Jaafar Jackson as Michael Jackson in Michael. Photo Credit: Glen Wilson/Lionsgate
“Y’all willin’ to fight for it?” asks Joe Jackson of his sons in the brand new trailer for MICHAEL.
From director Antoine Fuqua and starring Jaafar Jackson, Nia Long, Laura Harrier, Juliano Krue Valdi, with Miles Teller, and Colman Domingo, MICHAEL is in theaters and IMAX April 24
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.
Colman Domingo as Joe Jackson in Michael. Photo Credit: Courtesy of LionsgateJudah Edwards as Young Tito, Jaylen Hunter as Young Marlon, Juliano Krue Valdi as Young MJ, Nathaniel McIntyre as Young Jackie and Jayden Harville as Young Jermaine in Michael. Photo Credit: Courtesy of Lionsgate
So what new genre are the fine folks at A24 going to tackle now? This current “indie darling” studio has made its mark with searing dramas and harrowing horror (I can’t even think about BRING HER BACK). What’s next? How about the “rom com”? Sure, this year’s MATERIALISTS would qualify, though it’s a pretty sharp comedic commentary on the current dating scene. Maybe they’ll look into one of those “sub-genres” such as the “fantasy/rom com”. Yes, indeed, their foray drops in theaters this holiday weekend. The fantasy part is the setting for most of the story: the afterlife. But there are no halos, or wings, or harps (maybe on the soundtrack). The plot concerns souls that are in a kind of limbo as they ponder some big decisions. See, it’s not just a question of “where” you want to spend the afterlife (more about that in a bit), bur rather “who” you want to be by your side for all of ETERNITY.
The story really starts on good ole’ planet Earth, today. The long-time elderly married couple, the Cutlers, are on their way to a “gender reveal” party, spurring much debate about current quirky traditions. But the celebration takes a tragic turn and suddenly the hubby/grandpa’ is on a very bizarre train. And he’s not in his 80s, instead he looks to be a spry thirty-something. Larry (Miles Teller) arrives at an equally strange station and is met by Anna (Da’Vine Joy Randolph) who explains to him that he has passed away and is in a heavenly ‘holding zone”. She’s his personal “Afterlife Coordinator”, further explaining that he is at his “happiest age” and has a week to decide which “afterlife area” he will exist forever. Lots of reps for the many different “worlds” bombard him with sales pitches (maybe “Sports world” or “Business world”, among hundreds of choices). But hey, Larry wants to be with his wife, so he has the option of staying in this zone and taking a job (the place resembles a massive resort) until his love arrives (dies, really). It doesn’t seem like a bad choice after conversing with a friendly affable bartender named Luke (Callum Turner) who’s pouring drinks until his lady love shows up. It’s not too long until Larry’s beloved checks in at the train station. A disoriented Joan (Elizabeth Olsen) is greeted by her own “AC”, Ryan (John Early). Anna swoops in with Larry, but Ryan has another option. Seems he’s also the AC for Joan’s first husband, who had been killed in a war not long after they wed. And you can guess who that is. Now, Joan has to make the biggest decision of her life (actually afterlife). Should she join Luke in “Mountain world” or be with Larry in “Beach world”? Let the chaotic comedy contest begin…
Although this flick is marketed as an otherworldly love triangle, the “side” with the most screen time is probably Teller as the often befuddled and a bit coarse Larry. Though, he made his mark in action flicks like the TOP GUN sequel and the “under-the-radar” sci-fi/romance THE GORGE. Teller displays a deft comedic touch here as Larry schemes to “wreck the system” in order to win his lady’s heart. Plus, he scores some big laughs as he still thinks like an 80-year-old despite his youthful vigor. With the right script, Teller could carry an all-out farce. At the center of this “tug-of-war” is Olsen as the ever-flustered Joan. She’s more known for her dramatic fare, along with being part of the MCU, so it’s great to see Olsen taking a chance in this genre. Like Larry, she’s in the “old soul/young body” dilemma, though she’s not given enough “shtick” before Joan is being torn by the big choice. The other fella’ turning up the heat is the more stoic Luke, played by Turner as more of a “fish out of water”, being a man from the 1950s dealing with a duo from the next century. Plus, he’s more grounded since he’s been in this “zone” a very long time. Rather than joining in the gags, Turner conveys a smouldering intensity in order to make Larry “step up his game”. Oscar-winner Randolph as Anna has a nice snarky delivery while doing a great slow burn as Larry really gets on her “last nerve” despite her eternal tenure. She’s a nice contrast to Early as the rival AC, who displays a prim but perky aggressiveness which irritates Anna. Also of note is the funny deadpan performance by Ryan Beil as Fenwick, the bored ticket taker at the “museum of memories”.
