATH OF ROBIN HOOD presents an intriguing dark-to-light tale of the possibility of late-life redemption after a life of crime and murder. Director/writer Michael Sarnoski reached back to the earlier Medieval roots of the beloved Robin Hood legend, tales likely first based on deeds of several northern England outlaws, famed for their skill as archers and known for robbing the rich nobles hated by exploited commoners. Folk tales grew up because common people relished stories of a fellow commoner defying rules to strike back at the rulers. In the early tales, this Robin Hood does indeed take from the rich but the “and gives to the poor” was added in later versions.
Hugh Jackman’s Robin Hood, fierce, calculating, wild-haired and ragged, is a bit like an aging gunfighters in an old Western. He is still formidable as an archer and fighter but now older and feeling the weight of time. He is now on the run after a life of robbing both rich nobles and prosperous commoner farmsteads alike, wandering the stark, dark, snowy landscape of northern England, he tries to evade the many people bent on revenge.
The historical basis and evolution of the Robin Hood myth has been a topic of interest recently, and this historical fiction drama fits right in with that. But this tale is about Robin Hood at the end of his life, not in his outlaw prime, so it leans more to contemplation of mortality and regrets. Director/writer Michael Sarnoski’s epic drama delves deeply into that history for this different, more historically-based fictional take on Robin Hood. In many ways, the story also is like a classic Western, with an aging but still famous gunfighter, struggling with his regrets and pursued by would-be challengers, and confronted by a growing legend that departs from fact.
THE DEATH OF ROBIN HOOD is a tale of possible redemption ultimately but that tale begins with darkness and violence, as it must to establish who this Robin Hood is. That brutal, graphic start may discourage some more sensitive viewers but it is worthwhile to stay with this tale for the thoughtful, uplifting new direction the film takes after it’s turning point, as the film moves towards an emotionally deeper place and scenes suffused with light, with contemplation of human connections, mortality, and hope.
Hugh Jackman is masterful as this aging outlaw Robin Hood, now regretting the violence of his past but seeing no other path forward. The return of an old partner-in-crime, Little John (Bill Skarsgard), sets things in motion, as Little John, who has been living a quiet life as a farmer under an assumed identity, with beloved wife and child, seeks Robin’s help to recover that life after his secret had been discovered by her family and he was tossed out. Ever practical Robin sees little chance of success in Little John’s ambitious plan to take on all the men of that family, but he does see a chance for a death in battle, which he finds a fitting end.
Little goes according to plan, Instead, Robin finds himself gravely wounded but alive, and is taken to a priory on an island, where he is placed in the gentle care of the prioress, a nun played by Jodie Comer. Her gentleness and kind care has a profound effect on the old outlaw and, along with the wisdom of another patient, a mysterious leper played strikingly well by Murray Bartlett in a breakout performance, help lead Robin Hood to a different view of the choices before him.
Beautifully evocative cinematography by Pat Scola fills this dramatic epic film, from the gray, dim grimness of the action filled beginning portion of the film to the sudden light-filled beauty of the hopeful latter portion. Shooting in rugged Northern Ireland helped give director Sarnoski it’s striking visual style. The film literally moves from darkness to light, with sweeping epic cinematography. The film begins with scenes shot in low light, often illuminated only by firelight, and in shades of gray in a world of hard stone, cold mud and swirling snow in a landscape devoid of most color, apart from the fire. This early section is filled with scenes of violence, but after Jackman’s Robin Hood is gravely wounded and transported to the healing priory, the cinematography gives way to light-filled scenes of ethereal beauty on a peaceful island devoted to healing and humanity.
Hugh Jackman is outstanding as this man who has led a brutal life but is now filled with regret and without hope, who finds an unsought, unexpected second chance for a different end. Repeatedly, Jackman’s Robin Hood encounters people who want to tell him some tale from his own growing legend, tales that he brusquely tells the storyteller are untrue, even if they might be. He is especially angered by stories that frame him as heroic.
Jodie Comer is winning as the healer who cares for the old outlaw, who helps open his eyes to something beyond what this realist sees before him. Likewise, two other characters play a role in this late-life journey, Bill Skarsgard as Little John, Robin’s former partner-in-crime who found a new life in love as a husband and father under an assumed identity, and particularly Murray Bartlett, who strikingly memorable as the knowing, mysterious leper that Robin meets on the island healing refuge.
THE DEATH OF ROBIN HOOD is a remarkable take on a familiar story, which brings out a new more human side, about regrets and redemption. With a sweeping epic style, often gorgeous or gripping photography, it is also filled with fine dramatic performances from a gifted cast. Hugh Jackman is really on a terrific path with one remarkable performance after another, with this film his latest step on that ladder.
DEATH OF ROBIN HOOD opens in theaters on Friday, June 19, 2026.
Summertime is truly “funtime” once more at the multiplex because several dear old childhood pals have returned for a brand-spanking-new adventure. Now it’s not the Avengers or those “furious-fast fellas”, either. You see, this ‘team’ has been entertaining us in theatres for over thirty years now, so original fans are introducing them to their offspring. They’ve really been through a lot (the warranty has lapsed long ago), but this may be their biggest challenge yet, one that many parents are dealing with: the “screens”. And isn’t it somewhat ironic that the first big CG animated heroes of movie features are tussling with “tech” in TOY STORY 5? Double that since this comes to you from one of those dreaded “devices”.
