Paramount and Activision are teaming up to produce a live-action Call of Duty movie, with Paramount promising the same blockbuster treatment it gave Top Gun: Maverick. David Ellison, Chairman and CEO of Paramount, said in a statement: "As a lifelong fan of Call of Duty this is truly a dream come true. From the first Allied campaigns in the original Call of Duty, through Modern Warfare and Black Ops, I've spent countless hours playing this franchise that I absolutely love. Being entrusted by Activision and players worldwide to bring this extraordinary storytelling universe to the big screen is both an honor and a responsibility that we don't take lightly. We're approaching this film with the same disciplined, uncompromising commitment to excellence that guided our work on Top Gun: Maverick, ensuring it meets the exceptionally high standards this franchise and its fans deserve. I can promise that we are resolute in our mission to deliver a cinematic experience that honors the legacy of this one-in-a-million brand -- thrilling longtime fans of Call of Duty while captivating a whole new generation." Rob Kostich, President of Activision, also commented: "Throughout its history, Call of Duty has captured our imagination with incredible action and intense stories that have brought millions of people together from around the world, and that focus on making incredible Call of Duty games remains unwavering. With Paramount, we have found a fantastic partner who we will work with to take that visceral, breathtaking action to the big screen in a defining cinematic moment. The film will honor and expand upon what has made this franchise great in the first place, and we cannot wait to get started. Our shared goal is quite simple -- to create an unforgettable blockbuster movie experience that our community loves, and one that also excites and inspires new fans of the franchise."

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Amazon is facing a proposed class action lawsuit alleging it misleads customers by advertising digital movies and TV shows as "purchases," when in reality buyers only receive revocable licenses that can disappear if Amazon loses distribution rights. From the Hollywood Reporter: On Friday, a proposed class action was filed in Washington federal court against Amazon over a "bait and switch" in which the company allegedly misleads consumers into believing they've purchased content when they're only getting a license to watch, which can be revoked at any time. [...] The lawsuit accuses Amazon, which didn't respond to a request for comment, of misrepresenting the nature of movie and TV transactions during the purchase process. On its website and platform, the company tells consumers they can "buy" a movie. But hidden in a footnote on the confirmation page is fine print that says, "You receive a license to the video and you agree to our terms," the complaint says. The issue is already before a court. In a 2020 lawsuit alleging unfair competition and false advertising over the practice, Amazon maintained that its use of the word "buy" for digital content isn't deceptive because consumers understand their purchases are subject to licenses. Quoting Webster's Dictionary, it said that the term means "rights to the use or services of payment" rather than perpetual ownership and that its disclosures properly warn people that they may lose access. The court ultimately rebuffed Amazon's bid to dismiss the lawsuit outside of a claim alleging a violation of Washington's unjust enrichment law.

