Watch this latest featurette at THE ODYSSEY with Christopher Nolan, Matt Damon, Zendaya, Tom Holland, & Robert Pattinson.
In a new interview over at GQ, Robert Pattinson, Matt Damon & Tom Holland discuss THE ODYSSEY.
See GQ’s full Summer cover story with the stars of The Odyssey: Matt Damon, Robert Pattinson, and Tom Holland https://gq.visitlink.me/UtzeNw
Christopher Nolan’s next film, The Odyssey, is a mythic action epic shot across the world using brand new IMAX®film technology. The film brings Homer’s foundational saga to IMAX® film screens for the first time and opens in theaters everywhere on July 17, 2026.
The Odyssey stars Matt Damon, Tom Holland, Anne Hathaway, Robert Pattinson and Lupita Nyong’o, with Zendaya and Charlize Theron.
The Odyssey is produced by Emma Thomas and Christopher Nolan for their company, Syncopy. The executive producer is Thomas Hayslip.
THE DRAMA is actually a rom-com – of sorts – but a dark, unsettling one that raises serious, uncomfortable issues and questions that may lead to discussion after the film’s end, making this a film that will have people talking long after leaving the theater.
Norwegian writer/director Kristoffer Borgli brings a chilly, biting Scandinavian dark humor to this film, as he did in the fantasy DREAM SCENARIO with Nicholas Cage. Although Borgli structures THE DRAMA like any in the rom-com genre, and the film stars two very attractive people, Zendaya and Robert Pattinson, as the loving, engaged couple, Emma and Charlie, whose wedding is fast approaching, the story takes a twist that turns it towards that dry, dark Scandinavian humor, humor of the sort found in dark comedies like THE SQUARE.
Sure, a surprise in a rom-com about a pending wedding is almost standard, and the title, THE DRAMA, suggests it might be something causing more upset than it is worth. But that is not the case in this film, because the issue raised has significance for society (but no spoilers here about what it is). However, after raising that issue, the film largely fails to follow through with a discussion, which is one thing that will spark those post-film audience discussions.
Zendaya and Robert Pattinson are impressively good in this film, as this happily engaged couple, Emma and Charlie, who are weeks away from their wedding and who seem headed for wedded bliss. They share a odd sense of humor, and even though the pairing of a shy British historian with a playful, unpredictable American seems a bit unlikely, Zendaya and Pattinson have enough romantic chemistry to make it work. Writer/director Borgli gives us a funny meet cute, a near disaster but also funny first date and creates a romantic warmth. There are a few hiccups but generally all seems on track, until a drunken evening with the matron of honor, (Alana Haim) and her husband (Mamoudoud Athie) leads to a silly dare for each of them to reveal their worst secret, which leads to a startling revelation.
In the real world, the wedding would either be put on hold while the couple sorted it out but not in movie world. The steps towards the wedding march ahead, while Charlie tries to figure it out and Emma tries to remain patient while he perplexed by her explanation. Emotions run high, but a kind of cultural disconnect also looms, sometimes like a chasm, between the British groom and American bride.
Acting is outstanding in this well-made if unsettling film. Zendaya brings her talent to bear and Pattinson steps up a notch, with a portrayal of a shy British academic in love, that has hints of Cary Grant and Hugh Grant. After that evening where the bomb drops, the film’s humor turns dark and biting, with Alana Haim carrying much of the dark humor brilliantly in her sardonic scenes. Although the film keeps some elements of the rom-com structure, from that point on the humor is very dark and we never know what will happen next.
In modern weddings, particularly for this kind of couple with no financial concerns, there are a million details to be decided and deadlines to be met, as the date comes ever closer. That also means that are a million things that can go wrong and the ticking clock of the approaching wedding means no time to pause for something else – like an important discussion. This creates the perfect pressure cooker to blow the top off everything.