Strangely, this installment actually starts on what appears to be a deserted island. A cargo ship has washed ashore, spilling its contents all over the beach. Why, it’s an army of the new “tech-enhanced” versions of Buzz Lightyear. As these confused Space Rangers attempt to return to civilization, the location switches to the bedroom of sweet, shy lil’ Bonnie (voice of Scarlett Spears) as she stages a big wedding involving nearly all the toys that were gifted by Andy (from TS 1-3). It’s fun, but the toys’ leader, Jessie (Joan Cusack), along with her smitten admirer, the original “low-tech” Buzz (Tim Allen), are concerned that she’s not making many friends, including the twins that moved in across the street. Bonnie’s parents share their worry and try to help by bringing home a new plaything, a game-filled children’s “first computer” called Lilypad (Greta Lee). It quickly becomes apparent that this “device” has become the pre-teen’s obsession, taking away all “playtime’ with the toys. After deputizing Buzz, Jessie puts in a call to the AWOL (from TS 4) Woody (Tom Hanks). But Lilly has her own agenda, and connects Bonnie with her dance classmates, who invite her to a sleepover. In an effort to tag along, Jessie and Bullseye the horse end up at a reminder of Jessie’s past heartbreak. Meanwhile, a confused Woody reunites with his pals and joins Buzz in a battle of wills with Lily. Can the gang finally get back together and triumph over the tech, or will they get “boxed up” and forgotten as Bonnie is swayed by the “screen”?
Yes, those rumblings online prove to be true: this is Jessie’s story. So, let’s let out a most appreciative yodel to the wonderful Ms. Cusack, who deftly mixes spunk, snark, boisterious energy, and sweet sentiment to everybody’s (this’ll grow the fanbase) favorite ginger cowgirl. Of course, it helps that the story builds on one of the greatest scenes of the series, the “backstory” of her first “kid,” Emily. It’s no wonder that “Andy’s gang” flourishes with her as the new “sheriff”. It’s great that Jessie has much more depth here than in the last installment, which also goes for her romantic “pardner'” Buzz. Allen brings some of that original bravado tinged with trepidation as he struggles to find the “right moment” to express his feelings. And, of course, Hanks is terrific as the more “mature” Woody, complete with poncho and “bare” pate spot. As for the new additions, Lee as Lily, has a soothing “singsong” quality which gives a great passive-aggressive tone to her “burns’ and boasts about “hooking” Bonnie. Spears melts our hearts as Bonnie, and is a sweet “play pal” to another “newbie” Blaze, given a rowdy tone by Mykal-Michelle Harris. But the most interesting and funniest new “old” toy (he’s a big “plot propeller”) is Smarty Pants, a friendly old school low-tech “potty-trainer” blessed with the sneering sarcasism and caustic comic timing of Conan O’Brien. In such an impressive ensemble of talent, he might be the supreme scene-stealer.
Though he’s been part of the screen stories for all of this series, this film marks the first to be directed by Andrew Stanton, sharing the “chair” with McKenna Harris (both wrote the script). This duo expertly balances the comic interplay with the characters with a whole lot of heart (again, Jessie’s history, along with Bonnie’s “social challenges”) along with a rollicking adventure structure (the ole’ heroes’ journey). While many fans have slammed Pixar for “falling back” on sequels (hopefully this year’s successful HOPPERS silenced some of the most vocal), here they’ve found a great way to return to the “toy box” via an important message concerning a current parenting quandary. The “screens” are dazzling the toddlers, so how does this affect personal interactions? The filmmakers have crafted a timely tale that addresses this, while never preaching, and promoting a balance. Plus, they’ve given a new “spin” on the usual “villain” tropes of the series (Sid in #1, Al and Pete in #2, Lotso in #3, and Gabby Gabby in the last one), so they avoid a “retread” and allow for an engaging redemption arc. Of course, the animation is splendid with expert physical acting, wonderful character design (even the minor humans and animals), and superb background renderings from suburbia to a lush ranch, with a tropical ‘stopover”. While many early viewers have stated that this is the best of the franchise (it doesn’t match TS2, though that’s an incredibly “high bar” to surpass), it is true “family entertainment” of the highest quality (miles from a “churned out” “cash-grab”). The artisan wizards of Emeryville have dazzled us once more, bringing wonderful wit and relevance to the beloved movie icons that “started it all” way back at the end of the last century (whew) with TOY STORY 5. Now that’s some quality “playtime”…
When an unexpected and ruthless adversary strikes too close to home, Kara Zor-El, aka Supergirl, reluctantly joins forces with an unlikely companion on an epic, interstellar journey of vengeance and justice.
“Supergirl,” DC Studios’ newest feature film to hit the big screen, will be in theaters worldwide this summer from Warner Bros. Pictures, starring Milly Alcock in the dual role of Supergirl/Kara Zor-El. Craig Gillespie directs the film from a screenplay by Ana Nogueira.
Alcock stars alongside Matthias Schoenaerts, Eve Ridley, David Krumholtz, Emily Beecham, and Jason Momoa.
SUPERGIRL will be in theaters and IMAX on June 26, 2026.
Arriving early is recommended, as admission is not guaranteed once the theater reaches capacity.
Behind the camera, Gillespie is joined by director of photography Rob Hardy, production designer Neil Lamont, editors Tatiana S. Riegel and Fred Raskin, costume designers Anna B. Sheppard and Michael Mooney, Visual Effects Supervisor Geoffrey Baumann, music supervisor Susan Jacobs and composer Claudia Sarne.
