The 2025 EE BAFTA Film Awards were hosted on Sunday by David Tennant at London’s Royal Festival Hall. CONCLAVE won four BAFTAs, including Best Film, Film Editing, Adapted Screenplay and Outstanding British Film. This is Edward Berger’s second time winning the Best Film award, with his first being 2023’s ALL QUIET ON THE WESTERN FRONT.
THE BRUTALIST also won four awards, including Best Director for Brady Corbet, Leading Actor for Adrien Brody, Cinematography and Music Score, while Mikey Madison won Leading Actress for ANORA. The film also took the BAFTA for Casting.
EMILIA PEREZ was awarded with two BAFTAs – Supporting Actress Zoe Saldaña and Film Not in the English Language.
The delightful WALLACE AND GROMIT: VENGEANCE MOST FOWL won two BAFTAs for Best Animated Feature and Children’s & Family Film. SUPER/MAN: THE CHRISTOPHER REEVE STORY was awarded Best Documentary.
David Jonsson (Andy in ALIEN ROMULUS) received the EE Rising Star Award, voted for by the public and actor Warwick Davis received the BAFTA Fellowship which he dedicated to his late wife.
For those following the awards season, ANORA is the front runner for Best Picture based solely on having won the Producers Guild, Directors Guild and Saturday night’s Writers Guild awards. The last of the 4 big guild awards, the Screen Actors Guild awards, will be announced on Sunday, Feb. 23rd and streamed on Netflix. The 97th Oscars will be held in two weeks on Sunday, March 2, streaming LIVE on HULU and on ABC from Hollywood.
Anora (2) Leading Actress: Mikey Madison Casting: Sean Baker, Samantha Quan
The Brutalist (4) Director: Brady Corbet Leading Actor: Adrien Brody Cinematography: Lol Crawley Original Score: Daniel Blumberg
Conclave (4) Best Film: Tessa Ross, Juliette Howell, Michael A. Jackman Outstanding British Film: Edward Berger, Tessa Ross, Juliette Howell, Michael A. Jackman, Peter Straughan Adapted Screenplay: Screenplay by Peter Straughan Editing: Nick Emerson
Dune: Part Two (2) Sound: Ron Bartlett, Doug Hemphill, Gareth John, Richard King Special Visual Effects: Paul Lambert, Stephen James, Gerd Nefzer, Rhys Salcombe
Emilia Pérez (2) Film Not in the English Language: Jacques Audiard, Pascal Caucheteux Supporting Actress: Zoe Saldaña
Kneecap (1) Outstanding Debut by a British Writer, Director or Producer: Rich Peppiatt (Director, Writer)
A Real Pain (2) Original Screenplay: Written by Jesse Eisenberg Supporting Actor: Kieran Culkin
The Substance (1) Make Up & Hair: Pierre-Olivier Persin, Stéphanie Guillon, Frédérique Arguello, Marilyne Scarselli
Super/Man: The Christopher Reeve Story (1) Documentary: Ian Bonhôte, Peter Ettedgui, Lizzie Gillett, Robert Ford
Wallace & Gromit: Vengeance Most Fowl (2) Animated Film: Nick Park, Merlin Crossingham, Richard Beek Children’s & Family Film: Nick Park, Merlin Crossingham, Richard Beek
Wicked (2) Costume Design: Paul Tazewell Production Design: Nathan Crowley, Lee Sandales
SANTA MONICA, CALIFORNIA – FEBRUARY 04: Josh Ruben and Jay Wadley attend a special Beyond Fest screening of Screen Gems and Spyglass Media Group’s HEART EYES at Aero Theatre on February 04, 2025 in Santa Monica, California. (Photo by Eric Charbonneau/Sony Pictures via Getty Images)
For the past several years, the “Heart Eyes Killer” has wreaked havoc on Valentine’s Day by stalking and murdering romantic couples. This Valentine’s Day, no couple is safe…
Hitting theaters this February is the Valentine’s Day horror-comedy HEART EYES from director Josh Ruben.
Screen Gems and Spyglass Media Group present a Divide/Conquer production, Heart Eyes. Starring Olivia Holt, Mason Gooding, Gigi Zumbado, Michaela Watkins, with Devon Sawa and Jordana Brewster. Produced by Christopher Landon, Greg Gilreath, and Adam Hendricks. Written by Phillip Murphy and Christopher Landon & Michael Kennedy.
The director of photography is Stephen Murphy, BSC, ISC. The production designer is Rob Bavin. The film is edited by Brett W. Bachman, ACE. The costume designer is Jaindra Watson. Casting by Mary Vernieu, CSA, and Bret Howe, CSA.
They say that whether you’re trying to make an audience care about whether a couple gets together or survives a slasher comes down to the same thing: get them invested in the characters. “We didn’t want to wink at it—’scream cute,’” says Ruben. “We wanted to play terror for real—to be vulnerable and root for these characters.”