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"James Cameron has a confession: he can't write Terminator 7..." according to the Guardian, "because reality keeps nicking his plotlines." "I'm at a point right now where I have a hard time writing science-fiction," Cameron told CNN this week. "I'm tasked with writing a new Terminator story [but] I don't know what to say that won't be overtaken by real events. We are living in a science-fiction age right now...." What Cameron should be looking for is a complete system reboot to reinvigorate the saga in the way Prey brought fans back to Predator and Alien: Romulus restored interest in slimy Xenomorphs. All evidence suggests that the 70-year-old film-maker is far more interested in the current challenges surrounding AI, superintelligences and humankind's constant efforts to destroy itself, which doesn't exactly lend itself to the sort of back-to-basics, relentless-monsters-hunt-a-few-unlucky-humans-for-two-hours approach that has worked elsewhere. The challenge here seems to be to fuse Terminator's core DNA — unstoppable cyborgs, explosive chase sequences, and Sarah Connor-level defiance — with the occasionally rather more prosaic yet equally scary existential anxieties of 21st-century AI doom-mongering. So we may get Terminator 7: Kill List, in which a single, battered freedom fighter is hunted across a decimated city by a T-800 running a predictive policing algorithm that knows her next move before she does. Or T7: Singularity's Mom, in which a lone Sarah Connor-type must protect a teenage coder whose chatbot will one day evolve into Skynet. Or Terminator 7: Terms and Conditions, in which humanity's downfall comes not from nuclear warfare but from everyone absent-mindedly agreeing to Skynet's new privacy policy, triggering an army of leather-clad enforcers to collect on the fine print. Or perhaps the future just looks terrifying enough without Cameron getting involved — which, rather worryingly for the future of the franchise, seems to be the director's essential point. "The only way out is through," Cameron said in the CNN interview, "by using our intelligence, by using our curiosity, by using our command of technology, but also, by really understanding the stark probabilities that we face." In the meantime, Cameron is working on a new film inspired by the book Ghosts of Hiroshima, a book written by Charles Pellegrino, one of the consultants on Titanic. "I know what a meticulous researcher he is," Cameron told CNN in a recent interview. (Transcript here.) CAMERON: He's talked about this book for ages and ages and sent me early versions of it. So, I've read it with interest, great interest a number of times now. What compels me out of all that and what I think the human hook for understanding this tragedy is, is to follow a handful, specifically two will be featured of survivors, that actually survived not only the Hiroshima blast, but then went to Nagasaki and three days later were hit again.... This film scares me. I fear making this film. I fear the images that I'm going to have to create, to be honest and to be truthful. CNN also spoke to former U.S. Energy secretary Ernest Moni, who is now a CEO at the nonprofit global security organization, the Nuclear Threat Initiative: MONI: There remains a false narrative that the possession of these nuclear weapons is actually making us safer when they're not. That's the narrative I think, ultimately, we need to change. Harry Truman said, quite correctly, these nuclear weapons, they are not military weapons. Dropped on a city, they indiscriminately kill combatants, non-combatants, women, children, etc. They should not be thought of as military weapons, but as weapons of mass destruction, indiscriminate mass destruction when certainly dropped in an urban center. Thanks to long-time Slashdot reader schwit1 for sharing the article.

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An anonymous reader quotes a report from the New York Times: There's an overwhelming sense of deja vu at multiplexes these days. In August alone, "Black Swan" (2010) is returning to theaters, along with the Tim Burton "Batman" movies from 1989 and 1992. Audiences will be able to revisit the oceanic terror of "Jaws" (1975), as well as the comic mystery (and multiple endings) of "Clue" (1985). Or they could groove to Prince's "Sign o' the Times" concert film from 1987. And it doesn't look like the rerelease trend is slowing down. In September, "The Breakfast Club" (1985) is returning, Pixar is bringing back "Toy Story" (1995), and "Apollo 13" (1995) is blasting off again. "Casper" (1995) will haunt screens for nearly the entire month of October, while "Avatar: The Way of Water" (2022) will run for about five days, teeing up the forthcoming "Avatar: Fire and Ash." And there are still more to come before the end of the year. Rereleases have long been part of the theatrical ecosystem. After all, "Star Wars" movies have been heading back to multiplexes routinely since 1981 -- before "Return of the Jedi" even debuted. But recently, studios have been digging deeper into their archives for a variety of reasons -- only some of which have to do with nostalgia. "Black Swan," from Searchlight, which is now owned by Disney, took over around 200 IMAX screens to commemorate its 15th anniversary. Universal's specialty arm, Focus Features, rereleased both "Pride & Prejudice" (2005) and "Brokeback Mountain" (2005) earlier this year. "Pride & Prejudice" ultimately grossed more than $6 million domestically this time around, about 16 percent of its original U.S. box office haul. In total, Universal has 12 rereleases on its 2025 slate -- not including a partnership with another distribution company -- compared with just four in 2024 and two in 2023. "We very much pay a lot of attention to our repertory business," the studio's president of domestic theatrical distribution, Jim Orr, said by phone, explaining, "We just think it's not only great fun for audiences, but a great business to be in as well." Orr explained that the size of Universal's rerelease slate this year was "more coincidental" than anything else, with all the films hitting anniversaries in 2025. Still, there is a strong business motivation: The rereleases help studios and exhibitors pad out relatively thin slates. "The truth of the matter is studios don't have enough product right now to give theaters, so that's why you're seeing an influx of these nostalgia plays," said Jeff Bock, senior media analyst at Exhibitor Relations. He added, "It doesn't cost a lot for them to do an anniversary edition or a 4K edition." There are several other reasons why Hollywood is rereleasing old movies, according to Orr. Rereleases are far cheaper to put out than launching a brand-new title. Studios also target films that already have strong, enduring audiences, "whether that's 'Pride & Prejudice,' with its meme-able depiction of yearning, or 'Casper,'" which he said had elicited 'decent' interest every year. Then there's what Orr calls "opportunistic dating." "There might be a window where something goes thematically or holiday-wise, whatever kind of fits in, or there might be some more screens available in specific formats," he said. Specialty format releases like IMAX, Dolby, or 3D also help bring moviegoers to the theaters.

