If you found out we weren’t alone, if someone showed you, proved it to you, would that frighten you? This summer, the truth belongs to seven billion people.
We are coming close to … Disclosure Day.
Universal Pictures is proud to release a new original event film created and directed by Steven Spielberg. The film stars SAG winner and Oscar® nominee Emily Blunt (Oppenheimer, A Quiet Place), Emmy and Golden Globe winner Josh O’Connor (Challengers, The Crown), Oscar® winner Colin Firth (The King’s Speech, Kingsman franchise), Eve Hewson (Bad Sisters, The Perfect Couple) and two-time Oscar® nominee Colman Domingo (Sing Sing, Rustin).
From Spielberg’s CLOSE ENCOUNTERS OF THE THIRD KIND, to E.T, to WAR OF THE WORLDS, check out this first look at his latest film and see DISCLOSURE DAY in theaters 06.12.26.
Based on a story by Spielberg, the screenplay is by David Koepp, whose previous work with Spielberg includes the scripts for Jurassic Park, The Lost World: Jurassic Park, War of the Worlds and Indiana Jones and the Kingdom of the Crystal Skull. Combined, those films earned more than $3 billion worldwide. Koepp also wrote the script for this 2025’s Jurassic World Rebirth.
DISCLOSURE DAY is produced by five-time Academy Award® nominee Kristie Macosko Krieger (The Fabelmans, West Side Story) and by Spielberg for Amblin Entertainment. The executive producers are Adam Somner and Chris Brigham.
Director Steven Spielberg on the set of DISCLOSURE DAY.
Steven Spielberg is one of the industry’s most successful and influential filmmakers. The top-grossing director of all time, Spielberg has helmed such blockbusters as Jaws, E.T. The Extra-Terrestrial, the Indiana Jones franchise and Jurassic Park.
Among his myriad honors, he is a three-time Academy Award® winner, including Oscars® for Best Director and Best Picture for Schindler’s List, which received a total of seven Oscars®, and for Best Director for Saving Private Ryan. His most recent film, The Fabelmans, was released by Universal in 2022 and received seven Academy Award® nominations, including for Directing, Best Original Screenplay, Best Actress and Best Picture.
Glen Powell stars in Paramount Pictures’ “THE RUNNING MAN.”
Seems only a couple of weeks ago we saw a remake of a early 1990s classic thriller, THE HAND THAT ROCKS THE CRADLE. Oh yes, it was just a couple. Well, with only a few weeks left, Hollywood is unleashing another one. Ah, but this is going right to the multiplex, not “straight to streaming” like CRADLE. Oh, and this one’s original “take” (aside from the literary source material) was a few years earlier, 1987 to be precise. Plus, this new flick has a link to last week’s box-office champ. Arnold Schwarzenegger had a busy 1987, going from PREDATOR to this week’s new remake’s “inspiration”. This 2025 “edition” is getting a lot of “heat” since it’s helmed by a cult movie icon and stars an “up-and-coming” screen star. But can he somehow move faster than Arnold as a “2.0” spin on THE RUNNING MAN?
In the not too distant future, the gap between the “haves” and “have-not” seems to have lengthened considerably, especially now that a few corporations have their fingers in everything from the media to law-enforcement. One of the “have-nots” is hard-working stiff and struggling family man Ben Richards (Glen Powell). When we meet him, he’s begging that his former boss rehire him and take him off “the blacklist” for the unforgivable “crime” of meeting with a union rep over safety issues at the factory. But the answer is no, despite Ben bringing along his flu-stricken infant, Cathy. Ben returns to the Co-Op City slums where he shares a tiny broken-down apartment with his wife Shelia (Jayme Lawson) who’s working double shifts at a “gentleman’s club”. The frustrated papa clicks on the tube to catch some “Freevee”. Watching promos for the network’s slate of game shows, Ben believes that the only way to earn some quick medical funds for his daughter is to audition on a show. Promising Shelia that he won’t try out for the most dangerous of these programs, “The Running Man”, Ben heads downtown to the network studios, The staff there notices his fiery temper and sends him right up to the swank office of their big boss, Dan Killian (Josh Brolin) who wants him for that most violent show. Dangling a possible billion dollar prize jackpot, Ben reluctantly agrees. He’ll be one of the new trio of contestants on “The Running Man”. But with a heavily armed squad of “hunters” on his trail, along with a citizenry eager for a bit of the “bounty”, can Ben stay alive for thirty days (no one has yet) and return to his loving family?