Heart Eyes centers on a mysterious serial killer whose mission is to take out couples—the more obnoxiously in love, the better. “Heart Eyes is a brutal and nasty killer, a cunning slasher,” says Ruben. “The killer can’t stand couples. What’s Heart Eyes’s MO? Repulsed by couples? Hates PDA? An anti-Valentine’s Day vigilante?
All of this effectively comes through the screen with a pulse racing score by Jay Wadley. In her review, WAMG’s Cate Marquis says, “Director Ruben also adds a little fun with the music choices, one of the best parts of the movie, along with the fine horror effects.”
Wadley’s various tracks give audiences a fun return to the horror movies we all love – SCREAM, NIGHTMARE ON ELM STREET, FRIDAY THE 13TH – with his musical jump scare cues.
In a recent interview with Wadley prior to the opening of the film, the composer and I discussed how he crafted a genre-defying score for the movie by blending lush rom-com melodies, spine-tingling horror motifs, and comedic beats, the score reflects the film’s unique tone.
Just in time for Valentine’s Day, the soundtrack will be released Friday, February 14th.
When asked about his inspirations for composing this musical character of HEART EYES, he said he drew from the music of Bernard Herrmann, Christopher Young, and Krzysztof Penderecki. Jay created a musical palette that weaves classic romance, modern horror, and experimental textures into an unforgettable auditory experience.
At the heart of the score lies a haunting three-note motif for the Heart Eyes Killer, a flexible theme that shifts from eerie harp whispers to bombastic brass climaxes, evolving with the character’s menace. The score also features a tender love theme for the protagonists, Ali and Jay, that struggles to find space amidst the chaos—mirroring their romantic journey.
From suspenseful aleatoric string textures to lush orchestral swells, the music keeps audiences on edge while delivering moments of beauty and emotional release. Highlights include the climactic drive-in theater scene, where the love theme finally flourishes in its full glory, and the film’s action-packed finale, intricately scored to amplify its thrills.
Wadley’s past work includes the psychological thriller I’m Thinking of Ending Things (Netflix), the historical drama series Franklin (Apple TV+), and the Sundance NEXT Award-winning I Carry You with Me (Sony Pictures Classics). His upcoming score is for the film THE WEDDING BANQUET.
Director Josh Ruben (center), Jordana Brewster as Detective Jeanine and Mason Gooding as Jay on the set of Screen Gems and Spyglass Media Group’s HEART EYES. Photo by: Christopher Moss
WAMG: To start, what was the initial inspiration behind your musical score for Heart Eyes? Did the director, Josh Ruben, provide any specific guidance? How did you balance the slasher movie elements with the romantic comedy tropes?
Jay Wadley: The initial inspiration for the score came from the juxtaposition of two genres that, on the surface, seem completely at odds: slasher and rom-com. Josh Ruben, the director, was incredibly clear about wanting to merge these two tones in a way that felt organic. He pushed me to explore both the humor and the suspense in the story, and to treat both with the same level of sincerity. So, in a way, the score needed to reflect the contrast between something playful and light-hearted, with moments of tension and even dread. It was about creating an atmosphere where you can laugh one minute and feel uneasy the next, which is what makes the film so fun and surprising.
WAMG: That’s a fascinating challenge! How would you describe the overall sound and style of the score? Was it more orchestral, electronic, or something else?
Jay Wadley: The score is definitely a mix of both orchestral and electronic elements. I used lush string arrangements and piano for the rom-com portions—those moments needed warmth and intimacy. But for the slasher side, I incorporated synths and a lot of distorted, unsettling sounds. The use of electronics allowed me to evoke a sense of unease, but still in a way that felt fresh and modern. There’s a lot of tension in the score, but it’s layered with moments of sweetness that reflect the romantic angle of the film. The balance between the two was key.
WAMG: That balance must’ve been tricky to get right. What were some of the biggest challenges you faced while composing the music for this film?
Jay Wadley: The project came together pretty quickly, and we had to be efficient. Beyond that, the challenge was capturing the nuances of the characters and story through music. I had to be very conscious of how the score would highlight the shifting moods—from light-hearted rom-com moments to the darker, more intense slasher scenes. Also, working with Josh and the team to ensure the music complemented the pacing of the story without overshadowing the humor or tension was a delicate balancing act.
WAMG: What was the most rewarding aspect of working on Heart Eyes?
Jay Wadley: Honestly, the most rewarding aspect was seeing the whole thing come together on screen. It’s one thing to create music in a vacuum, but seeing how the score fit with the visuals and the performances was incredibly gratifying. Josh really allowed me to take creative risks, and the film as a whole feels like a true collaboration. It’s a fun ride, and the music feels like it plays a big part in making that happen.