Director Borgli builds this tension masterfully, keeps us absorbed as every scene efficiently delivers exactly what the story needs in the film’s taut one-hour-and-46 minute running time. Flashbacks to Emma’s youth give us insights on her and what happened back then, and scenes of Charlie struggling to process things on his own reveal his character. The film is very well-made and works in most levels, as it moves towards an ending that resolving things for the story. But the failure of the couple to really discuss in depth what was revealed that one drunken night leaves audiences with an unsettling feeling, which will lead to those post-film discussions.
One way to define a good film is that it leaves you wanting to talk about it afterwards. By that criteria, THE DRAMA certainly succeeds, and likely to spark discussion about the characters, the film, and maybe even the subject it raised.
THE DRAMA opens in theaters on Friday, Apr. 4, 2026.
Just as the end of the year family holiday preparations are beginning, moviegoers are getting another flick about the dark side of motherhood (something to think about as you await her never-dry turkey). Think of these as the flip-side to those Hallmark cable movie staples. So, last year we saw Amy Adams howling at the moon as NIGHT BITCH. And just a few weeks ago, I endured (that’s right, though many of my fellow critics are embracing it) Rose Byrne careening close to the edge in IF I HAD LEGS I’D KICK YOU. Now for the first full weekend of November, an Oscar-winning actress who’s been a movie MIA for the last couple of years is returning in a flick with a mixed-message title (or is it somewhat passive-aggressive) title, DIE MY LOVE (I wonder if they toyed with a title riff on the Everly Brothers classic and called it “Dye, Dye, Love”).
After several seconds of a black screen with ambient sounds, the story begins as longtime couple Grace (Jennifer Lawrence) and Jackson (Robert Pattinson) enter what will be their new home. Actually he’s been there before, since it was owned by his late uncle, but she’s a tad “under-whelmed” by the rickety, weather-beaten shack in the middle of rural Montana. Nonetheless, they soon turn it into their family home with the arrival of a baby boy. Ah, but we then get a flashback as pregnant Grace is hosting a big holiday dinner for her in-law, including Jackson’s doting mother Pam (Sissy Spacek) and his addled papa Harry (Nick Nolte), who somehow connects with Grace. The story springs ahead as Jackson begins taking jobs that keep him away from her and the baby . This sends Grace down a road of despair and delusion. She’s certain Jackson’s cheating on her, since their passion has cooled. Is that why Grace likes to crawl around like a cat in the tall grass? Or is it the reason she joins Pam on her midnight sleepwalking strolls? And is the mysterious man on a motorcycle, Karl (LaKeith Stanfield) real or a “player” in her fevered fantasy dream state? Can Jackson get his own act together to guide Grace away from the abyss of possible madness?
Though the two leads get fairly equal billing in all the marketing, this film serves as a reminder that Ms. Lawrence is one of our most compelling and adventurous actresses. Once again, she’s “without a net” as the complex Grace who elects our sympathy just before showing “her claws” (listen to how she verbally assaults that poor cashier). What a handful, though Lawrence conveys her deep almost fanatical devotion to her child (mama Grizzly, indeed), while seeming to endanger herself frequently (always eyeing Pam’s rifle). Her Grace is sad and scary. Let’s hope it’s not another two years until Lawrence “graces” the big screen. Thankfully, she has chemistry to spare with Pattinson, who brings more humanity to Jackson than’s there in the script. He’s not as complicated as Grace, but Pattinson draws us in to see the shift from the beer-swilling “good ole’ boy” to the husband struggling to understand his spouse. Happily, these current film stars share a few scenes with a couple of veteran actors who made their “mark” nearly fifty years ago. Spacek is a caring and giving “Earth mother”, who is one of the few elders who notices something is “off” with Grace and embraces her as a way of destroying the “demons”. But she’s also “fragile” after the loss of her own love, played by the raspy, often menacing Mr. Nolte. Harry isn’t around for the story’s big catastrophic turns, but Nolte projects a pride that shines through even as he struggles to make it past his mental “fog”, which is parted by the concern and compassion of Grace. He’s not given much dialogue, but Stanfield says so much with his dark, brooding eyes, which is like gasoline to the still smouldering embers of passion in Grace’s libido until he gets tangled in her mania.