So, this truly makes it official. Powell is the “real deal” as a movie star, going from the frothy rom-com ANYONE BUT YOU to action lead here, with a slight detour in between into front the disaster-thriller TWISTERS. He brings us into Ben’s heart, willing to do anything to save his struggling family. But there’s no halo over his head, as Powell conveys that bubbling angry frustration that suddenly boils over. There’s also a touch of a charming rascal during the quieter comic interludes, before Powell displays his physical prowess in the many action set pieces. He’s also a great “team player” as Powell shares the screen with an impressive supporting ensemble. Brolin’s a focused business baddie who keeps his evil impulses cloaked, using his “goon army” led by a surly Lee Pace at the ready. Colman Domingo appears to be having a blast as the cynical, flamboyant game show MC “Bobby T”, doing a flashy “peacock strut”. As for the folks in “Ben’s corner”, William H. Macy is the surly, but soft-hearted tech wiz who is something of a father figure to him in a pivotal early scene. Much later, we meet the very intense Michael Cera as an “underground rebel” who balances “old school” methods (dropping pamphlets) with some creative weaponry (a “super-squirter”…really). And in the finale, a somewhat indifferent “have” played by Emilia Jones (CODA) has her mind and heart opened up by Ben. Also of mention are the excellence comic performances of Katy O’Brian and Martin Herlihy (SNL’s “Do Not Destroy”) as Jenni and Tim, Ben’s “less lucky” game show competitors.
That cult icon filmmaker at the helm is Edgar Wright (BABY DRIVER), who co-wrote this adaptation of the Stephen King (as his alias Richard Bachman) novel with Michael Bacall. Wright seems to be having fun as he plays in this big, flashy, sometimes grimy futuristic toy box. It’s a slightly satirical take on current pop culture extremes, though it may be relevant today after the 21st century rise of the reality completion shows, from “Survivor” to “Squid Game”. And without directly calling out the tech terror, Wright also shows the dangers of “AI” as footage of Ben’s battles and video screeds (he has to record himself every day and drop it in a “drone/mailbox”) is manipulated to serve the game’s “narrative”. Yes, some of the parody is almost “shooting fish in a barrel”, especially with the cutaways to a Kardashian-like program, but Wright builds on the media-skewing that ROBOCOP also did so well in 1987 (what was in the “water” that year). Many of the action sequences are inspired, as Ben rigs up found objects in an almost Rube Goldberg fashion to harm the “hunters”. But unfortunately it gets a tad tiresome as the story limps along to a finale that’s way too convoluted with (another action flick problem) far too many endings. Those fans of the original should get a kick out of this spiffy more modern take (though it’s hard to match iconic game-show host Richard Dawson back in the day), but the casual film fans may just feel worn out as hints of “test market tinkering” try to hinder the brisk marathon-pace of THE RUNNING MAN.
2.5 Out of 4
THE RUNNING MAN is now playing in theatres everywhere
MICHAEL is the cinematic portrayal of the life and legacy of one of the most influential artists the world has ever known. The film tells the story of Michael Jackson’s life beyond the music, tracing his journey from the discovery of his extraordinary talent as the lead of the Jackson Five, to the visionary artist whose creative ambition fueled a relentless pursuit to become the biggest entertainer in the world. Highlighting both his life off-stage and some of the most iconic performances from his early solo career, the film gives audiences a front-row seat to Michael Jackson as never before. This is where his story begins.
In theaters on April 24, 2026, MICHAEL stars Jaafar Jackson, Nia Long, Laura Harrier, Juliano Krue Valdi, with Miles Teller, and Colman Domingo.
From director Antoine Fuqua with a screenplay by John Logan, watch the first teaser for MICHAEL.