The assured, steady direction is by David Freyne, who also worked on the script with Patrick Cunnane. He keeps the pace flowing for most of the first half, and giving this fantasy backdrop a grounded look, combining elements of a sales convention (lots of reps recruiting) and a massive vacation hotel (I was reminded of the interior wall of room inside the Luxor in Vegas). Somehow he keeps us focused on the trio, forgoing any flashy effects and camera techniques. And then the big “lull’ occurs at the midway point, just as we should be more invested in the big conflict. It just seems to run out of “juice”. Maybe more bits of satire were needed in the script since most of the “other worlds” are mentioned and tossed aside (I will say that the best joke concerns a world that’s unavailable due to its appeal to women, and I’m not talking about a “Chippendale’s World”). By the final act, we’re just reminded of the much better realized afterlife rom/coms like the 70s HEAVEN CAN WAIT and especially Albert Brooks’ DEFENDING YOUR LIFE. It’s a shame because the three lead actors are really trying to make the premise work, but when the jokes wear thin and the producers try to pluck at our heartstrings, this time spent at the multiplex really does feel like an ETERNITY.
2 Out of 4
ETERNITY opens in theatres on Wednesday, November 26, 2025
In an afterlife where souls have one week to decide where to spend eternity, Joan is faced with the impossible choice between the man she spent her life with and her first love, who died young and has waited decades for her to arrive.
Starring Miles Teller, Elizabeth Olsen and Callum Turner, ETERNITY opens on November 26th.
The St. Louis screening is at 7PM on Wednesday, November 12 at Marcus Ronnies 20.
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.
Anya Taylor-Joy and Miles Teller in THE GORGE. Courtesy of Apple TV+
Two elite sharpshooters-turned-assassins are hired separately for a secret mission to guard either side of a gorge that contains a mysterious threat in remote, secret location. On one side of the gorge is ex-Marine Levi (Miles Teller), hired by the U.S. Army, and on the other is Lithuanian assassin Drasa (Anya Taylor-Joy), hired by the Russians, in a secret agreement between the West and the East that has persisted since the early years of the Cold War. This unlikely agreement was made to contain a threat so deadly that both sides want it confined to this remote gorge, and this decades-long arrangement is so secret, even the U.S. Presidents were unaware of it. Each year, countries in the West and nations in the East send a new guard to man the tower on their side of the gorge. Those solitary guards patrol the heavily-weaponized edge of the gorge on their side, to make sure whatever is down there, stays down there. The guard on each side will be alone in their towers for a year, with only brief monthly radio contact with their employers. They are forbidden to have contact with each other.
In director Scott Derrickson’s dark sci-fi action thriller, we meet Drasa first, initially as she successfully kills a political target thought untouchable and then back in Lithuania, to visit her ex-KGB father Erikas (William Houston). Drasa and her father are very close, but her father now is dying of cancer. Facing the prospect of a long, painful illness, he tells her he will end his life on a certain date, Valentine’s Day, if he’s still alive. His death will sever Drasa’s one emotional support in the world, so she is understandably distraught.
We first meet Levi when he is summoned to report to Fort Bragg, where he meets with Bartholomew (Sigourney Weaver), who offers him this lonely year-long assignment, after determining he has no close ties that will notice he is missing.