WAMG: Did you use any unique instruments or recording techniques in the score for Heart Eyes?
Jay Wadley: Yes! For some of the more intense, slasher-driven moments, I used unconventional sounds—like prepared piano (where you place objects on the strings) and bowed cymbals. These techniques create eerie textures that added a lot of tension. For the romantic scenes, I stuck to more traditional instrumentation, but with added layers of synths that gave the score a bit of a contemporary edge.
WAMG: That’s really interesting. How did you integrate the music with the film’s visual and narrative elements? Did you use leitmotifs or thematic development?
Jay Wadley: Absolutely. I used motifs for both the romantic and horror elements. The romantic theme is light and playful, often appearing as a melody played on the piano or strings. For the horror, I developed a more jagged, dissonant motif that would emerge at key moments. By weaving these themes in and out, I was able to underscore the shifts in tone without being too overt. The integration was really about setting the emotional foundation for each scene, so the audience could feel the tension before it even fully manifested on screen.
WAMG: Did you compose digitally, with a live orchestra, or a combination of both?
Jay Wadley: I composed most of the score digitally, using a mix of sampled instruments and synths. However, for some of the more intimate moments, I recorded with live musicians, particularly for the string sections. There’s something special about having live instruments that can’t quite be replicated digitally – especially for the romantic moments, where I wanted to capture a sense of warmth and humanity.
Olivia Holt as Ally and Mason Gooding as Jay in Screen Gems and Spyglass Media Group’s HEART EYES. photo by: Christopher Moss
WAMG: How did the film’s story and characters influence your creative process?
Jay Wadley: The film’s story had a huge impact on the music. The characters are quirky and endearing, so I wanted the score to reflect that playfulness, but also the fact that they are in a very dangerous situation. I tried to keep the characters at the forefront of the music, capturing their vulnerabilities and moments of triumph. The music had to reflect their emotional arcs while still supporting the genre-defying nature of the film.
WAMG: Did you personally connect with any of the characters or themes in the film?
Jay Wadley: I think I connected with the themes of love and fear—those two emotions often run parallel in life, and they’re both explored in Heart Eyes. The characters are navigating relationships, but they’re also dealing with this intense, life-threatening situation. It was easy to relate to that kind of emotional rollercoaster, and I think that’s why the score feels so authentic.
WAMG: What was it like collaborating with Josh Ruben and the rest of the filmmaking team?
Jay Wadley: It was fantastic. Josh is a visionary. He had such a clear idea of what he wanted, but he was also very open to ideas and experimentation. The collaboration felt very organic—there was a lot of trust between us, which made it easier for me to push creative boundaries. The whole team was incredibly supportive and passionate, which made the experience so rewarding.
WAMG: How has working on this project impacted your own musical style and approach?
Jay Wadley: It’s definitely expanded my approach to genre blending. The challenge of weaving together two very different tones—comedic and horrific—has made me more comfortable with taking risks and pushing boundaries. I feel like I’m more confident in my ability to shift between moods and create something that feels cohesive, even when the ingredients are wildly different.
WAMG: What do you hope audiences will take away from the music in Heart Eyes?
Jay Wadley: I hope the audience leaves with a sense of excitement and surprise. The music reflects the unexpected nature of the film itself – romance and danger can coexist in a way that’s both funny and unsettling. I want people to remember the emotional highs and lows of the music, and hopefully, it will make them reflect on how these different feelings – love, fear, joy – are all connected in our lives.
WAMG: Thank you so much for sharing your insights with me, Jay! It’s been a pleasure hearing about your creative process.
Jay Wadley: Thank you! It was great to talk about the project. I hope everyone enjoys the film and the music as much as we enjoyed making it.
Debuting on Apple TV+ on February 14 is director Scott Derrickson’s THE GORGE, starring Miles Teller, Anya Taylor-Joy and Sigourney Weaver.
Two highly-trained operatives (Teller and Taylor-Joy) are appointed to posts in guard towers on opposite sides of a vast and highly classified gorge, protecting the world from an undisclosed, mysterious evil that lurks within. They bond from a distance while trying to stay vigilant in defending against an unseen enemy. When the cataclysmic threat to humanity is revealed to them, they must work together in a test of both their physical and mental strength to keep the secret in the gorge before it’s too late.
In a recent interview Derrickson said THE GORGE is much like Until Dawn and Silent Hill, “I love those games, and I do think that gaming has sort of set the bar for gunplay action, especially if you’re really with a single character or two characters, you kind of can’t beat it.” (Games Radar)
Director Scott Derrickson on the set of The Black Phone.
Check out what Apple TV+ did to promote the movie over Sunset Boulevard.