Michael Jackson had 13 number-one hits on the Billboard Hot 100 during his solo career. This list includes collaborations with other artists. https://www.michaeljackson.com/the-artist/
Michael Jackson’s solo #1 hits on the Billboard Hot 100
“Ben” (1972): The title track from his second solo album.
“Don’t Stop ‘Til You Get Enough” (1979): The first single released from his Off the Wall album.
“Rock with You” (1980): A single from the Off the Wall album.
“Billie Jean” (1983): The iconic single from the album Thriller.
“Beat It” (1983): Also from the Thriller album.
“Say Say Say” (1983): A duet with Paul McCartney.
“I Just Can’t Stop Loving You” (1987): A duet with Siedah Garrett, from the album Bad.
“Bad” (1987): The title track from the album.
“The Way You Make Me Feel” (1988): Another #1 hit from the Bad album.
“Man in the Mirror” (1988): From the album Bad.
“Dirty Diana” (1988): The fifth consecutive single from Bad to reach #1, a record for a male artist.
“Black or White” (1991): The first single from the album Dangerous.
“You Are Not Alone” (1995): Became the first song in Billboard Hot 100 history to debut at #1.
GET READY TO EXPERIENCE EDGAR WRIGHT’S THE RUNNING MAN ON THE BIG SCREEN!
In a near-future society, The Running Man is the top-rated show on television—a deadly competition where contestants, known as Runners, must survive 30 days while being hunted by professional assassins, with every move broadcast to a bloodthirsty public and each day bringing a greater cash reward. Desperate to save his sick daughter, working-class Ben Richards (Glen Powell) is convinced by the show’s charming but ruthless producer, Dan Killian (Josh Brolin), to enter the game as a last resort. But Ben’s defiance, instincts, and grit turn him into an unexpected fan favorite—and a threat to the entire system. As ratings skyrocket, so does the danger, and Ben must outwit not just the Hunters, but a nation addicted to watching him fall.
Based on the Novel by Stephen King.
Directed by Edgar Wright and starring Glen Powell, William H. Macy, Lee Pace, Michael Cera, Emilia Jones, Daniel Ezra, Jayme Lawson, Sean Hayes, Katy O’Brian with Colman Domingo and Josh Brolin, THE RUNNING MAN IS IN THEATRES, DOLBY CINEMA, 4DX, PREMIUM LARGE FORMAT AND IMAX ON NOVEMBER 14, 2025.
The St. Louis screening is at 7PM on Monday, November 10th at the Alamo Drafthouse City Foundry.
Paramount Pictures has released a thrilling new trailer for director Edgar Wright’s THE RUNNING MAN.
Streamed live from New York Comic Con, the NYCC panel for The Running Man featured Glen Powell, Lee Pace, and Edgar Wright in a conversation about the making of the film, along with an early look at this fall’s adrenaline-fueled action thriller, arriving only in theaters this November 14.
In a near-future society, The Running Man is the top-rated show on television—a deadly competition where contestants, known as Runners, must survive 30 days while being hunted by professional assassins, with every move broadcast to a bloodthirsty public and each day bringing a greater cash reward. Desperate to save his sick daughter, working-class Ben Richards (Glen Powell) is convinced by the show’s charming but ruthless producer, Dan Killian (Josh Brolin), to enter the game as a last resort. But Ben’s defiance, instincts, and grit turn him into an unexpected fan favorite—and a threat to the entire system. As ratings skyrocket, so does the danger, and Ben must outwit not just the Hunters, but a nation addicted to watching him fall.
Based on the novel by Stephen King, the score is from Oscar-winning composer Steven Price (GRAVITY, BABY DRIVER, THE WORLD’S END and the upcoming COYOTE VS ACME).
Wright shared this photo of himself and long time collaborator Price on Instagram.
NEW YORK, NEW YORK – OCTOBER 10: (L-R) Edgar Wright, Glen Powell and Lee Pace attend “The Running Man” New York Comic Con Presentation at the Javits Center on October 10, 2025, in New York, New York. (Photo by John Nacion/Getty Images for Paramount Pictures)
Paramount Pictures has dropped the first trailer for director Edgar Wright’s THE RUNNING MAN.