This exceptional cast is guided by director/co-screenwriter (joining Alice Birch and Edna Walsh in adapting the book by Ariana Harwicz) Lynne Ramsay, whose 2011 horror/drama WE NEED TO TALK ABOUT KEVIN is far too relevant. She keeps the characters operating in an almost dream-like state, perhaps to reflect Grace’s slowly cracking psyche. This puts us at a distance as the timeline is shifted haphazardly (that family flashback doesn’t fir with the first act). I was reminded of another “artsy” drama in which Lawrence was a tortured (in all ways) lead, the baffling MOTHER. Like that “experiment” we’re subjected to a near constant feeling of danger as Grace makes bizarre choices that often leave her naked and bloody. In that way, Jackson is seemingly an “after thought”, showing up to try to “clean up the mess”. And it’s so messy, sometimes scuttling any incident into the very real challenges of postpartum depression (Grace juggles that with her cluttered “head space”). This makes for frustration for the folks around the couple along with us. And, once again, good intentions are part of the road to Hell and Hellish cinema. Even though Lawrence is still a most watchable talent, her bravado can’t work its magic on DIE MY LOVE.
From the Academy Award-winning writer/director of “Parasite,” Bong Joon Ho, comes his next groundbreaking cinematic experience, “Mickey 17.”
The unlikely hero, Mickey Barnes (Robert Pattinson) has found himself in the extraordinary circumstance of working for an employer who demands the ultimate commitment to the job… to die, for a living. Written and directed by Bong Joon Ho, “Mickey 17” stars Robert Pattinson (“The Batman,” “Tenet”), Naomi Ackie (“Star Wars: Episode IX – The Rise of Skywalker”), Steven Yeun (“Nope”), with Academy Award nominees Toni Collette (“Hereditary”), and Mark Ruffalo (“Poor Things”).
Watch the first trailer below.
The film is produced by Dede Gardner (Oscar winner for “Moonlight,” “12 Years a Slave”), Jeremy Kleiner (Oscar winner for “Moonlight,” “12 Years a Slave”), Bong Joon Ho and Dooho Choi (“Okja,” “Snowpiercer”). It is based on the novel Mickey 7 by Edward Ashton. The executive producers are Brad Pitt, Jesse Ehrman, Peter Dodd and Marianne Jenkins. The director of photography is Darius Khondji (Oscar nomination for “Bardo: False Chronicle of a Handful of Truths,” “Okja”). The production designer is Fiona Crombie (Oscar nomination for “The Favourite,” “Cruella”). It is edited by Yang Jinmo (Oscar nomination for “Parasite,” “Okja”). The visual effects supervisor is Dan Glass (“Fantastic Beasts: The Secrets of Dumbledore,” “Fast & Furious Presents: Hobbs & Shaw”). The costume designer is Catherine George (“Okja,” Snowpiercer”).
Warner Bros. Pictures presents An Offscreen Production / A Kate Street Picture Company Production, A Film By Bong Joon Ho: “Mickey 17.” The film will be distributed worldwide by Warner Bros. Pictures, in theaters only nationwide on January 31, 2025, and internationally beginning on 28 January 2025.
Matt Reeves goes noir for THE BATMAN, the latest in a long line of Batman reboots, and this time featuring Robert Pattinson as the Caped Crusader. Reeves, whose previous work includes CLOVERFIELD, DAWN OF THE PLANET OF THE APES and its sequel, gives us a dark world, where it always seems to be raining, where corners are dimly lit and gritty streets are littered. The imagery suggests THE JOKER or even BLADE RUNNER, but this film is not as high-concept as either of those films. While the film noir style is gorgeous and the supporting cast strong, Pattinson’s one-note brooding, a plot with too many villains and not enough focus, and a nearly three-hour running time keep the film from truly soaring.
Still, it is distinctly different from the typical superhero movie, and an aesthetic well suited to Batman, always a darker superhero than most. That is all good for those of us who like film noir and gritty thrillers, although those who want brighter sets and a more typical superhero fare may be less pleased. However, beneath the surface, THE BATMAN is more a typical superhero tale, just in different clothing.