Derrickson is one of my favorite directors and I’m looking forward to his latest film as well as the upcoming BLACK PHONE 2. A poster with “directed by Scott Derrickson” guarantees I’ll go to see his film even without a synopsis. Aliens arriving on earth, ghosts calling on a phone with a warning or evil spirits of a sinister nature terrorizing families, below are some of the cinematic journeys that he’s taken us on.
HELLRAISER: INFERNO (2000): A corrupt detective encounters a mysterious box that unleashes horrific supernatural forces. Supernatural villain Pinhead finds himself on the wrong side of the law in the fifth film of the Hellraiser franchise. Joseph is a detective with the LAPD who one morning discovers he’s no longer living in California — he’s been exiled to Hades, and the only way to escape is by solving the mystery of the all-powerful puzzle box. The box is now in the hands of the fearsome demon Pinhead and Joseph finds himself in a life-and-death struggle with the demon for control of the puzzle box.
Derrickson’s debut feature was Hellraiser: Inferno. It was released straight to video in 2000 and is one of the most interesting chapters in the franchise, becoming a fan favorite.
THE EXORCISM OF EMILY ROSE (2005): A priest is accused of negligent homicide after a teenage girl dies during an exorcism. Derrickson co-wrote and directed The Exorcism of Emily Rose, which was loosely based on a true story about Anneliese Michel. The film won the 2005 Saturn Award for Best Horror or Thriller Film and in 2006 was named in the Chicago Film Critics Association’s list of the “Top 100 Scariest Films Ever Made.” Theatrical box office gross for The Exorcism of Emily Rose was over $144 million worldwide. The film is one of the best in the genre and a great mix of courtroom drama and a horror story. The flashbacks and the the remarkable performance of Jennifer Carpenter makes this smart film a must-see of the filmmaker.
THE DAY THE EARTH STOOD STILL (2008): An alien visitor arrives on Earth with a powerful robotic companion, GORT, to deliver a crucial message to humanity. A remake of the film “The Day the Earth Stood Still” directed by Robert Wise, it’s a terrific retelling of the 1951 classic and Keanu Reeves captures the essence of Klaatu, brilliantly played by Michael Rennie in the original. While both films have the best flying saucer/spaceship arrivals in cinematic history, this time GORT is even more terrifying and the genius casting of John Cleese as Professor Barnhardt has a meaningful dialogue with Klaatu and the famous “Klaatu barada nikto” was once again heard to the delight of fans. Written by David Scarpa, the film was released in late 2008 and earned over $233 million worldwide.
Two of the best scenes in the movie rival the original film and its this dialogue that gives Derrickson’s version a more human touchstone.
Klaatu: You yourself called them a destructive race.
Mr. Wu: That’s true. But still, there is another side. You see, I… I love them. It is a very strange thing. I… I… I can’t find a way to explain it to you. For many years I cursed my luck for being sent here. Human life is difficult. But as this life is coming to an end… I consider myself lucky… to have lived it.
The scene below is also a nice take on the 1951 dialogue:
Klaatu: I find it works well enough to get me from one planet to another.
SINISTER (2012): A true-crime novelist discovers a disturbing collection of home movies that may be connected to a series of murders, all resulting in a younger member of the family just disappearing. One of the scariest horror movies ever made, the film makes you fearful for days, the jump scares are so effective and the audience believes that Ethan Hawke is truly terrified. Debuting at the SXSW festival, WAMG’s Travis Keune wrote in his review, “What SINISTER does so well is to capitalize on terror in the unknown, the fear of the dark and the inherent creepiness of waiting for the inevitable to occur. It is easily one of the best horror films I’ve seen in recent years.”
In August 2011, Derrickson teamed up with producer Jason Blum to write and direct Sinister, a mystery horror film starring Ethan Hawke. The $3 million picture was released in theaters by Summit Entertainment on October 12, 2012, and received generally positive critical reviews. Sinister earned over $48 million at the U.S. box office and over $78 million worldwide. Derrickson co-wrote but did not direct the film’s sequel.
Possession, shocks and scares…DELIVER US FROM EVIL (2014) is the story of a New York police officer who teams up with an unconventional priest to investigate a series of disturbing and potentially supernatural cases. Produced by Jerry Bruckheimer, the film is based on a 2001 non-fiction book entitled Beware the Night by former police Sergeant Ralph Sarchie and Lisa Collier Cool, and its marketing campaign highlighted that it was “inspired by actual accounts” making for a fun night at the movies. Audiences loved it and this creepy film, released on July 2, 2014, grossed $87.9 million against a $30 million budget proving you can’t always go by the critics reviews.
DOCTOR STRANGE (2016): A talented but arrogant neurosurgeon learns the mystic arts after a tragic accident. Starring Benedict Cumberbatch, the film is, hands down, the best Marvel film and Derrickson makes you forget you are watching a superhero film. It keeps the original psychedelic feel of the material, while giving the character an updated origin. Based on the Marvel comic character, created by Stan Lee and Steve Ditko, who first appeared in “Strange Tales” Issue #110 published in July 1963. The magical score from Michael Giacchino is from another time and just adds to the greatestness of DOCTOR STRANGE.