In a near-future society, The Running Man is the top-rated show on television – a deadly competition where contestants, known as Runners, must survive 30 days while being hunted by professional assassins, with every move broadcast to a bloodthirsty public and each day bringing a greater cash reward. Desperate to save his sick daughter, working-class Ben Richards (Glen Powell) is convinced by the show’s charming but ruthless producer, Dan Killian (Josh Brolin), to enter the game as a last resort. But Ben’s defiance, instincts, and grit turn him into an unexpected fan favorite – and a threat to the entire system. As ratings skyrocket, so does the danger, and Ben must outwit not just the Hunters, but a nation addicted to watching him fall.
The cast includes Glen Powell, William H. Macy, Lee Pace, Emilia Jones, Michael Cera, Daniel Ezra, Jayme Lawson with Colman Domingo and Josh Brolin.
“Welcome To The Running Man!!” This looks so GOOD!! People want fun movies and this definitely looks FUN.
THE RUNNING MAN is based on the Novel by Stephen King.
The original 1987 movie is celebrated for its cheesy 80s action, memorable characters, and surprisingly relevant themes, making it a cult classic that continues to be discussed and analyzed. This version starred Ben Richards (Arnold Schwarzenegger) as a helicopter pilot framed as the “Butcher of Bakersfield” after refusing to fire on unarmed civilians during a food riot. He becomes the reluctant star of “The Running Man.” His signature one-liners and physical prowess are on full display; Damon Killian (Richard Dawson) as the ruthless and charismatic host of “The Running Man,” expertly played by Dawson (known for “Family Feud”). Killian embodies the manipulative and power-hungry nature of the media in this dystopian society. He’s a highlight, often stealing scenes with his smarmy charm and Amber Mendez (Maria Conchita Alonso) as an ICS (the state broadcaster) employee who initially believes Richards is guilty but eventually uncovers the truth and joins his fight.
But the best thing about the film were the villains. The Stalkers were colorful array of themed assassins providing memorable and often over-the-top challenges for Richards, including:
Subzero (Professor Toru Tanaka): A hockey-themed killer.
Buzzsaw (Gus Rethwisch): A chainsaw-wielding biker.
Dynamo (Erland van Lidth): An opera-singing, electrically charged stalker.
Fireball (Jim Brown): A flamethrower-wielding stalker.
Captain Freedom (Jesse Ventura): A former stalker who refuses to fight Richards dishonorably.
Some of the more memorable scenes were the Introduction to “The Running Man” show: The bombastic and spectacle-driven opening of the game show, with dancers, a cheering crowd, and Killian’s grand pronouncements, sets the tone for the brutal entertainment; Richards vs. the Stalkers:The various confrontations with the unique stalkers, often ending with Schwarzenegger delivering a classic one-liner after dispatching them. Highlights include the fight with Buzzsaw where Richards famously says, “He had to split.”; The “winners” reveal: The shocking discovery by Amber that the supposed past “winners” of The Running Man were actually murdered, exposing the show’s complete deception and The Resistance: Richards’ eventual alliance with the underground resistance movement, led by Mic (Mick Fleetwood), who work to expose the government’s lies. And finally The climactic confrontation andRichards’ final showdown with Killian, which sees Killian forced into a rocket sled and launched into the game zone, meeting a fiery end.
SING SING is not about vocalizing but a powerful, moving drama about the transformative power of art in an deeply human story about men incarcerated at the Sing Sing penitentiary in rural New York. Nonetheless, SING SING does indeed sing, with a tour-de-force performance by Colman Domingo as one of the men participating in the prison theater arts program, a program that transforms the lives of those incarcerated through performing in plays and expressing their humanity and finding uplift.
Sing Sing Correctional Facility, a maximum security prison about 30 miles north of Manhattan on the east bank of the Hudson River in New York, is the setting for the true story-based SING SING. In this very different kind of prison drama, Colman Domingo stars as John “Divine G” Whitfield, a man imprisoned for a crime he did not commit, who finds emotional release and hope through acting and writing in the prison performing arts program known as Rehabilitation Through the Arts (RTA). Divine G has carved out a place for himself as an acknowledged Shakespeare star but finds himself challenged by a wary newcomer known as Divine Eye (Clarence Maclin). This outstanding, moving, authentic human drama serves as a showcase for the talents of the Oscar-nominated Colman Domingo but also for this admirable, creative rehabilitation program, with a cast of formerly incarcerated actors who are alumni of the program.