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An analysis of Rotten Tomatoes data reveals average Tomatometer scores have climbed steadily since Fandango's 2016 acquisition of the review aggregation platform. The average number of reviewers per mainstream film release increased by 40 to 70 critics following the purchase. New additions to the critic pool include smaller outlets such as Denerstein Unleashed and KKFI-FM Kansas City. Prior to 2016, critic and audience scores demonstrated stable correlation year-over-year. Post-acquisition data shows the two metrics diverged sharply as Tomatometer ratings rose. Fandango, America's largest movie-ticketing platform, is partially owned by NBCUniversal and Warner Bros. Discovery. In 2023 Vulture reported PR firms court reviewers from smaller outlets to secure higher Tomatometer scores before film releases.

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Hollywood comedy production has declined 27% since 1990 despite audience demand ranking the genre second among those viewers "want to see more of," according to Letterboxd genre data and a 68,000-consumer survey. Comedy films average $26.5 million production budgets and double their investment returns at 102%, yet represent just 9.3% of sequel releases compared to action's 27.6%. The shift reflects studios prioritizing internationally marketable franchises over domestically-focused comedies, which earn most revenue from US and Canadian audiences. Films like 1984's Beverly Hills Cop ($977 million inflation-adjusted) and Ghostbusters ($882 million) remain unmatched by contemporary releases -- with half of Letterboxd's most popular 2020s "comedies" being either non-comedic films like Saltburn or IP-driven movies like Barbie.

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A new War of the Worlds adaptation starring Ice Cube has achieved a 0% critical rating on Rotten Tomatoes after arriving on Prime Video in late July. The science fiction film, produced by Universal Pictures during the 2020 pandemic using actors filming separately through video calls, features alien tripods emerging from meteors to attack Earth. The movie sat unreleased for approximately five years before streaming debut. Critics cite poor visual effects that "wouldn't pass muster on a whimsical Snickers ad" and performances where actors appear to be "performing in a Zoom-style vacuum." The film was shot using screenlife format with most action unfolding on computer screens.

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Universal Pictures is taking a new approach to combat mass theft of its movies to teach AI systems. From a report: Starting in June with How to Train Your Dragon, the studio has attached a legal warning at the end credits of its films stating that their titles "may not be used to train AI." It's also appeared on Jurassic World Rebirth and Bad Guys 2. "This motion picture is protected under the laws of the United States and other countries," the warning reads. "Unauthorized duplication, distribution or exhibition may result in civil liability and criminal prosecution."

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Roku has launched Howdy, a new ad-free streaming service that costs $2.99 a month. The streaming platform says it offers 10,000 hours of content from Lionsgate, Warner Bros. Discovery and FilmRise, as well as its own, exclusive programming known as Roku Originals. CNBC reports: The service is available across the U.S. beginning Tuesday. [...] The new service runs alongside the Roku Channel, which will remain free. Howdy will initially be available on the Roku platform, and will later be rolled out on mobile and other platforms, the company said. "Priced at less than a cup of coffee, Howdy is ad-free and designed to complement, not compete with, premium services," said Roku founder and CEO Anthony Wood in the release.