THE BLACK PHONE (2021): A young boy abducted by a masked killer receives mysterious calls from the dead, helping him to escape his captor. The Black Phone re-teamed Derrickson with Ethan Hawke and James Ransone, and was theatrically released to positive reviews on June 24, 2022. In 2021, Derrickson directed an adaptation of Joe Hill’s short story “The Black Phone”, from a script he co-wrote with C. Robert Cargill. Derrickson wanted emotional veracity, not just technical accuracy, in every frame. “The trick was to capture not just what the era looked or sounded like, but what did it feel like?” Derrickson says. “I wanted The Black Phone to feel like how the late ’70s felt to me when I was 12 and 13.” For Gen Xers, children of the ’70s, this was a time without anti-bullying initiatives, where, for boys in particular, learning to defend yourself against mean kids was considered a normal rite of passage. “My earliest memory up until high school was the violence of the neighborhood that I lived in,” Derrickson says. “The primary feeling that I remember having as a child was fear. I was the youngest kid on the street full of bullies.” One of his absolute best movies, Derrikson’s film is a hard watch, and even on repeat viewings the effective creepiness stays with you long after the credits.
DREAMKILL:
Derrickson said of his portion of Shudder’s V/H/S 85, “What was interesting to me about making Dreamkill was first, trying to play with the physical format of VHS tape, and second, to work with my sons Dashiell (who plays Gunther) and Atticus (who did the score). I’m also a big fan of the VHS franchise, and was excited to work in the short film medium without any restrictions on the necessary violence of the content.” Fun fact: this is directly connected to THE BLACK PHONE. V/H/S 85 is the absolute best of the popular film anthology series, but it’s DREAMKILL with its twists that’s the standout of the ominous mixtape blending never before seen snuff footage with nightmarish newscasts and disturbing home video to create a surreal, analog mashup of the forgotten 80s.
In 1969 the master of the American western, Sam Peckinpah, directed a stellar cast in THE WILD BUNCH, a controversial film that breathed new life into the genre and broke ground in the realistic portrayal of screen violence. Receiving two Academy Award nominations, this bitter, brutal story of magnificent losers in a dying West remains one of the screen’s all-time classics. An explosive adventure drama about the last of the legendary lawless breed who lived to kill – and killed to live. The cast included William Holden, Ernest Borgnine, Robert Ryan, Edmond O’Brien. Warren Oates and Ben Johnson.
Now comes a bunch of a different kind. the THUNDERBOLTS* – an unconventional team of antiheroes – Yelena Belova, Bucky Barnes, Red Guardian, Ghost, Taskmaster and John Walker. The cast features Florence Pugh, Sebastian Stan, David Harbour, Wyatt Russell, Olga Kurylenko, Hannah John-Kamen and Julia Louis-Dreyfus and also includes newcomers to the MCU – Lewis Pullman (The Sentry/Robert Reynolds), Geraldine Viswanathan, Chris Bauer and Wendell Edward Pierce.
On Superbowl Sunday, Marvel Studios released a new trailer and poster for the upcoming feature film THUNDERBOLTS*. After finding themselves ensnared in a death trap set by Valentina Allegra de Fontaine, these disillusioned castoffs must embark on a dangerous mission that will force them to confront the darkest corners of their pasts. Will this dysfunctional group tear themselves apart, or find redemption and unite as something much more before it’s too late?
Watch the fun new trailer.
Wow – this is such a good trailer and kudos to whoever cut it together! We’re all excited for THE FANTASTIC FOUR: FIRST STEPS movie, but Marvel needs a fun action packed movie to start of the summer. Fans have missed this from a Marvel movie as of late, and this gang has such good one-liners and great chemistry. Plus the trailer gave us a look at The Sentry – one of the most powerful villains in Marvel Comics – who could crush the team. In the comics he’s shown with the power to rip planets in half so the trailer’s emphasis on how the members of the Thunderbolts are not Heroes, not Super, not giving up, makes me want to see even more how all of this will play out.
In THE SENTRY/FANTASTIC FOUR 1 (2001) #1, Bob Reynolds has always been the best friend of Reed Richards. As the Sentry he stood by Mr. Fantastic against Dr. Doom and traveled with him into the Negative Zone. And Reed was the best man at Bob’s wedding! So if the Sentry remembers these monumental moments…why doesn’t anyone else?
Will there be a connection to the Fantastic Four and Earth 616? And how will The Void play into the next phase of the MCU?
