Movies

As a devoted fan of The Mandalorian, I was quite surprised to hear the latest news that Disney+ has decided to hold off on Season 4 altogether. Instead, it seems that the story will continue through theatrical sequels, provided the 2026 blockbuster lives up to expectations. Exciting times ahead, as we gear up for The Mandalorian and Grogu’s return, now accompanied by some heavyweight talent like Jeremy Allen White and Sigourney Weaver!

Together with co-writer Bernard McKenna, they expanded the script into a full-length feature film, casting Chapman as the protagonist and David Jason as an unconventional laborer hired to perform the assassination. However, instead of a series of swift, comedic slapstick sequences, it developed into a comedy with a slow pace, filled with painstakingly planned moments. This could be due to Chapman’s challenging nature when collaborating, as Cleese himself acknowledged during their time in Monty Python, and his alcoholism didn’t make things easier. Yet, Chapman delivered an outstanding performance in The Odd Job, embodying the rigid, buttoned-up character prone to fits of hysteria – a characteristic that defined many of his roles, making him indispensable as the lead in Monty Python films like Holy Grail and Life of Brian. It’s hard to envision those movies with anyone else but him in the starring role.

We had an extended conversation with Howard, delving deep into his projects. He provided exclusive insights about the production processes of Reservoir Dogs, Kill Bill, and Inglourious Basterds, giving us a peek at the workings behind these iconic films.

Initially, upon unveiling the album cover art, there was an outpouring of criticism regarding its perceived “objectifying” and “misogynistic” nature. However, now, the artist has opened up about this issue, sharing her personal perspectives along with those of her parents on the matter.

Glen Powell discussed his upcoming movie during an exclusive interview with Empire magazine, sharing some fascinating insights. One notable point he made was his emphasis on portraying himself as truly “running” in the film. To this end, he requested that director Wright include a specific shot highlighting his running abilities. He elaborated by saying:

Although some folks have revised their opinions about the first “Super Mario Bros” movie, finding reasons to defend it (like myself), I’ve never encountered anyone who would zealously champion the second film, “Double Dragon.” I believe I understand why that is the case.

Upon learning about “Katrina: Come Hell or High Water,” the latest Netflix original delving into the storm’s aftermath on Louisiana residents, I initially assumed it would be another run-of-the-mill documentary. However, having completed the three poignant and powerful episodes filled with both heartache and victory, I must admit that I was mistaken. Let me explain why…

To start, let me see if you remember the final scenes of the movie “The New Era”. It concluded with the Dowager Countess assuring her son that his father was indeed his true father and there was no affair involved. Soon after, the Dowager Countess sadly passed away. The film ended with a glimpse of a new portrait of Violet in the entrance hall, implying that her presence (and an important portrait) would continue when “The Grand Finale” unfolds its story for those loyal fans who have followed it throughout the years.

In the movie, Chapman portrays a neurotic husband who, upon his wife leaving him, enlists an unconventional handyman (David Jason) to carry out his assassination. However, when his wife unexpectedly returns, he realizes that he can’t rescind the contract with his would-be killer. Read our movie review here

Barbie (Emma Thompson), a heartbroken widow, embarks on a journey to scatter her husband’s ashes in the freezing wilderness of northern Minnesota, where their life together initially began. Stranded in a blizzard and miles away from any assistance, she finds a secluded cabin – revealing a disturbing truth within. A young woman is being held against her will by a dangerous couple (Judy Greer and Marc Menchaca), and Barbie must grapple not only with the peril in front of her but also the limits of her own fortitude. Trapped in an endless winter landscape, she discovers that the power of love and recollection might be the only tools she possesses to battle for her life.