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Disney scrapped plans to use a deepfake of Dwayne Johnson in Moana and an AI-generated character in Tron: Ares due to concerns over bad publicity and legal ownership. Ultimately, the studio decided the potential PR and copyright risks weren't worth the convenience. Deadline reports: Disney is working on a live-action remake of Moana, where Dwayne "The Rock" Johnson will reprise his role of Maui. In a recent report from The Wall Street Journal, the studio came up with the idea to digitally clone Johnson and use a body double for some shots. "Disney would work with AI company Metaphysic to create deepfakes of Johnson's face that could be layered on top of Reed's performance in the footage -- a 'digital double' that effectively allowed Johnson to be in two places at once," WSJ said (paywalled). Although the Black Adam star approved the idea, the studio "worried" that they "ultimately couldn't claim ownership over every element of the film if AI generated parts of it." The film studio and the AI company were seemingly unable to come to terms, and the footage was scrapped. Disney's upcoming Tron: Ares revolves around AI and the real-world implications of it. According to WSJ sources, "executives pitched the idea of actually incorporating AI into one of the characters in the sequel to the 1980s hit movie Tron as a buzzy marketing strategy." The AI-generated character would be a sidekick to Jeff Bridges' character, but the idea was ultimately scrapped because "executives internally were told that the company couldn't risk the bad publicity."

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Marvel's Fantastic Four: First Steps "raked in about $57 million at the domestic box office for its opening day, according to multiple outlets," reports Forbes. That haul makes it "the year's second-largest opening day so far and a win for Marvel and Disney about a year after they announced a reduction in film and TV show quantity to focus on quality." The roughly $57 million "Fantastic Four: First Steps" generated at the domestic box office Friday fell narrowly short of the opening day for "A Minecraft Movie" ($57.11 million) and just topped opening day for DC Comics rival "Superman" ($56.1 million), according to Variety. The film has netted about $106 million globally after securing $49.2 million overseas, setting itself up for an opening weekend of around $125 million, the same figure achieved by "Superman" earlier this month. Fantastic Four: First Steps is receiving praise from critics and fans alike, boasting an 88% on Rotten Tomatoes and a 7.6/10 on IMDb... With its opening weekend alone, "Fantastic Four: First Steps" out-earned the entire domestic run of "Fantastic Four" (2015), an adaptation of the heroes that flopped hard at the domestic box office ($56.1 million) and received poor ratings... Marvel's next movie is slated to release almost a full year from now, with Spider-Man: Brand New Day hitting theaters next summer before Avengers: Doomsday in December.

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At this weekend's Comic-Con, "Excitement has been high over the sneak peeks at Tron: Ares and Predator: Badlands," reports CNET. (Nine Inch Nails has even recorded a new song for Tron: Ares .) A few highlights from CNET's coverage: The Coyote vs. Acme movie will hit theaters next year "after being rescued from the pile of scrapped ashes left by Warner Bros. Discovery," with footage screened during a Comic-Con panel. The first episode of Alien: Earth was screened before its premiere August 12th on FX. A panel reunited creators of the animated Avatar: The Last Airbender for its 20th anniversary — and discussed the upcoming sequel series Avatar: Seven Havens. A trailer dropped for the new Star Trek: Starfleet Academy series on Paramount+ ("Star Trek Goes Full Gen Z..." quips one headline.) To capture some of the ambience, the Guardian has a collection of cosplayer photos. CNET notes there's even booths for Lego and Hot Wheels (which released toys commemorating the 40th anniversary of Back to the Future and the 50th anniversary of Jaws). But while many buildings are "wrapped" with slick advertisements, SFGate notes the ads are technically illegal, "with penalties for each infraction running up to $1,000 per day," (according to the San Diego Union-Tribune). "Last year's total ended up at $22,500." The Union-Tribune notes that "The fines are small enough that advertisers clearly think it is worth it, with about 30 buildings in the process of being wrapped Monday morning."