The Rehabilitation Through the Arts program is one of several similar theater programs in prisons around the country, including Missouri, which serve as an outlet for people who are incarcerated and source of human insight and personal transformation and uplift for those in imprisoned. While other dramas set in institutions have cast non-actor residents in smaller supporting roles, SING SING takes that a step further, filling nearly every role in this film, based on a true story, with alumni of this very prison performing arts program, starting with Colman Domingo’s co-star Clarence Maclin, who essentially plays himself in the film.
Unlike many prison dramas, the focus in this film is on the humanity of these men, not on the crime or circumstances that led to their imprisonment. Director/writer Greg Kwedar and co-writer/producer Clint Bentley based the script on an Esquire article, “The Sing Sing Follies” by John H. Richardson about a time-travel comedy written and performed by the men at Sing Sing called “Breakin’ the Mummy’s Code.” Formerly incarcerated RTA actors Clarence Maclin and John “Divine G” Whitfield also contributed to the script, for which they are credited in the film. Another key aide in making the film was Brent Buell, a playwright, actor and theater director, who volunteered with the RTA program at Sing Sing for more than 10 years and who also wrote and directed “Breakin’ the Mummy’s Code.” Buell is portrayed in the film by actor Paul Raci. Sean San José is another professional actor in the cast, playing Divine G’s best friend Mike Mike, who happens to be a close friend of Colman Domingo in real life, making a nice parallel.
Colman Domingo, who earned a well-deserved Oscar nomination for his lead role in the Civil Rights era drama RUSTIN, gets to show off even more of his considerable acting range in this impressive film. Playing a man in prison who is playing various acting roles lets Domingo give us a sampling of his skills that includes snippets of Shakespeare and more. The story arc of Domingo’s character Divine G is a roller coaster ride that delves into the depths of human nature, which the actor uses to deliver another finely-crafted, emotionally-gripping performance.
As the film opens, Domingo’s Divine G has made good use of this time, using the prison’s law library to research legal challenges in his own case but to also help other prisoners with theirs. He has also spent his time writing, both plays and a book, which has found a following with prison populations. He offers his legal expertise to the newcomer as well but Divine Eye holds himself aloof and turns the offer of help aside. The wary Divine Eye seems an unlikely candidate for this program, a prison yard tough guy who is a true loner, selling drugs and bullying “weaker” men into paying him money. Yet, Divine Eye has become bored with his prison yard scams and is looking for something else to occupy his mind.
Domingo is so good in his role, demonstrating his remarkable range, that he could carry the film on his own. But the story’s focus on this worthy program and on the humanity of these real people within prison walls is moving, insightful and uplifting, without striking any note of false sentiment. The course of the true story is not entirely unexpected but the performances around it lift is into a realm of raw human emotion, with people struggling to finding a kind of freedom within the prison’s confines
Filmed on location at Sing Sing, cinematographer Pat Scola focuses less on the expected prison interiors and more on the natural world outside the prison walls, and manages to capture an unexpected beauty in its natural surroundings. We get lush, green shots of views of the trees seen through a small window, the river and grassy bank that surround this prison on the Hudson river, and the lonely, strangely imposing railway that runs along side the institution. Inside, we see the common room where the RTA participants rehearse and brainstorm their play, and the theater. more than the usual bars and doors, although we also see the cramped little cells the men occupy. Transforming this institutional setting into something visually striking, even beautiful, echoes the transformation taking place within those participating in the theater arts program.
Director Greg Kwedar and co-writer Clint Bentley are producing, writing and directing partners whose films focus on human connections in unlikely, even impossible situations. Their previous film JOCKEY, starred Clifton Collins Jr., taking viewers behind the scenes of a horse racing track in a tale of an aging jockey, another film that cast some non-actors who were actually part of that world and featured an emotionally powerful performance. That drama also highlights the filmmakers’ commitment to top-notch acting in insightful human storytelling, which again is at the forefront in SING SING.