Levi is put on a plane and drugged, so he has no idea where he is or how long he was in the air. A helicopter drops him at a remote, snowy mountain location near a border, with a map to travel the few kilometers to cross it. He has no idea where he is and little about the mission. Over the border, he meets up with the man he is replacing, J.D. (Sope Dirisu), a chatty British fellow who is very happy to have some human contact again. Levi has a manual that briefs him on the job, and gets a quick tour from J.D. before he goes off to his pick-up point.
That Levi and his counterpart across the gorge aren’t supposed to communicate made sense in the Cold War, but it makes less sense now. Anyway, it doesn’t last, with a rule-breaker Drasa using a big drawing pad to write messages to Levi. When he writes back to remind her of the rule, she replies that it’s her birthday and she’s going to do what she wants. The location of the gorge is cloaked so how are they going to know.
Thus starts their cross-gorge chats and budding relationship that follows. But it doesn’t take long before the mysterious threat contained so long in the gorge raises its ugly, gnarly head, and tries to climb out of the gorge. Lots of ugly, gnarly heads, actually.
The gorge turns out the be filled with strange looking zombie-like creatures, dubbed Hollow Men, who look like they merged with dead trees, a nice visual effect. The Hollow Men tag for them is a reference to a T.S. Elliot poem, and there are similar classical poetry references sprinkled throughout, which is a refreshing, unexpected touch in what is basically a sci-fi action adventure, with a romance thrown in.
Scott Derrickson does a nice job with the direction, keeping everything moving a good clip and keeping us focused on the characters instead of the script’s flaws. The direction and acting do a lot to compensate for the script’s logic flaws, although the film’s basic premise is intriguing.
Miles Teller and Anya Taylor-Joy are very good together, with a natural chemistry as their characters bouncing quips off each other in a playful who-is-the-better shot one-upmanship competition. There is plenty of romantic chemistry too, so that when the confrontation with the things in the gorge heats up, as you know it will, they are ready to work as a team.
Another strength is the music, provided by Trent Reznor and Atticus Ross, and nice moody, dark, atmospheric cinematography by Dan Laustsen. The sets and exterior shots, in Norway, all look great and the mystery in the gorge is original enough to be intriguing and full of possibilities.
Unfortunately, the script is kind of under-cooked, and something about the film feels like it was originally intended as a series but was hastily re-fashioned into a movie instead. It has more than a few puzzling missteps, like why would they need top assassins to patrol this heavily-weaponized gorge edge? What Levi and Drasa discover about the gorge is an intriguing yet the film doesn’t fully exploit its potential. There are other puzzlers. Levi and Drasa are well-matched as sharpshooters and skilled assassins yet it is always Drasa who loses things or leaves them behind, to create plot problems, or who stumbles into things and needs to be rescued, a sign of lazy writing. The action sequences are exciting and the effects are good but what gets them into those situations isn’t always the most original plot device.
However, the on-screen magic between Miles Teller and Anya Taylor-Joy, plus Scott Derrickson’s perfectly-paced direction, keeping things focused on action and the central characters more than on those flaws, in a nice bit of cinematic sleigh of hand.
Overall, THE GORGE is an entertaining, fast-paced sci-action flick with an appealing couple at the center and plenty of action, plus enough of an original idea that it could have had a big screen release. As it is, you will have to go to your small screen to enjoy Miles Teller and Anya Taylor-Joy trading quips and battling these woody zombies. For popcorn fun, you could do much worse.
During the Thunder Stage at CCXP24 in São Paulo, Brazil on Saturday, Apple Original Films unveiled the trailer for director Scott Derrickson’s upcoming thriller 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.
THE GORGEwill premiere globally on Apple TV+ February 14, 2025.
Written by Zach Dean, THE GORGE is produced by David Ellison, Dana Goldberg and Don Granger for Skydance, alongside Scott Derrickson, C. Robert Cargill and Sherryl Clark through Crooked Highway as well as Adam Kolbrenner, Zach Dean and Gregory Goodman. Miles Teller executive produces.
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.