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Marvel Studios president Kevin Feige "isn't interested in your theories of superhero fatigue, which he doesn't buy as real," writes The Hollywood Reporter. Feige points to the $400 million worldwide box office for Superman (which another article notes in only its second weekend "has already passed up the entire lifetime run of Marvel's Thunderbolts*.") So how is Marvel moving forward? Yes, Feige knows Marvel made too many movies and shows (and the other things they did wrong). From the first Iron Man in 2008 through Avengers: Endgame in 2019, Marvel produced around 50 hours of screen storytelling. In the six years since Endgame, the number jumps to an astounding 102 hours of movies and television. 127 hours if you include animation. "That's too much," Feige said. He characterized the time period after Endgame as an era of experimentation, evolution and, unfortunately, expansion. And while he's proud of the experimentation — he points to WandaVision and Loki as some of the best stories they've made — he admits "It's the expansion that is certainly what devalued" that output. Being high on success also may have pushed them to readily agree to try to deliver more programming at a time when Disney and the rest of Hollywood were engaged in the streaming wars. "It was a big company push... [T]here was a mandate that we were put in the middle of, but we also thought it'd be fun to bring these to life." Marvel has already pulled back the amount of movies and shows it will make. Some years may even only have one movie. Certainly there will be years with only one show released. Also, Marvel has started "grinding down" on budgets, with movies costing up to a third cheaper than the films from 2022 or 2023. Feige also explains why Thunderbolts* struggled at the box office (even though he's called it a "very, very good movie"). The massive expansion into television and focus on Disney+ led to the feeling that watching Marvel was becoming a type of homework. "It's that expansion that I think led people to say, 'Do I have to see all of these? It used to be fun, but now do I have to know everything about all of these?' And I think The Marvels hit it hardest where people are like, 'Okay, I recognize her from a billion dollar movie. But who are those other two? I guess they were in some TV show. I'll skip it.'" Which had an effect on Thunderbolts*, which featured characters that were seen on various platforms, including some only on shows. The article notes Friday's release of Fantastic Four: First Steps is Marvel Studios' first crack at the characters after "a trio of movies of various quality and box office made by Twentieth Century Fox before its 2019 acquisition by Disney." And the article also acknowledges "the never-released, 1994 feature produced low-budget king Roger Corman. (Fun fact: the four stars of that movie cameo in Fantastic Four: First Steps.)"

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Major US theater chains including Cinemark, Regal and Marcus have held preliminary talks about jointly marketing their big-screen theaters to compete with Imax, according to Bloomberg. The discussions have focused on setting shared standards for the chains' "premium large-format" theaters, with options including uniting around a new brand name or adding an industrywide designation that would serve as a stamp of approval for their locations. The chains are motivated by Imax's growing influence in the industry, as the company consistently generates more than 10% of the box office for blockbusters despite operating only 372 US locations. AMC Entertainment, the largest chain and biggest operator of Imax screens in the US, is not participating in the deliberations, the report added.

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James Gunn's Superman "appears to be succeeding in rebooting DC Studios and its most iconic comic book franchise," writes The Hollywood Reporter, noting the film is "headed for a possible record domestic box office debut of $115 million to $120 million." Gunn is in a unique position, being both the film's writer-director and the co-head of the Warner Bros.-owned DC, which he co-runs with Peter Safran. Overseas, Superman is launching to $100 million-plus from 78 markets after earning $40 million midweek from its first raft of international markets for an early global total of $96.5 million through Friday. Superman will be the first superhero film to cross $100 million in its North American bow since Marvel Studios and Ryan Reynolds' Deadpool & Wolverine launched to $211 million in summer 2024 ("superhero fatigue" has become part of the Hollywood lexicon). And it's the first DC title to cross $100 million in eight long years since Wonder Woman debuted to $103.3 million in 2017. And if the $225 million tentpole comes in north of $116.6 million, it will beat Zack Snyder's 2013 film Man of Steel ($116.7 million) to rank as the biggest domestic launch ever for a solo Superman pic, not adjusted for inflation. Snyder's mash-up Batman v Superman: Dawn of Justice scored the biggest DC opening of all time when earning $166.6 million over Easter weekend in 2016... Gunn's movie is only the third Hollywood title of 2025 to launch north of $100 million after fellow Warners tentpole A Minecraft Movie, which opened to $162.8 million, and Disney's live-action Lilo & Stitch, which sewed up $146 million in its debut. Crossing the century mark is no small feat for any movie in the post-pandemic era, and particularly for the troubled superhero genre. The pic should enjoy a long run thanks to strong word-of-mouth. Critics and audiences alike are embracing the film. The pic earned an A- CinemaScore from moviegoers, the same grade given to Man of Steel and ahead of Superman Returns' B+. The audience score on Rotten Tomatoes is a stellar 94 percent, while the critics' score is a pleasing 82 percent... Other upcoming DC Studios projects include HBO's Green Lantern series, Lanterns, and a Supergirl movie due out in 2026. Superman's weekend debut at nearly $130 million domestically smashes early estimates of around $90 million (according to a senior media analyst at Comscore). And the film also got a positive reaction from the author of the cultural history Superman: The Unauthorized Biography (writing for NPR): Recent attempts to tell live-action Superman stories have shied away from his bright, hopeful, altruistic nature in favor of making him more cool and relatable (read: dark and brooding). That's not who he is; it never has been. Superman is an ideal. He represents the best we can aspire to be. He's not the hero you relate to, à la Peter Parker/Spider-Man's ongoing struggle to pay his rent and buy Aunt May her damn medicine. He's the hero who inspires you, who shows you the way... It doesn't have to be about slogging through trauma and shame and shadow-selves and endlessly tedious redemption arcs. Sometimes, it's simpler, cleaner, brighter. And also? Not for nothing? More fun.