Batman (Robert Pattinson), the crime fighting alter-ego of millionaire Bruce Wayne, is one year in to his career as a secret enforcer of the law, but he is already questioning whether he is making any difference. The crime in Gotham City seems to still be going up and, since he lacks superpowers, he can’t be everywhere at once to stop crime. While he is plagued with doubts about this new life he has taken on as a way to avenge his murdered parents, he is still responding when the Bat signal lights up the sky. This time the crime strikes a personal chord for Batman – a man murdered on Halloween in his own home while his son was out trick-or-treating, only to come home and find the body. While this gruesome crime was taking place, Batman was beating up some baddies in the subway, who had targeted an Asian man, in a little contemporary reference.
While Gordon (the always-excellent Jeffrey Wright), Batman’s police contact and the future Police Commissioner, is unwavering in his support, others on the police force are more hostile to the Batman, regarding him as an intruder rather than a help. But this murder scene has some quirky elements, among which is a greeting card addressed to the Batman. Inside are hints in the form of a riddle, a sure sign of Batman’s long-time nemesis, the Riddler (Paul Dano). Except, at this point, he isn’t a long time adversary, because Bruce Wayne is still fairly new at this Batman stuff.
However, Reeves doesn’t stop with a single villain. THE BATMAN also brings in the Penguin (an unrecognizable Colin Farrell) and an underworld figure, Carmine Falcone, played by John Turturro. But the best character is Zoe Kravitz’s Catwoman, that combination criminal adversary and love interest for iron-jawed Batman. Rounding out the cast are Andy Serkis as Batman’s aide/butler Alfred, Peter Sarsgaard as District Attorney Colson, plus Barry Keoghan, Rupert Penry-Jones and Jayme Lawson, among others.
There are twists and surprises aplenty here, often with “Ave Maria” often playing in the background. That soundtrack motif feels a bit of pretentious after while, but photography by Greig Fraser is gloriously noir, a real delight for fans of that genre.
Presenting the Batman story as film noir, as a police procedural, is an intriguing way to come at the whole Batman/Bruce Wayne tale. Audiences are so familiar with the Batman origin story through the many Batman retellings and reboots, that skipping some of its familiar elements, like a scene of his parents’ murders, is no problem. Finding a new way into this story is a bit of a problem, so doing so is an impressive feat, and the film deserves credit for that.
In this is a grim world, corruption is everywhere and the plot is very dark. But despite all the film noir surface, this is still a comic book movie and not some deep psychological drama. Pattinson does his handsome, brooding thing, with a little more youthful vulnerability in the few scenes where he is Bruce Wayne. Clearly Batman’s armor is protective in more than one way. His performance should please his fans, although as an actor, he has done more nuanced work in other roles. This Batman feels very young, more so that other versions. In his crime fighter identity, Pattinson’s Batman projects amazing strength and agility, even beyond all the technology at his fingertips. But his Bruce Wayne is not the smooth social character, polished and perfectly groomed, that we usually see for the alter-ego, but a very young man, reserved, even shy, and often a bit disheveled, but so privileged that it doesn’t matter. Once again, a far different approach.
The supporting cast is excellent, boosted by some unexpected choices, like Paul Dano as the Riddler, who is a delight. While Pattinson does that quiet, brooding thing, Zoe Kravitz nearly steals the show as Catwoman. Kravitz gives us a crackling Catwoman – smart, fearless, with a ready wit, that she sometimes turns on the Batman. This Catwoman has her own alter-ego and backstory, but most of all she lights up the screen with electric energy and has a terrific, biting sense of humor. Zoe Kravitz is one of the best things about this film, followed closely by Paul Dano, doing a fine, crazy Riddler. As the Penguin, Colin Farrell is largely underutilized, appearing in few scenes.