The studio also announced the exciting news that Son Lux will be scoring THUNDERBOLTS*. The three-member, American experimental band was Oscar and BAFTA-nominated for their score for 2022’s best picture “Everything Everywhere All at Once.”
Jake Schreier directs THUNDERBOLTS* with Kevin Feige producing. Louis D’Esposito, Brian Chapek and Jason Tamez serve as executive producers.
Marvel Studios’ THUNDERBOLTS* opens in U.S. theaters on May 2, 2025.
Anthony Mackie visits the Nellis Air Force Base in Nevada on Monday, February 3, 2025. Photo credit: Elie Kimbembe.
Check out the photos and a super video from a press day for CAPTAIN AMERICA: BRAVE NEW WORLD at Nellis Air Force Base in Nevada on Monday, attended by stars Anthony Mackie and Danny Ramirez, director Julius Onah and producer Nate Moore.
Anthony Mackie visits the Nellis Air Force Base in Nevada on Monday, February 3, 2025. Photo credit: Elie Kimbembe.
A high point of the day was when Anthony Mackie, who plays Captain America, took to the skies aboard a HC-130J Combat King II aircraftand tandem jumped with a group of pararescuemen from the 58th Rescue Squadron from almost 13000 ft.
The character of Sam Wilson, played by Mackie in the film, served in the Air Force’s 58th Rescue Squadron, making this moment all the more special. It’s going to be exciting for audiences to see Sam Wilson as Captain America for the first time!
Marvel Studios invites you to soar to new heights with a breathtaking view of the St. Louis skyline from The St. Louis Wheel at Union Station, all in celebration of the highly anticipated Captain America: Brave New World—in theaters February 14th!
What: Get ready for a transformation as The St. Louis Wheel at Union Station becomes the legendary Captain America Shield! This exclusive event is for one day, free to the public, and includes chances to win prizes and capture epic photos to hype up the film’s release. The first 50 people will have a chance to win either a free The St. Louis Wheel at Union Station ride or Fandango passes to see the film in theaters. 101.1 ESPN’s Brandon Kiley “BK” will also be on site to add to the energy and excitement. Join us for a memorable experience at Union Station!
When: Saturday, February 8th
Time: 5:00-7:00 PM (while supplies last)
Where: Union Station (1820 Market St, St. Louis, MO 63103) – Located at The St. Louis Wheel at Union Station
In CAPTAIN AMERICA: BRAVE NEW WORLD, Sam Wilson finds himself in the middle of an international incident after meeting with newly elected U.S. President Thaddeus Ross. He must discover the reason behind a nefarious global plot before the true mastermind has the entire world seeing red.
Marvel Studios’ CAPTAIN AMERICA: BRAVE NEW WORLD stars Anthony Mackie, Danny Ramirez, Shira Haas, Carl Lumbly, Xosha Roquemore, with Giancarlo Esposito, Liv Tyler, Tim Blake Nelson, and Harrison Ford.
The film is directed by Julius Onah and produced by Kevin Feige and Nate Moore. Louis D’Esposito and Charles Newirth serve as executive producers. The screenplay is by Rob Edwards and Malcolm Spellman & Dalan Musson and Julius Onah & Peter Glanz with story by Rob Edwards and Malcolm Spellman & Dalan Musson.
CAPTAIN AMERICA: BRAVE NEW WORLD opens in U.S. theaters on February 14, 2025.
No Name (James Corden) and Smurfette (Rihanna) in Smurfs from Paramount Animation.
When Papa Smurf (John Goodman) is mysteriously taken by evil wizards, Razamel and Gargamel, Smurfette (Rihanna) leads the Smurfs on a mission into the real world to save him. With the help of new friends, the Smurfs must discover what defines their destiny to save the universe.
SMURFS features an all-star voice cast including Rihanna, James Corden, Nick Offerman, JP Karliak, Daniel Levy, Amy Sedaris, Natasha Lyonne, Sandra Oh, Octavia Spencer, Nick Kroll, Hannah Waddingham, Alex Winter, Maya Erskine, Billie Lourd, Xolo Maridueña with Kurt Russell and John Goodman.
The Smurf movies have been a hit with audiences. The first Smurfs movie was the most commercially successful, grossing over half a billion dollars worldwide. The totals for the live-action films are, The Smurfs (2011) $563,749,323 and The Smurfs 2 (2013): $347,434,178, while the animated films brought in respectively The Smurfs and the Magic Flute (1975): $19,000,000 and Smurfs: The Lost Village (2017): $197,183,546. The total box office gross stands at $1,127,367,047.
Universal Pictures has dropped the first trailer for JURASSIC WORLD REBIRTH.
A new era is born.
This summer, three years after the Jurassic World trilogy concluded with each film surpassing $1 billion at the global box office, the enduring Jurassic series evolves in an ingenious new direction with Jurassic World Rebirth.