SING SING’s story is both individual and universal in its human focus, on humanity’s struggles, for both self-expression and human connection. The disappointments of life, the resiliency of the human spirit, the power of friendship, and the uplift of art and hope are all portrayed in both powerful and realistic ways.
SING SING sings as an electrifying drama about the transformative potential of art, the resilience of the human spirit and the power of human connection, which also throws a deserving spotlight on the talents of Colman Domingo and on the value of prison performing arts programs like RTA.
Although many parts of the country are still in the “deep freeze”, many folks are looking ahead to the big thaw and traveling during Spring Break. And it’s only natural that the multiplex will have a new roadtrip romp to get everyone “in the mood”. Oh, but this film differs from those we’ve seen in previous years. First, it’s set in that far-off land of 1999 (yikes, a quarter century already). And rather than a couple of teenage male buddies (or even a group as in LOSIN’ IT), it’s focused on two twenty-something young women. Perhaps, it’s a riff on WHERE THE BOYS ARE, and you would be very wrong as they don’t care about such a location (ahem). Plus it should be of interest to Cinephiles as this is the first solo directing effort for one half of a much-lauded filmmaking team. He’s actually behind the steering wheel along with these DRIVE-AWAY DOLLS.
It all begins just before Y2K when a quirky guy known as “The Collector” (Pedro Pascal) is relieved of a mysterious silver-metallic carrying case in the dark “mean streets” of Philadelphia. Meanwhile, in another part of town, we meet the two “dolls”. Prim uptight Marian (Geraldine Viswanathan) is meeting up with her best pal Jamie (Margaret Qualley) at their favorite “ladies only” bar. Marian’s planning a road trip to Tallahassee, Florida, and Jamie is in the mood to leave town after a very nasty breakup with girlfriend/policewoman Sukie (Beanie Feldstein). Jamie suggests they go to an auto broker to sign up for a “drive-away”, a “one-way” vehicle to be handed over to the owner at the desired destination. The owner of the shop, Curlie (Bill Camp), is delighted to hear of their trip south and hands over the keys. But then he’s shocked when “the Chief” (Coleman Domingo) and his surly “goons’, Flint (C.J. Wilson) and Arliss (Joey Slotnick) show up for a Tallahassee car a bit later. It seems that Curlie had gotten a “tip off” call before the women came in, and surely nobody else was going to that Florida locale! While Chief runs off to do some “damage control”, the two thugs try to catch up with the car. But why do they want It? Could it involve that stolen case? And how does it connect to the ambitious ultra-right-wing Senator Gary Channel (Matt Damon)? Can the lusty wild Jamie and the shy nervous Marian stay out of trouble and two steps (and many miles) ahead of those violent vicious “leg-breakers”?
A truly talented and very “game” ensemble really makes this zany farce soar. Naturally, we should begin with the “doll duo” themselves. Qualley, so memorable as the “Manson groupie” hitchhiker in ONCE UPON A TIME IN HOLLYWOOD, brings a manic playful energy to the untamed Jamie, sort of a human Tazmanian Devil driven by a hunger for pleasure rather than food. And mimicking her mum’s (Andie MacDowell) Southern twang is just a big fun bonus. Fortunately, Qualley shows her softer side, mainly in the story’s final act as her devotion and affection for Marian come to the forefront. As that (somewhat) “straight lady, Viswanathan (who many of us saw as the “randy” promgoer in BLOCKERS) gives a real dignity to what could’ve been a cliche “Debbie Downer” sidekick, becoming the voice of sanity and logic to the impulsive Jamie. She really shines in an early flashback scene as she awkwardly deflects a male co-worker’s advances, which strengthens her eventual “loosening up” before the final fadeout. Popping up just in time to give the film a shot of comic adrenaline is the scene stealer, Ms. Feldstein. As Sukie, she projects complete fearlessness, demanding to be treated with respect, pushing back when shoved (and bringing the “pain”). Current Oscar nominee Domingo is truly a “smooth criminal” even as his patience is stretched to the “limit”. As for his “flunkies”, Slotnick is the more reasonable, thinking he can use his armchair psychology as a way to squeeze out info, while Wilson will have none of that chatty “stuff” and is always the “bull in the china shop”. The always dependable and delightful Mr. Camp is an endearing “sourpuss” as the curmudgeon Curlie. And though his role is a slightly expanded cameo, mainly for the last big “showdown”, Damon is terrific as a guy who’s just not comfortable doing the necessary “dirty work”.