Where THE BATMAN goes off the rails is in offering too much, starting with it’s nearly three-hour running time. Too much story, too many villains and too much running time. Introducing so many villains (or near-villains) does the film no favor, and then there is the the nearly three hours running time. And you feels that running time too – every extra major character requires a subplot that deviates from the central story, and while Reeves does bring it all together in the end, it feels overwritten and audiences many feel exhausted by the end. There is enough material for two, maybe three, movies here, crammed into this one. It is a case of less would have been more.
THE BATMAN opens Friday, Mar. 4, at multiple theaters.
Check out the brand new trailer for THE BATMAN, hitting theaters next year on March 4, 2022.
From Warner Bros. Pictures comes Matt Reeves’ “The Batman,” starring Robert Pattinson in the dual role of Gotham City’s vigilante detective and his alter ego, reclusive billionaire Bruce Wayne.
Starring alongside Pattinson (“Tenet,” “The Lighthouse”) as Gotham’s famous and infamous cast of characters are Zoë Kravitz (“Big Little Lies,” “Fantastic Beasts: The Crimes of Grindelwald”) as Selina Kyle; Paul Dano (“Love & Mercy,” “12 Years a Slave”) as Edward Nashton; Jeffrey Wright (“No Time to Die,” “Westworld”) as the GCPD’s James Gordon; John Turturro (the “Transformers” films, “The Plot Against America”) as Carmine Falcone; Peter Sarsgaard (“The Magnificent Seven,” “Interrogation”) as Gotham D.A. Gil Colson; Jayme Lawson (“Farewell Amor”) as mayoral candidate Bella Reál; with Andy Serkis (the “Planet of the Apes” films, “Black Panther”) as Alfred; and Colin Farrell (“The Gentlemen,” “Fantastic Beasts and Where to Find Them”) as Oswald Cobblepot.
Reeves (“The Planet of the Apes” franchise) directed from a screenplay by Reeves & Peter Craig, based on characters from DC. Batman was created by Bob Kane with Bill Finger. Dylan Clark (the “Planet of the Apes” films) and Reeves produced the film, with Michael E. Uslan, Walter Hamada, Chantal Nong Vo and Simon Emanuel serving as executive producers.
The director’s behind-the-scenes creative team included Oscar-nominated director of photography Greig Fraser (“Dune,” “Lion”); Reeves’ “Planet of the Apes” production designer, James Chinlund, and editor, William Hoy; editor Tyler Nelson (“Rememory”); and Oscar-winning costume designer Jacqueline Durran (“1917,” “Little Women,” “Anna Karenina”). The music is by Oscar-winning composer Michael Giacchino (the current “Spider-Man,” “Jurassic World” and “Star Wars” films, “Up”).
Warner Bros. Pictures Presents a 6th & Idaho/Dylan Clark Productions Production, a Matt Reeves Film, “The Batman.” The film is set to open in theaters March 4, 2022 and will be distributed worldwide by Warner Bros. Pictures.
Hopes for jump-starting the blockbuster movie season delayed by a summer shut-down largely rest on TENET, Christopher Nolan’s sci-fi spy thriller. The description of the film certainly sounds like it would do the trick – a promised a mix of INCEPTION’s intellectually intriguing concept and THE DARK KNIGHT’s technically dazzling action thrills. While we do get the technical dazzle and an intriguing concept, TENET is more a mixed bag overall, and far from one of Nolan’s best.
Christopher Nolan is an amazing
filmmaker, an auteur whose best works include MEMENTO, INCEPTION and
THE DARK KNIGHT. But not every Nolan has worked, and there are
several that did not quite reach their potential. TENET is among this
latter group, unfortunately.
Action fans, however, will be
thoroughly entertained, even though those who relish the
mind-twisting puzzles the director often serves up will feel more
frustration. The action starts immediately, with John John David
Washington’s unnamed special-ops agent coming in to thwart attempted
assassination of a leader, maybe a president, during a classical
music concert at a Russian opera house. The sequence wraps up by
introducing us to a ticking-time bomb scenario that involves a kind
of time travel called inversion, in which events run backwards among
other things. The mission also introduces the Protagonist to a code
phrase using the word “tenet,” and a host of characters who
may or may not be allies or enemies, including a fixer named Neil
(Robert Pattinson), as well as a Russian arms dealer Andrei Sator
(Kenneth Branagh) and his beautiful estranged wife Kat (Elizabeth
Debicki), and a wealthy contact played by Michael Caine.