Anchored by iconic action superstar Scarlett Johansson, Emmy and SAG nominee Jonathan Bailey and two-time Oscar® winner Mahershala Ali, this action-packed new chapter sees an extraction team race to the most dangerous place on Earth, an island research facility for the original Jurassic Park, inhabited by the worst of the worst that were left behind.
Also starring acclaimed international stars Rupert Friend and Manuel Garcia-Rulfo, the film is directed by dynamic visualist Gareth Edwards (Rogue One: A Star Wars Story) from a script by original Jurassic Park screenwriter David Koepp.
Five years after the events of Jurassic World Dominion, the planet’s ecology has proven largely inhospitable to dinosaurs. Those remaining exist in isolated equatorial environments with climates resembling the one in which they once thrived. The three most colossal creatures across land, sea and air within that tropical biosphere hold, in their DNA, the key to a drug that will bring miraculous life-saving benefits to humankind.
Academy Award® nominee Johansson plays skilled covert operations expert Zora Bennett, contracted to lead a skilled team on a top-secret mission to secure the genetic material. When Zora’s operation intersects with a civilian family whose boating expedition was capsized by marauding aquatic dinos, they all find themselves stranded on a forbidden island that had once housed an undisclosed research facility for Jurassic Park. There, in a terrain populated by dinosaurs of vastly different species, they come face-to-face with a sinister, shocking discovery that has been hidden from the world for decades.
Ali is Duncan Kincaid, Zora’s most trusted team member; Critics Choice and Olivier Award winner Jonathan Bailey (Wicked, Bridgerton) plays paleontologist Dr. Henry Loomis; Emmy nominee Rupert Friend (Homeland, Obi-Wan Kenobi) appears as Big Pharma representative Martin Krebs and Manuel Garcia-Rulfo (The Lincoln Lawyer, Murder on the Orient Express) plays Reuben Delgado, the father of the shipwrecked civilian family.
The cast includes Luna Blaise (Manifest), David Iacono (The Summer I Turned Pretty) and Audrina Miranda (Lopez vs. Lopez) as Reuben’s family. The film also features, as members of Zora and Krebs’ crews, Philippine Velge (Station Eleven), Bechir Sylvain (BMF) and Ed Skrein (Deadpool).
Jurassic World Rebirth is directed by BAFTA winner Edwards from a script by Koepp (War of the Worlds), based on characters created by Michael Crichton. The film is produced by Oscar® nominee Frank Marshall and Patrick Crowley, both longtime Jurassic franchise producers and of last summer’s blockbuster, Twisters. The film is executive produced by Steven Spielberg, Denis L. Stewart and Jim Spencer.
L to R: Scarlett Johansson as skilled covert operations expert Zora Bennett and Jonathan Bailey as paleontologist Dr. Henry Loomis in JURASSIC WORLD REBIRTH, directed by Gareth Edwards.The Mosasaurus and Spinosauruses in JURASSIC WORLD REBIRTH, directed by Gareth Edwards.Mahershala Ali is Duncan Kincaid in JURASSIC WORLD REBIRTH, directed by Gareth Edwards.Mahershala Ali is Duncan Kincaid in JURASSIC WORLD REBIRTH, directed by Gareth Edwards
Marvel Studios’ THE FANTASTIC FOUR: FIRST STEPS – in theaters July 25, 2025 – invited a live audience and key cast members to U.S. Space & Rocket Center, HOME of Space Camp®, in Huntsville, Alabama, to officially launch the film’s inaugural trailer. Fans from around the world tuned in via a Marvel livestream to catch the big debut in real time with the Saturn 5 rocket serving as the backdrop.
HUNTSVILLE, ALABAMA – FEBRUARY 04: (L-R) Pedro Pascal, Ebon Moss-Bachrach, Joseph Quinn and Vanessa Kirby attend the Fantastic Four Trailer Launch at U.S. Space & Rocket Center on February 04, 2025 in Huntsville, Alabama. (Photo by David A. Smith/Getty Images for Disney)
Cast members starring as Marvel’s First Family – Pedro Pascal, Vanessa Kirby, Joseph Quinn & Ebon Moss-Bachrach – commandeered the countdown and launch surrounded by fans outside the National Geographic Theater. Angélique Roché hosted the event that included a Q&A with the stars.
Watch the countdown here.
Set against the vibrant backdrop of a 1960s-inspired, retro-futuristic world, Marvel Studios’ “The Fantastic Four: First Steps” introduces Marvel’s First Family—Reed Richards/Mister Fantastic (Pedro Pascal), Sue Storm/Invisible Woman (Vanessa Kirby), Johnny Storm/Human Torch (Joseph Quinn) and Ben Grimm/The Thing (Ebon Moss-Bachrach) as they face their most daunting challenge yet. Forced to balance their roles as heroes with the strength of their family bond, they must defend Earth from a ravenous space god called Galactus (Ralph Ineson) and his enigmatic Herald, Silver Surfer (Julia Garner). And if Galactus’ plan to devour the entire planet and everyone on it weren’t bad enough, it suddenly gets very personal.