And just who was I referring to as one-half of a celebrated directing duo? Well, it’s none other than Ethan Coen in his first feature film directing gig, after a couple of dozen films working with his brother Joel (who went solo three years ago with THE TRAGEDY OF MACBETH). Oh, he also co-wrote the loopy script with long-time collaborator (and spouse) Tricia Cooke. Mr. Coen brings a manic almost cartoony energy to the story making it truly zip and zing throughout its tight and taut 84-minute runtime. While many will make comparisons to “The Dude”, it feels like a gleefully politically incorrect riff on BLOOD SIMPLE (with the main duo unaware of the sinister forces circling them) and RAISING ARIZONA (an LGBT flip on Ed and HI perhaps) along with odyssey themes of O BROTHER, WHERE ART THOU?. Yes, the bizarre thugs have become an indie staple, but they feel invigorated, perhaps due to the late 90s themes and their interplay. Strange, since those Coen classics are from the 80s (and not dated a bit) and the 60s play a pivotal part of the plot with some eye-popping psychedelic “flashback foreshadowing”. Yes, the laughs are plentiful (for those not easily shocked or offended), but the big surprise is the unique and changing relationship of Jamie and Marian, who start off as a traditional bickering “odd couple” until their bond deepens with unexpected tenderness. It’s a road trip that ends with something much more than a change of venue, though things do get much brighter for them in the “sunshine state”. Filmgoers will be glad to go on a goofy and often glorious getaway with this pair of DRIVE-AWAY DOLLS.
3.5 Out of 4
DRIVE-AWAY DOLLS opens in theatres everywhere on Friday, February 23, 2024
Jaafar Jackson as Michael Jackson in MICHAEL. Photo Credit: Kevin Mazur
Worldwide audiences received their first look today at Jaafar Jackson in performance as Michael Jackson, bringing to life the “Man in the Mirror” from the legendary 1992-1993 Dangerous Tour.
The iconic photo, captured by renowned photographer Kevin Mazur, was released by Lionsgate and Universal Pictures International, the studios behind the much-anticipated April 18, 2025 film “Michael.”
The choice to have Mazur capture the first-look photograph of Jaafar Jackson is as intentional as so many of the artistic choices the producers have made. As one of the photographers who documented Michael over many years, Mazur captured rehearsals as he prepared to entertain the world with his “This Is It” concerts. He is now also the first to photograph Jaafar Jackson in character as Michael.
“When I arrived for my first day on the set of this movie, I was so excited – it was like the first time I went on tour to shoot Michael Jackson,” said Mazur. “When I walked onto the set, I felt like I’d gone back in time and I was walking into the stadium to shoot the tour. Seeing Jaafar perform, I thought, ‘Wow, it is Michael.’ The way he looks and acts, his mannerisms, everything – he’s Michael Jackson. For anyone who didn’t have the chance to see Michael perform live during his lifetime – this is how it was.”
“With Jaafar, every look, every note, every dance move is Michael,” said producer Graham King. “He embodies Michael in a way that no other actor could.”
Director Antoine Fuqua added, “We have assembled an incredible team of artists for this project – hair & makeup, costumes, cinematography, choreography, lighting, everything – and some who knew and worked with Michael are reuniting for this film. But most importantly, it’s Jaafar who embodies Michael. It goes beyond the physical resemblance. It’s Michael’s spirit that comes through in a magical way. You have to experience it to believe it.”
Lionsgate and Universal Pictures International have slated the worldwide release for April 18th 2025. The film is now in production.