There is plenty of James Bond
references in this spy thriller, complete with expensive suits,
yachts, speed boats, beautiful women, billionaire lifestyle, as well
as the witty quips. TENET mixes this throw-back fun with the
breathlessly-fast action thriller sci-fi sequences that are
cutting-edge contemporary.
The film is technically excellent, with jaw-dropping action and clever plot twists. Action fans should be more that delighted with all that, which is brilliantly executed. The scenes where characters are “inverted” are particularly outstanding The film delivers enough information about what is happening – eventually – to understand what is going on, but audiences could also just lean back and go along for the movie magic ride. For the audiences who want to figure out the puzzle, the situation is less satisfying.
One of the most frustrating things
about this film is there in the first scenes, where muddy sound that
muffles dialog, which is delivered at a rapid-fire pace that matches
the explosion of action that starts the film. Like INCEPTION, the
technology that allows the characters to “invert” time is a
black box but those who like the puzzle solving would like to hear
more about the premise Nolan is offering. Sadly, between the
ultra-fast delivery and mixed accents, plus a background sound of
explosions, one can hardly make out what is being said. For many
action films, what is said hardly matters but one expects it to
matter in a Nolan film.
Besides the sound issue, another
challenge is the casting. The central pair in this action-driven spy
tale is John David Washington and Robert Pattinson While both actors
have turned in nice performances in past roles, not much chemistry
every develops between them, and they go from action sequence to
sequence with just a few traded quips. John David Washington’s
damped-down acting style was fine in BLACKKKLANSMAN but for TENET’s
unnamed Protagonist something more emotionally involving is needed.
A better choice would have been an actor who could give more subtext,
more nuance, would have drawn us into the character more, rather than
Washington’s square-jawed noble hero. John David Washington is the
son of Denzel Washington, but the father would have been a better fit
for the role from an acting perspective, The younger Washington is
good looking and has the physique for the hero role but his acting
style seems flat here. Pattinson has done some good work in many
films but here he is a one-note character, a handsome, smiling cipher
who provides whatever backup or miracle fix is needed by Washington’s
hero character.
The acting sparks are provided by
TENET’s outstanding supporting cast, who offer the most interesting
characters and performances. Michael Caine’s brief appearance is
memorable, and a nice nod to the Batman films. The best good-and-evil
struggle is between Kenneth Branagh’s arms dealer and his estranged
wife played by the gifted, under-appreciated Elizabeth Debicki, an
actress who is beautiful enough to be a “Bond girl”
surrogate and talented enough to steal most scenes. Scenes between
Branagh and Debicki just crackle with tension and emotion, a battle
of acting talents that are just thrilling to watch.
TENET is a big action film, and
therefore is best seen on a big screen, the kind of movie made for
that viewing experience. As action entertainment, TENET is good
enticement to draw film-goers out to theaters and beats most in that
genre. But for serious Christopher Nolan fans who relish the
director’s intelligence and intriguing style of films, and are hoping
for a repeat of INCEPTION’s magic, TENET doesn’t quite hit the mark.
TENET opens Thursday, September 3, in multiple theaters.
John David Washington is the new Protagonist in Christopher Nolan’s original sci-fi action spectacle “Tenet.” Armed with only one word—Tenet—and fighting for the survival of the entire world, the Protagonist journeys through a twilight world of international espionage on a mission that will unfold in something beyond real time. Not time travel. Inversion.
The international cast of “Tenet” also includes Robert Pattinson, Elizabeth Debicki, Dimple Kapadia, Martin Donovan, Fiona Dourif, Yuri Kolokolnikov, Himesh Patel, Clémence Poésy, Aaron Taylor-Johnson, with Michael Caine and Kenneth Branagh.
