It was already the best-selling videogame of all time, notes the Hollywood Reporter. And A Minecraft Movie just had the biggest opening ever for a video game movie adaptation. WIth a production budget of $150 million, it earned in $157 million in just its first weekend in the U.S., with a worldwide total of $301 million. A Warner Bros. executive called the movie "lightning in a bottle," while the head of co-producer Legendary Pictures acknowledged the game is a global phenomon, according to the article. (About the movie's performance, the executive "said the opening is a both a reflection of the mandate to celebrate the world of Minecraft in a joyful way, and the singular experience that only theatrical can offer." But an unfinished version leaked online before the movie was even released, reports Variety Screenshots and footage from the fantasy adventure were being shared widely on social media platforms this week, and were also available on file sharing sites. The images and scenes have uncompleted visual effects. Most of the footage was quickly taken down by the rights holders. Although pirated footage is a common problem for major film releases, it's rare to have a working print leak online in this way, raising questions about how such an early version of the movie was accessed, stolen and then shared.

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An anonymous reader shares a report: The post-Covid rebound of live events is all the more evidence that movie theaters are never coming back, Netflix co-CEO Ted Sarandos told Semafor in an interview at the Paley Center for Media Friday. "Nearly every live thing has come back screaming," Sarandos said. "Broadway's breaking records right now, sporting events, concerts, all those things that we couldn't do during COVID are all back and bigger than ever. The theatrical box office is down 40 to 50% from pre-COVID, and this year is down 8% already, so the trend is not reversing. You've gotta look at that and say, 'What is the consumer trying to tell you?'"

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Despite spending hundreds of millions on blockbuster films, Netflix continues to churn out critically panned big-budget fare with its latest $300 million flop, "The Electric State," starring Chris Pratt and Millie Bobby Brown. While the streaming giant has produced acclaimed films by giving talented directors creative freedom -- resulting in successes like "The Irishman," "Marriage Story" and "The Power of the Dog" -- it has repeatedly failed to create genuinely compelling blockbusters despite attracting major talent and pouring massive resources into productions like "Red Notice," "The Gray Man" and now "The Electric State." These expensive Netflix "mockbusters" lack the overwhelming sensations that theatrical blockbusters deliver, instead feeling like glorified content designed primarily for home viewing. The Russo brothers' "Electric State," with its drab visuals and lifeless performances, exemplifies how Netflix's biggest productions feel infused with the knowledge they're merely "content first."

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A new statistical analysis has identified the films audiences "love to hate," with Battlefield Earth, Morbius, Grease 2, and Cats topping the list of cinema's most detested productions. The study, published by data analyst Daniel Parris, examined review data from MovieLens to calculate both the percentage of one-star reviews and total disapproval magnitude for each release. A common thread among these widely derided titles: many were adaptations of popular books or shows, or attempted to capitalize on once-beloved franchises. Adam Sandler leads the actors most frequently appearing in widely disliked films, followed by comedians and action stars who have starred in productions with high one-star review rates. The research also reveals an industry trend toward increasing one-star reviews over time, with family-oriented fare and horror films receiving disproportionately negative ratings despite consistent box office profitability - suggesting studios have prioritized risk-averse, commercially viable projects over critical acclaim.