The action adventure also stars Paul Walter Hauser, John Malkovich, Natasha Lyonne and Sarah Niles. “The Fantastic Four: First Steps” is directed by Matt Shakman, produced by Kevin Feige and executive produced by Louis D’Esposito, Grant Curtis and Tim Lewis.
The newest chapter in New Line Cinema’s bloody successful franchise takes audiences back to the very beginning of Death’s twisted sense of justice – FINAL DESTINATION BLOODLINES.
Plagued by a violent recurring nightmare, college student Stefanie heads home to track down the one person who might be able to break the cycle and save her family from the grisly demise that inevitably awaits them all.
FINAL DESTINATION BLOODLINES stars Kaitlyn Santa Juana, Teo Briones, Richard Harmon, Owen Patrick Joyner, Rya Kihlstedt, Anna Lore, with Brec Bassinger, and Tony Todd.
The franchise has grossed over $666 million worldwide, proving to be a consistently popular horror series. FINAL DESTINATION 5 (2011) and its clever twist ending, has received the best Rotten Tomatoes score with 63%, while the Bus Hit from FINAL DESTINATION (2000) is considered to be one of the best jump scares ever.
FINAL DESTINATION BLOODLINES is directed by Adam Stein & Zach Lipovsky. The screenplay is by Guy Busick & Lori Evans Taylor, and story is by Jon Watts and Guy Busick & Lori Evans Taylor. It is based on characters created by Jeffrey Reddick.
FINAL DESTINATION BLOODLINES is produced by Craig Perry, Sheila Hanahan Taylor, Jon Watts, Dianne McGunigle and Toby Emmerich. The executive producers are David Siegel, Warren Zide, Pete Chiappetta, Andrew Lary and Anthony Tittanegro.
The behind-the-camera talent includes director of photography is Christian Sebaldt and production designer Rachel O’Toole. The film is edited by Sabrina Pitre. The music is by Tim Wynn, and the music supervisor is Andrea Von Foerster. The visual effects supervisor is Nordin Rahhali. The costumes are designed by Michelle Hunter. The casting is by Rich Delia and Tiffany Mak.
From Warner Bros. Pictures, FINAL DESTINATION BLOODLINES opens in theaters nationwide on May 16, 2025.
The murderous doll who captivated pop culture in 2023 is back. And this time she’s not alone.
The original creative team behind that phenomenon—led by horror titans James Wan for Atomic Monster, Jason Blum for Blumhouse and director Gerard Johnstone—reboot an all-new wild chapter in A.I. mayhem with M3GAN 2.0- in theaters June 27.
Two years after M3GAN, a marvel of artificial intelligence, went rogue and embarked on a murderous (and impeccably choreographed) rampage and was subsequently destroyed, M3GAN’s creator Gemma (Allison Williams) has become a high-profile author and advocate for government oversight of A.I. Meanwhile, Gemma’s niece Cady (Violet McGraw), now 14, has become a teenager, rebelling against Gemma’s overprotective rules.
Unbeknownst to them, the underlying tech for M3GAN has been stolen and misused by a powerful defense contractor to create a military-grade weapon known as Amelia (Ivanna Sakhno; Ahsoka, Pacific Rim: Uprising), the ultimate killer infiltration spy. But as Amelia’s self-awareness increases, she becomes decidedly less interested in taking orders from humans. Or in keeping them around.
With the future of human existence on the line, Gemma realizes that the only option is to resurrect M3GAN (Amie Donald, voiced by Jenna Davis) and give her a few upgrades, making her faster, stronger, and more lethal. As their paths collide, the original A.I bitch is about to meet her match.
Directed by acclaimed returning filmmaker Gerard Johnstone, the film co-stars returning cast members Brian Jordan Alvarez and Jen Van Epps as Gemma’s loyal tech teammates, Cole and Tess, and new characters played by Aristotle Athari (Saturday Night Live, Hacks), Timm Sharp (Apples Never Fall, Percy Jackson and the Olympians) and Grammy winner and 11-time Emmy nominee Jemaine Clement (Avatar: The Way of Water, What We Do in the Shadows).
Produced by James Wan, Jason Blum and Allison Williams, the film is executive produced by Gerard Johnstone, Adam Hendricks, Greg Gilreath,Michael Clear, Judson Scott and Mark D. Katchur.
The first M3GAN film shattered box office records,opening to $30.4 million domestically to become the biggest opening weekend for a PG-13 horror film since A Quiet Place Part II. The film went on to gross more than $180 million worldwide.
