First Official Look At Rupert Friend As Hitman: Agent 47

Teenage Mutant Ninja Turtles writer Tom Waltz wants legacy cast member Judith Hoag to return as April O'Neil in the upcoming R-rated outing, Teenage Mutant Ninja Turtles: The Last Ronin. In a new interview with Screen Rant, Waltz, whose contributions to the TMNT franchise over the years have included various video games and comics, including The Last Ronin comic book sequel Teenage Mutant Ninja Turtles: The Last Ronin II - Re-Evolution, declared his hopes that Hoag will come back to the franchise as it will please longtime fans.

This is one bird who just can't be caged Feathers McGraw is back! The new Wallace and Gromit movie is here, and has now officially been titled Wallace & Gromit: Vengeance Most Fowl. As revealed by Netflix, the long-awaited animated outing will bring back the beloved villain Feathers McGraw, who was last seen way back in 1993s Wallace & Gromit: The Wrong Trousers, with the movie all set to debut on the streaming platform this winter.

It didnt take long for Legendary to find its replacement for the next Godzilla x Kong movie following the departure of Adam Wingard a couple of weeks ago. The latest sequel in the MonsterVerse will be directed by Australian filmmaker Grant Sputore, who has just one feature under his belt thus far, that being the 2019 Netflix cyberpunk thriller I Am Mother starring Hilary Swank, Rose Byrne, and Clara Rugaard.

Tribeca: Nicholas Colia's feature directorial debut bolsters a funny story with an enviable cast, including Melanie Lynskey, Owen Teague, Kathryn Newton, Abbie Ryder Forston, and breakout Everett Blunk.

Ishana Shyamalans debut film The Watchers hits theaters on June 7, 2024, and as the first-time feature writer/director gets ready to make a splash with her supernatural horror film starring Dakota Fanning, shes revealed that she took inspiration from the most unlikely of places: the TV show Love Island. Shyamalan is, of course, the daughter of famed director M.

Tribeca: Sharmeen Obaid-Chinoy and Trish Dalton’s documentary lacks the wit of its now-death-obsessed subject, the Princess who became a 20th-century fashion powerhouse.