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Nominated for 10 Oscars, The Brutalist (directed and produced by Brady Corbet) has an "intriguing and controversial technical feature," according to the Baffler, that threatens to turn movie-viewing into "a drab appreciation of machine-managed flawlessness, and acting less interesting..." In January, the film's editor Dávid Jancsó revealed that he and Corbet used tools from AI speech software company Respeecher to make the Hungarian-language dialogue spoken by Adrien Brody (who plays the protagonist, Hungarian émigré architect László Tóth) and Felicity Jones (who plays Tóth's wife Erzsébet) sound more Hungarian. In response to the ensuing backlash, Corbet clarified that the actors worked "for months" with a dialect coach to perfect their accents; AI was used "in Hungarian language dialogue editing only, specifically to refine certain vowels and letters for accuracy...." Defenders of this slimy deception claim the use of AI in film is no different than CGI or automated dialogue replacement, tools commonly deployed in the editing suite for picture and audio enhancement. But CGI and ADR don't tamper with the substance of a performance, which is what's at issue here.... AI seems poised to decimate the voice acting industry; how long will it be before filmmakers give up on the whole time-wasting business of dialect coaching and language research and toss their performers' untrained vocalizations directly into the linguistic Instant Pot...? "Adrien and Felicity's performances are completely their own," Corbet has argued. Only, they're not. Brody and Jones's performances may now be authentic to spoken Hungarian, but they're no longer authentic to themselves: at least in the parts of the film with Hungarian dialogue, the acting stands more as a monument to the prowess of the voice-matching software than that of the actors... AI is a different beast from color film, or the Louma crane, or the hand-held camera: it's steroidal, aesthetically corrupting, and unlike these earlier advances it confronts the filmmaker with real ethical questions... Use implies complicity. To incorporate AI into the production of art today, no matter how sparingly or subtly, is to endorse Silicon Valley's politics and worldview: its exploitation of both producers and "users," its blithe indifference to the social impact of post-automation layoffs and the environmental assault of industrial data processing, its cramped and uninteresting idea of imagination, its petrification of creation. It's a vote for the assholes... In short, the essays calls this "recourse to corrective AI" a "filmmaking prosthesis that cheats the viewer and cheapens the performances." And ironically this clashes with the film's depiction of a "principled artist," according to the article. ("Some of the 'retro' digital renderings in the memorial video included in this scene were also, Corbet has admitted, produced with the help of AI.") The essay notes that several of 2024's other Oscar-nominated films also employed Respeecher, including Dune: Part Two and Emilia Pérez. "What matters here is not this particular infraction but the precedent it sets, the course it establishes for culture."

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It's a feature-length film "rendered on a free and open-source software platform called Blender," reports Reuters. And it just won the Oscar for best animated feature film, beating movies from major studios like Disney/Pixar and Dreamworks. In January Blender.org called Flow "the manifestation of Blender's mission, where a small, independent team with a limited budget is able to create a story that moves audiences worldwide, and achieve recognition with over 60 awards, including a Golden Globe for Best Animation and two Oscar nominations." The entire project cost just $3.7 million, reports NPR — though writer/director Gints Zilbalodis tells Blender.org that it took about five and a half years. "I think a certain level of naivety is necessary when starting a project," Zilbalodis tells Blender. "If I had known how difficult it would be, I might never have started. But because I didn't fully grasp the challenges ahead, I just dove in and figured things out along the way..." Zilbalodis: [A]fter making a few shorts, I realized that I'm not good at drawing, and I switched to 3D because I could model things, and move the camera... After finishing my first feature Away, I decided to switch to Blender [from Maya] in 2019, mainly because of EEVEE... It took a while to learn some of the stuff, but it was actually pretty straightforward. Many of the animators in Flow took less than a week to switch to Blender... I've never worked in a big studio, so I don't really know exactly how they operate. But I think that if you're working on a smaller indie-scale project, you shouldn't try to copy what big studios do. Instead, you should develop a workflow that best suits you and your smaller team. You can get a glimpse of their animation style in Flow's official trailer. NPR says that ultimately Flow's images "possess a kinetic elegance. They have the alluring immersiveness of a video game..."

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The Guardian: For some, the adverts that precede the start of a film are the bane of a trip to the cinema; for others, they are a useful buffer as you stand in the popcorn queue. But for one man in India, the lengthy marathon of cinema advertising was so infuriating that he took the matter to the courts -- and won. Abhishek MR, a 30-year-old man from the southern city of Bangalore, had booked a trip to the cinema with friends in December last year to watch wartime drama Sam Bahadur. But while the scheduled time he had booked the ticket for was 4.05pm, he had to sit through 25 minutes of adverts for upcoming features and commercial items such as homewares, mobile phones and cars before the film actually began. Having planned to return to work straight after the film, Abhishek MR was angered by what he felt was a costly disruption to his life. He filed a lawsuit against PVR Inox, India's largest cinema multiplex chain, stating that: "The complainant could not attend other arrangements and appointments which were scheduled for the day and has faced losses that cannot be calculated in terms of money as compensation." Bruce66423 adds: Great outcome -- and only 25 minutes of garbage punished. Note that Indian cinemas also make patrons sit through 15 minutes of adverts in the middle of the film.