Nolan wrote and directed the film, utilizing a mixture of IMAX® and 70mm film to bring the story to the screen. “Tenet” is produced by Emma Thomas and Nolan. Thomas Hayslip served as executive producer. Nolan’s behind-the-scenes creative team included director of photography Hoyte van Hoytema, production designer Nathan Crowley, editor Jennifer Lame, costume designer Jeffrey Kurland, visual effects supervisor Andrew Jackson, and special effects supervisor Scott Fisher. The score is composed by Ludwig Göransson. “Tenet” was filmed on location across seven countries. Warner Bros. Pictures presents a Syncopy Production, a Film by Christopher Nolan, “Tenet.”
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Warner Bros. Pictures is distributing “Tenet” in theatres and IMAX worldwide. The film has been rated PG-13 for intense sequences of violence and action, some suggestive references and brief strong language. www.Tenetfilm.com
DC FanDome: Hall of Heroes wrapped up with a 30-minute discussion with director Matt Reeves about The Batman, and it did not disappoint. Introduced by Robert Pattinson and moderated by DC FanDome host Aisha Tyler, the fast-talking Reeves covered quite a bit over the course of the panel, including giving fans a pretty clear idea of what sort of story they’re in for when The Batman debuts in October of next year.
As had been discussed before, The Batman is set during Bruce Wayne’s second year as a crimefighter, meaning it’s not an origin, but the Dark Knight is clearly still establishing himself and becoming the hero he’ll eventually become. As Reeves made clear, “He’s far from perfect.” While Batman is no longer a new presence in Gotham City when The Batman starts, he’s not having the affect on the city that he wants to have…and that’s when the murders start.
Those murders really shed some light on the true history of Gotham and open up a world of corruption that touches on Batman’s origins, forcing Bruce to confront the question of where his family might have sat in all of that. Reeves promises that The Batman will be a mystery and a detective story, but a deeply personal one for Batman.
Later, Reeves answered some fan questions, including some of the movies that influenced his vision for The Batman (Chinatown, The French Connection and Taxi Driver) and one surprising comic (Darwyn Cooke’s Batman: Ego). He even shared a bit of what we can expect from the recently announced HBO Max TV series set in the universe of the film. That series, which Reeves is working on with Boardwalk Empire creator Terrence Winter, will be set during Batman’s first year in Gotham, during the initial appearances of this new masked vigilante who seems to have declared war on Gotham’s underworld. Reeves explained that you’ll see this story through the point of view of the corrupt cops of the Gotham City Police Department, one corrupt cop in particular, and that in many ways, the story would be a battle for his soul.
However, the highlight of the panel was definitely the Batman teaser that Reeves debuted, which looks absolutely breathtaking despite being cut from only about 25% of the film. Moody, dark and utterly gripping, the teaser is everything we wanted and more.
DC Fans can’t wait to see more from The Batman. The second day of DC FanDome, which is called DC FanDome: Explore the Multiverse, is coming on September 12th and features over 100 hours of content that will be available on demand for a full day. You thought eight hours was a lot? Better rest up, DC fans. It’s just getting started!
From Warner Bros. Pictures comes “The Batman,” with director Matt Reeves (the “Planet of the Apes” films) at the helm and with Robert Pattinson (“Tenet,” “The Lighthouse,” “Good Time”) starring as Gotham City’s vigilante detective, Batman, and billionaire Bruce Wayne. Also in the star-studded ensemble as Gotham’s famous and infamous cast of characters are Zoë Kravitz (“Fantastic Beasts: The Crimes of Grindelwald,” “Mad Max: Fury Road”) as Selina Kyle; Paul Dano (“Love & Mercy,” “12 Years a Slave”) as Edward Nashton; Jeffrey Wright (the “Hunger Games” films) as the GCPD’s James Gordon; John Turturro (the “Transformers” films) as Carmine Falcone; Peter Sarsgaard (“The Magnificent Seven,” “Black Mass”) as Gotham D.A. Gil Colson; Barry Keoghan (“Dunkirk”) as Officer Stanley Merkel; Jayme Lawson (“Farewell Amor”) as mayoral candidate Bella Reál; with Andy Serkis (the “Planet of the Apes” films, “Black Panther”) as Alfred; and Colin Farrell (“Fantastic Beasts and Where to Find Them,” “Dumbo”) as Oswald Cobblepot.
