Fate of the Furious filmmaker F. Gary Gray is directing the movie, written by Iron Man screenwriters Matt Holloway and Art Marcum. The studio has the film dated for June 14, 2019.
Hemsworth and Thompson are not playing the same alien-fighting and world-saving characters portrayed by Will Smith and Tommy Lee Jones in the initial trilogy. The new movie is set in the same on-screen world, however.
Plot details and what characters Hemsworth and Thompson are playing are being kept ...
The film, based on the Laura Kaplan’s book “The Story of Jane: The Legendary Underground Feminist Abortion Service,” will tell the true story of a Chicago woman who founded and ran Jane, an underground abortion service.
Kimberly Peirce (“Boys Don’t Cry”) will direct and John Lesher (“Birdman”) will co-produce the film.
Jane was a group in the late ’60s and early ’70s run by women who taught themselves how to perform abortions before Roe v. Wade made it legal. They helped more than 11,000 women get access to services denied by the medical community. Williams will play the role of Jenny, who founded Jane.
Lionsgate has won a bidding war to pick up the title, an Image Comic from writer Gerry Duggan and artist David O’Sullivan. Condal will write the script while Stahelski will direct. 87eleven, the production banner run by Stahelski and fellow action maestro David Leitch, will produce.
The package hit studios over the weekend, generating multiple offers. In the end, Lionsgate, which is behind the Wick movies, flexed its might, wanting to keep Stahelski in is ...
The streaming service and A+E Studios are close to a deal, sources tell Variety, that would see the fourth season, which has already been shot, air in its initial window on Hulu. The agreement would see Hulu pay an additional fee on top of it was already set to pay for subscription video on-demand rights for the season.
Hulu is, through a previous agreement with producer A+E Studios, the exclusive Svod home for the series, with seasons
The project was developed by Skydance from a script by Deadpool screenwriters Paul Wernick and Rhett Reese. Bay and Skydance announced in March their intentions to make the film together, with Skydance’s David Ellison, Dana Goldberg, and Don Granger will produce Six Underground along with Bay.
Wme reps Bay and Reynolds, the latter of whom comes off a $300 million global opening for Deadpool 2.
As for Netflix, this is the latest big project to come along even as some media and the Cannes Film Festival put out a vibe to try and marginalize its movie initiatives.
“The Mitchells Vs. The Machines” will be an animated comedy from producers Lord and Miller, set for release on January 10, 2020.
The Mitchells are a dysfunctional, loving family whose road trip gets interrupted by a tech uprising. All around the world, devices we love like phones and self-driving cars turn on humanity, and the Mitchells have to work past their problems to save the world.
Mike Rianda is directing the film. He also wrote the screenplay with co-director Jeff Rowe. Lord and Miller produce alongside Kurt Albrecht.
Miller and Lord’s credits include “The Lego Movie” and “21 Jump Street.” They also have an executive producing credit on the upcoming “Solo: A Star Wars Story
The post Charlize Theron is Megyn Kelly for the Untitled Jay Roach Film appeared first on Film School Rejects.
In her Cmt Music Awards debut, “The Voice” judge and pop superstar Clarkson will premiere her rendition of “American Woman,” the theme of the upcoming Paramount Network series of the same title debuting the day after the show. Inspired by the
The lineup surely ranks as highly as any in its embrace of film that is both cheap and offensive – and thoroughly relishing both qualities. Shockproof founder Petr Saroch, who has been screening “all forms of low-brow, bad taste, trash and fun outside of the realm of run-of-the-mill” for 14 years at Prague’s Kino Aero, says Transilvania crowds should expect the best of the worst this year.
He and his team have chosen five B movies, which will screen with varying degrees of audience participation – including for at least one live English over-dubbing that may or may not follow the Czech-language original soundtrack.
Work on the scripts is underway, with filming expected to start in October, a production source said. Some funding is in place from German agencies Medienboard Berlin Brandenburg and Film und Medienstiftung Nrw.
The production, broadcast and distribution partners – X Filme Creative Pool, Ard Degeto, Sky and Beta Film – are
The self-proclaimed “Worldwide Leader in Sports” just added 15 more fights to its upcoming rights package, which begins in 2019 and now totals a whopping $1.5 billion — or $300 million over 5 years, a person with knowledge of the deal tells TheWrap.
That annual amount dwarfs what Fox Sports had previously been paying for all this Ufc programming, which had averaged out to $116 million per year.
Also Read: WWE 'SmackDown' Sweepstakes: Fox Scores Pro Wrestling Show, Will Shift It to Fridays (Exclusive)
ESPN now holds 30 Ultimate Fighting Championship events per year, which will be spread across its linear channel(s) and new streaming platform, ESPN+.
Those PPV events, which will not be exclusive to ESPN platforms, are booked about once a month.
The Ufc and ESPN could not immediately be reached for comment on this story.
Comcast, which already owns NBCUniversal, noted that no final decision had been made about submitting a bid but released the statement in light of recent SEC filings by Disney and Fox seeking shareholder approval for their deal.
Like Disney, Comcast wants to acquire key assets like the Fox film business, TV studio and foreign pay-tv operations, including a stake in Sky — Fox News Channel, Fox Business Network, Fox Broadcasting Company and other assets would remain with so-called “New Fox.”
Also Read: UK Government Doesn't Plan to Block Proposed Comcast-Sky Deal
“Any offer for Fox would be all-cash and at a premium to the value of the current all-share offer from Disney,
According to an Incaa release, the initiative is aimed at luring producers, broadcasters and platforms to work along with Argentine co-producers on projects either totally or partially produced within the country’s borders.
Selected projects will be eligible to receive funding up to 50% of their production spend in Argentina, with a cap of $248,000. To qualify, a project must spend a minimum of $260,000 in Argentina.
The ceiling is quite low for international production rebates, the 50% rebate rate very high. Additionally, any qualifying project must dedicate a minimum of 30% of its total Argentina budget to salaries or social charges which go to technical and artistic crew members who live in the country. As far as conditions go, that
“Re Loca” also represents the first project partnering Paramount and Argentina’s Telefe, both units of Viacom since Viacom bought broadcast network Telefe in November 2016, adding it to Viacom International Media Networks Americas.
Like Vimn America’s acquisition of a controlling stake in Brazil’s Porta Dos Fundos, one of the country’s hippest comedy creators with a huge online following, Viacom’s purchase of Telefe was designed to drive up its Spanish-language content ownership. “Re Loca” is one movie example of how that strategy can now play out, leveraging and twinning Viacom assets.
Produced by Telefe, along with Sebastián Aloi’s Buenos Aires production house Aeroplano, “Re Loca” stars Natalia Oreiro as Pilar, a downtrodden copywriter at an
“I was his 1st Ad [first assistant director] in 1995 when working on ‘Too Late,’ which was screened in 1996 Cannes main competition,” Giurgiu recalls. “I learned everything from him – it was like attending a second film school.”
Pintilie’s first feature, “Sunday at 6 O’Clock,” a tragedy about two young communist lovers on the run in World War II, won him international attention in 1966.
Because of the director’s extensive background in theater, Giurgiu says, “Pintilie was an absolute master when working with actors. It was mesmerizing to observe how he achieved impressive performances by forcing
James and Carter will produce the film, which was sold off a pitch and is described as a subversive action comedy that looks at the speed of media in the current landscape. Up-and-coming writer Lucas Carter is penning the screenplay.
The project comes on the heels of Warner Bros.-based James' move to produce a House Party reboot for New Line, with Atlanta writers Stephen Glover and Jamal Olori penning the screenplay.
James and Carter are producing Public Enemy, while SpringHill's ...
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.