This holiday weekend’s big (and I mean big) release could set some records at the box office, while already setting one big milestone. It’s a sequel (not a reboot as many websites say) that has had the longest “gestating” time between its original flick. While most “franchise tentpoles” have usually two or three years between entries, here we have a whopping 36 years since the same actor, playing the same character, took to the skies. I’d venture to say that most of this weekend’s audiences weren’t alive when the first one was blasting through the multiplexes (often in malls back in the day). Oh, and that’s not counting its many pandemic delays and rescheduled openings in the last two years. Yes, 80s film fans have had a long wait to return to the “danger zone” in TOP GUN: MAVERICK. So buckle in…
Oh, this flick does begin with that familiar pop tune as the paramount mountain (and a military prologue “card”) fades away to reveal…Navy flier Captain Pete “Maverick” Mitchell (Tom Cruise) enjoying some breakfast in an airplane hangar (I’m guessing this is his home). Soon he’s on the road to a nearby testing station. But there’s a “hitch” in his plans. His old pal “Hondo” (Bashir Salahuddin) tells him that one of the Navy “bigwigs” is on his way to shut down the tests on the new fighter jet. Well, he can’t ground him if he’s up in the clouds, so Maverick hurriedly prepares for the big test flight. And that “big gun”, Radm Cain (Ed Harris) arrives at the gate just as the jet leaves the runway. Of course, Pete pushes the craft too hard and is brought into Cain’s office, for at least a dressing down or perhaps he’ll get “the boot”. But to nearly everyone’s surprise, Cain informs Pete that an old friend “in high places” has ordered that he return to his old San Diego training center to instruct a group of new fighters prepping for a dangerous mission. When Pete arrives he is greeted by his hard-nosed superior Adm ‘Cyclone’ Simpson (Jon Hamm) who outlines the big mission (destroying the new Uranium processing plant of a “rogue nation”) and pretty much rattles off the “riot act”. Later Pete heads off to a familiar nearby “watering hole” and is surprised to see that it’s now run by an old “flame”, Penny (Jennifer Connelly). He also observes the fliers he will train including one that he’s got a big connection with, Lt. “Rooster” Bradshaw (Miles Teller) whose father Goose was Pete’s best pal prior to his death in a mission together. Can the two put their past aside in order to complete “the job” as the deadline rapidly approaches? And can Pete pass along his skills to insure their safe return?
Cruise slips back into the role that catapulted him into big screen superstardom as though he’s slipping on a (slightly worn) bomber jacket (and a pair of sharp Aviators). Though he’s been defying gravity (and time) for the last couple of decades in the MI series, he hasn’t really connected in most other efforts, leaving his fans to dream of him soaring into the stratosphere once more. Well, wishes are now granted as he brings the same stern intensity paired with an affable charm, but now with a touch of patriarchal pride as he takes these jet-crazy kids under his still-muscular wings. But we see the regret etched into his face, as this ‘ace’ ponders the “flight path not taken”. Connelly’s Penny is part of that, as she fights that ole’ attraction while trying to assert her independence, even while hiding the rekindled “flame” from her wise-beyond-her-years teen daughter. What a pleasure to see Connelly’s intelligence, and dazzling smile almost as bright as Tom’s) back on the big screen. The other part of Pete’s not-so-golden past is represented by Teller as Rooster, who struggles to put aside his anger with Maverick while striving to be his own man and fly out of his pop’s long impressive shadow. Teller conveys Rooster’s sadness and his furious anger over Pete’s attempt to “protect him”. Hamm is a terrific sparring partner for Cruise as the CO that will try and tame “the Maverick” ( and we suspect how that’ll go). The splaying the young pilots are quite endearing especially Monica Barbaro as the main female flyer, the “Phoenix”, her skilled by somewhat “dweeby” partner “Bob” (“Just Bob”) played by Lewis Pullman (Bill’s son) and the charming bad boy “Hangman” given a rascally smirk by Glen Powell (and full of surprises). Speaking of, the most pleasant one (and I’m not spoiling things) is the return of Val Kilmer as ‘Iceman’, Pete’s rival from the first flick, who’s now a retired admiral. The brief reunion of the two is the real heart of this story (which may inspire an allergy outbreak of sniffles through the theatre).