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Deadline reports: It's taking around $1 billion to have 007 stewards Barbara Broccoli and Michael G. Wilson cede creative oversight of their family's storied James Bond franchise to Amazon MGM Studios, sources tell us. Amazon originally overpaid on its purchase of MGM in a deal orchestrated by then-MGM board chair Kevin Ulrich. Though valued between $3.5 billion-$4 billion, the legendary motion picture studio was absorbed by the streamer for $8.5 billion, the hefty sum propped up by the potential access of the 007 franchise. However, Amazon couldn't fully freely develop Bond with Broccoli and Wilson in the mix. Hence, it took another $1 billion to ensure that they could fully steer and exploit the Ian Fleming IP. The article suggests Broccoli's long hold-out came from "Amazon's desire to expand the James Bond franchise into its own universe akin to Marvel or Star Wars." In the past, filmmakers including Quentin Tarantino and Christopher Nolan have expressed an interest in putting their stamp on Bond; both however, required complete creative control, which wasn't possible under the reign of Broccoli and Wilson. Now, with the producers on the side, Amazon can move forward to attract a top-tier director. Also available to come to life in the new deal finally are a slew of Bond villains and women in their own series or features. The last time an attempt was made to spin off the Bond franchise was in 2003 with a stand-alone movie about the spy's girlfriend Jinx, played by Halle Berry in Die Another Day. Bond scribes Neal Purvis and Rob Wade were attached to pen that, with Stephen Frears circling, but Broccoli and Wilson put the kibosh to the idea due to creative differences. In a related note, the article adds that Amazon "is looking to have an international theatrical distribution arm fully operational by some time in 2026." Jeff Bezos asked his followers on X.com who should play James Bond in the next movie, reports IGN, "and the answer was loud and clear." On X.com the "clear fan favorite" was DC Extended Universe actor Henry Cavill. (Besides playing Superman, Cavill also appeared in the 2024 film spy action-comedy Argyle, and fought Tom Cruise's character in 2018's Mission Impossible: Fallout — and played Geralt of Rivia in the Netflix series The Witcher.)

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Chinese animated film Ne Zha 2 has broken multiple box office records, becoming China's highest-grossing film of all time and the first non-Hollywood movie to surpass $1 billion in a single market. From a report: Helmed by Yang Yu, known as Jiaozi, the film hit the big screen during the lucrative Chinese New Year frame on Jan. 29, surpassing 2017's "Wolf Warrior 2" to become China's most-watched film. Meanwhile, its total revenue (including presales) hit 8 billion yuan (about 1.12 billion U.S. dollars) by Sunday. In just eight days and five hours after its release, "Ne Zha 2" became China's highest-grossing film of all time on Thursday, exceeding the 5.77 billion yuan record set by "The Battle at Lake Changjin." A day later, it overtook "Star Wars: The Force Awakens" to become the highest-grossing film ever in a single market, reaching over 6.79 billion yuan (including presales) in China on Friday. A follow-up to the animated sensation "Ne Zha," which grossed 5 billion yuan and topped the country's box office charts in 2019, the sequel has captivated audiences with its breathtaking visuals, rich storytelling and deep cultural resonance. The record-breaking run makes "Ne Zha 2" not just a box office titan but a cultural phenomenon, further underscoring China's ability to produce homegrown blockbusters that strike a chord with domestic audiences. You can watch the international trailer on YouTube.

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Connecticut's highest-ranking state legislator has proposed a bill requiring movie theaters to disclose both preview and feature film start times, setting up a clash with theater operators who say the measure threatens their advertising revenue. Senate President Pro Tempore Martin Looney's proposal aims to prevent moviegoers from sitting through up to 30 minutes of advertisements and trailers before features begin. The Democrat cited complaints from constituents about lengthy pre-show delays. Theater owners are pushing back, local outlet RegisterCitizen reports, with Avon Theatre's executive director Peter Gistelinck warning the measure could undermine their financial stability.

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Warner Bros. Discovery has quietly begun releasing dozens of its older films for free on YouTube, marking an unexpected shift in how the major studio handles its back catalog. Over the past month, the company has uploaded more than 30 full-length movies across five YouTube channels, without digital rights management or regional restrictions. The collection includes both critically acclaimed films like "Waiting for Guffman" and "Michael Collins," as well as commercial disappointments like the 2002 Eddie Murphy film "The Adventures of Pluto Nash." Some releases have significant historical value, such as "Oh, God!" - a 1977 George Burns comedy that earned $51 million at release (equivalent to $265 million in 2024). This move represents a departure from traditional studio practices of protecting content through strict digital rights management and paid streaming services. Warner Bros. owns multiple distribution channels, including the Max streaming service and Turner Classic Movies, which makes the decision to release these films freely on YouTube particularly notable.

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