Jackson’s nephew Jaafar Jackson will be introduced to worldwide audiences in the starring role of the beloved musical icon. Antoine Fuqua (Training Day, The Equalizer films) will direct the film with Oscar® winner Graham King/GK Films (Bohemian Rhapsody, The Aviator, The Departed) producing, from a script by three-time Oscar® nominee John Logan.
Michael will bring audiences a riveting and honest portrayal of the brilliant yet complicated man who became known worldwide as the King of Pop. The film presents his triumphs and tragedies on an epic, cinematic scale — from his human side and personal struggles to his undeniable creative genius, captured by his most iconic performances. As never before, audiences will experience an inside look into one of the most influential, trailblazing artists the world has ever known.
Michael is produced by King and the co-executors of the Michael Jackson estate, John Branca and John McClain. Lionsgate is distributing the film domestically, while Universal Pictures International will handle all territories apart from Japan, which Lionsgate will oversee.
Dr. Martin Luther King gave his famous “I have a dream” speech at the landmark 1963 March on Washington, but that momentous event was organized, and even was conceived, by another Civil Rights figure who is far less well-known: Bayard Rustin. The reason why you may not know Bayard Rustin is that in addition to being a fiery Civil Right organizer he was also a gay Black man, in an earlier homophobic time when even hinting someone was gay could unleashed a firestorm that might end a career, or a movement, or even led to arrest.
Although Rustin was powerhouse in the fight for Black rights but he was rarely in the media spotlight, partly for that very reason and also because of his willingness to challenge the status quo while firmly committed to non-violence. While Rustin’s sexual orientation was known to friends and close colleagues, in that different era, being fully out was extremely risky in many ways.
In director George C. Wolfe’s excellent historic drama RUSTIN, Colman Domingo plays Bayard Rustin in RUSTIN, in an inspiring biopic built around this lesser-known yet significant Civil Rights figure and his organizing of the famous March on Washington. Even then, Rustin received little recognition or credit outside the inner circle of Civil Rights leaders and Black elected officials, due to the stigma of even might associated with a gay person.
It is long past time when Bayard Rustin’s story should have been told, and RUSTIN does a fine job of spotlighting this remarkable, brave man.
The film starts with Bayard Rustin (Domingo) brainstorming the idea the march at a party of fellow Civil Rights activist friends. Rustin had been an assistant as well as a close friend of Martin Luther King (Ami Ameen) but rumors of a gay relationship between the friends, which did not exist, had caused them to part ways. As the idea of a massive march on Washington calling for Civil Rights grew, Rustin found himself reaching out to other Civil Rights leaders, including King, to bring everyone to together for the landmark event.
RUSTIN takes us behind the scenes as the march is organized, and reveals the kind of jockeying for position and credit that took place. Some liked the idea of the massive march, others opposed it, arguing that if it failed to draw the numbers Rustin was predicting, it would harm the movement. There were other issues at work, such as Rustin’s past links to leftist politics and differing ideas about the movement itself. And then there were the personality clashes, as the big-personality Rustin did rub some the wrong way.
There are a number of famous Civil Rights figures portrayed in this film played by some stars, including Chris Rock as NAACP leader Roy Wilkins,and Jeffrey Wright as U.S. Representative Adam Clayton Powell Jr., while Ami Ameen plays MLK. CCH Pounder as political activist and educator Dr. Anna Hedgeman and Audra McDonald plays organizer and co-founder of the Southern Christian Leadership Conference (SCLC) which was headed by MLK. The film also spotlights the critical role these women and other women played in organizing the march and in the Civil Right movement, for which they have been underappreciated.
The drama is taut and snappy, unfolding briskly, while offering a look behind to scenes of this moment in history. All the acting is superb but Colman Domingo carries the greatest load as the title character, and he does not once falter in portraying this remarkable man.
RUSTIN is an inspiring, enjoyable and enlightening film about the unjustly-overlooked Bayard Rustin, a giant of a figure in the Civil Rights era, as well as a fascinating look behind the scenes of this famous event. It is also a showcase for the wonderful Colman Domingo, who seems sure to garner awards nominations for his work in this excellent biopic, as is the film itself.
RUSTIN is available streaming on Netflix starting Friday, Nov. 17.