Taking over the directing reigns from the late Tony Scott is Joseph Kosinski (TRON: LEGACY), who finds the perfect balance between character interactions and edge-of-your-seat action sequences. It’s been reported that all the actors actually went up in the jets, with several actually working the controls, making for some breathtaking backdrops (no “green screen” or CGI, apart from some missiles), and letting us experience the grueling “G-force’ effects on the cast’s faces (we can really see them start to blackout). So, if you get the chance to watch this in Imax, well, go for it! And the story benefits from the sweet, yet mature courtship of Penny and Pete (there’s a hint of a spark between Phoenix and Rooster, too). And there’s a bit of “fan service” as one scene echoes the big “beefcake” beach sports from the original. Now some of it is more than a bit far-fetched as the big “mission” almost plays like a rehash of the “Death Star” trench run in another big movie series. Credulity is pushed further to the edge when the “dogfights” are grounded in the big climax. Plus the producers go out of their way to never identify the enemy as the pilots from the “rogue nation” are completely covered in black (naturally) when seen in their respective cockpits (which happen to have English labels). Oh, but why nitpick. This is that very rare sequel that easily surpassed the original (I barely made it through in one viewing in 86′), earning its advance “rep’ as a popcorn-fueled entertainment machine. As the song from the first flick crooned (wished they had a spot for it this time), TOP GUN: MAVERICK will “Take Your Breath Away”. Multiplex-mission accomplished!
3.5 out of 4
TOP GUN: MAVERICK is now playing in theatres everywhere
Enter to win 2 free passes to the St. Louis area advance screening of TOP GUN: MAVERICK, starring Tom Cruise, Miles Teller, Jennifer Connelly, Jon Hamm, Glen Powell, Lewis Pullman, Charles Parnell, Bashir Salahuddin, Monica Barbaro, Jay Ellis, Danny Ramirez, Greg Tarzan Davis with Ed Harris and Val Kilmer.
DATE AND TIME: May 23, 2022, Monday at 7:00pm
The screening will be filled on a first come first served basis, so we encourage you to arrive early. Seats will not be guaranteed.
After more than thirty years of service as one of the Navy’s top aviators, Pete “Maverick” Mitchell (Tom Cruise) is where he belongs, pushing the envelope as a courageous test pilot and dodging the advancement in rank that would ground him. When he finds himself training a detachment of TOPGUN graduates for a specialized mission the likes of which no living pilot has ever seen, Maverick encounters Lt. Bradley Bradshaw (Miles Teller), call sign: “Rooster,” the son of Maverick’s late friend and Radar Intercept Officer Lt. Nick Bradshaw, aka “Goose.”
Facing an uncertain future and confronting the ghosts of his past, Maverick is drawn into a confrontation with his own deepest fears, culminating in a mission that demands the ultimate sacrifice from those who will be chosen to fly it.
Directed by Joseph Kosinski and produced by Jerry Bruckheimer, Tom Cruise, Christopher McQuarrie, David Ellison.
Tom Cruise plays Capt. Pete “Maverick” Mitchell in Top Gun: Maverick from Paramount Pictures, Skydance and Jerry Bruckheimer Films.
Netflix has released the first trailer for the upcoming sci-fi film SPIDERHEAD starring Miles Teller and Jurnee Smollett.
In a state-of-the-art penitentiary run by brilliant visionary Steve Abnesti (Chris Hemsworth), inmates wear a surgically attached device that administers dosages of mind-altering drugs in exchange for commuted sentences. There are no bars, no cells, or orange jumpsuits. In Spiderhead, incarcerated volunteers are free to be themselves. Until they’re not. At times, they’re a better version. Need to lighten up? There’s a drug for that. At a loss for words? There’s a drug for that, too. But when two subjects, Jeff (Miles Teller) and Lizzy (Jurnee Smollett), form a connection, their path to redemption take a twistier turn, as Abnesti’s experiments start to push the limits of free will altogether.
Based on The New Yorker short story by George Saunders, SPIDERHEAD is a genre-bending and darkly funny psychological thriller directed by Joseph Kosinski (TRON: Legacy, Top Gun: Maverick) and written by Rhett Reese & Paul Wernick (Deadpool, Zombieland).