“The Batman” was written by Matt Reeves & Peter Craig. Reeves and Dylan Clark (the “Planet of the Apes” films) are producing the film, with Simon Emanuel, Michael E. Uslan, Walter Hamada and Chantal Nong Vo serving as executive producers. Reeves’ behind-the-scenes creative team includes Oscar-nominated director of photography Greig Fraser (“Lion,” upcoming “Dune”); his “Planet of the Apes” production designer, James Chinlund; editors William Hoy (the “Planet of the Apes” films) and Tyler Nelson (“Rememory”); Oscar-winning VFX supervisor Dan Lemmon (“The Jungle Book”); Oscar-nominated SFX supervisor Dominic Tuohy (“1917,” “Star Wars: Episode IX – The Rise of Skywalker”); Oscar-nominated sound mixer Stuart Wilson (“1917,” the “Star Wars” franchise); Oscar-winning costume designer Jacqueline Durran (“1917,” “Little Women,” “Anna Karenina”) and costume designers Glyn Dillon (the “Star Wars” franchise) and David Crossman (“1917,” the “Star Wars” franchise); hair designer Zoe Tahir (upcoming “No Time to Die,” “Spectre”); and Oscar-nominated makeup designer Naomi Donne (“1917”).
Based on characters from DC. Batman was created by Bob Kane with Bill Finger. “The Batman” is set to open in theaters October 1, 2021 in select 3D and 2D and IMAX theaters and will be distributed worldwide by Warner Bros. Pictures.
In support of theater reopenings, Warner Bros. Pictures is offering moviegoers in select U.S. cities a preview program for the first global release of the summer: Christopher Nolan’s hugely anticipated action spy thriller “Tenet.” “Tenet” Early Access Screenings will begin on August 31st, three days ahead of its official September 3rd domestic release. The announcement was made by Jeff Goldstein, President, Warner Bros. Pictures Domestic Distribution.
“Tenet” Early Access Screenings will be scheduled on the evenings of August 31st, September 1st and September 2nd, in U.S. markets where theaters are open. Tickets for those shows will go on sale on Friday, August 21st. Go to www.tenetfilm.com for available cities and showtimes.
“Tenet,” which Nolan filmed using a mixture of IMAX® and 70mm film, will be made available in large-format and premium theaters, providing audiences with the most immersive moviegoing experience.
In making the announcement, Goldstein said, “Warner Bros. is proud to support our partners in exhibition as they reopen their doors. And there could be no better film to welcome audiences back to a true big-screen experience than ‘Tenet.’”
John David Washington is the new Protagonist in Christopher Nolan’s original sci-fi action spectacle “Tenet.” Armed with only one word—Tenet—and fighting for the survival of the entire world, the Protagonist journeys through a twilight world of international espionage on a mission that will unfold in something beyond real time. Not time travel. Inversion.
The film also stars Robert Pattinson, Elizabeth Debicki, Dimple Kapadia, with Michael Caine, and Kenneth Branagh. Nolan wrote and directed the film, which was produced by Emma Thomas and Nolan. Thomas Hayslip served as executive producer. Nolan’s behind-the-scenes creative team included director of photography Hoyte van Hoytema, production designer Nathan Crowley, editor Jennifer Lame, costume designer Jeffrey Kurland, visual effects supervisor Andrew Jackson, and special effects supervisor Scott Fisher. The score was composed by Ludwig Göransson.
Warner Bros. Pictures presents a Syncopy Production, a Film by Christopher Nolan, “Tenet.” Warner Bros. Pictures is distributing “Tenet” in theaters and IMAX worldwide. The film has been rated PG-13 for intense sequences of violence and action, some suggestive references and brief strong language.