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James Gunn's Superman "appears to be succeeding in rebooting DC Studios and its most iconic comic book franchise," writes The Hollywood Reporter, noting the film is "headed for a possible record domestic box office debut of $115 million to $120 million." Gunn is in a unique position, being both the film's writer-director and the co-head of the Warner Bros.-owned DC, which he co-runs with Peter Safran. Overseas, Superman is launching to $100 million-plus from 78 markets after earning $40 million midweek from its first raft of international markets for an early global total of $96.5 million through Friday. Superman will be the first superhero film to cross $100 million in its North American bow since Marvel Studios and Ryan Reynolds' Deadpool & Wolverine launched to $211 million in summer 2024 ("superhero fatigue" has become part of the Hollywood lexicon). And it's the first DC title to cross $100 million in eight long years since Wonder Woman debuted to $103.3 million in 2017. And if the $225 million tentpole comes in north of $116.6 million, it will beat Zack Snyder's 2013 film Man of Steel ($116.7 million) to rank as the biggest domestic launch ever for a solo Superman pic, not adjusted for inflation. Snyder's mash-up Batman v Superman: Dawn of Justice scored the biggest DC opening of all time when earning $166.6 million over Easter weekend in 2016... Gunn's movie is only the third Hollywood title of 2025 to launch north of $100 million after fellow Warners tentpole A Minecraft Movie, which opened to $162.8 million, and Disney's live-action Lilo & Stitch, which sewed up $146 million in its debut. Crossing the century mark is no small feat for any movie in the post-pandemic era, and particularly for the troubled superhero genre. The pic should enjoy a long run thanks to strong word-of-mouth. Critics and audiences alike are embracing the film. The pic earned an A- CinemaScore from moviegoers, the same grade given to Man of Steel and ahead of Superman Returns' B+. The audience score on Rotten Tomatoes is a stellar 94 percent, while the critics' score is a pleasing 82 percent... Other upcoming DC Studios projects include HBO's Green Lantern series, Lanterns, and a Supergirl movie due out in 2026. Superman's weekend debut at nearly $130 million domestically smashes early estimates of around $90 million (according to a senior media analyst at Comscore). And the film also got a positive reaction from the author of the cultural history Superman: The Unauthorized Biography (writing for NPR): Recent attempts to tell live-action Superman stories have shied away from his bright, hopeful, altruistic nature in favor of making him more cool and relatable (read: dark and brooding). That's not who he is; it never has been. Superman is an ideal. He represents the best we can aspire to be. He's not the hero you relate to, à la Peter Parker/Spider-Man's ongoing struggle to pay his rent and buy Aunt May her damn medicine. He's the hero who inspires you, who shows you the way... It doesn't have to be about slogging through trauma and shame and shadow-selves and endlessly tedious redemption arcs. Sometimes, it's simpler, cleaner, brighter. And also? Not for nothing? More fun.

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Warner Bros. releases a $225 million Superman reboot this week that executives consider the studio's final chance to build a successful cinematic universe rivaling Marvel's dominance. The film, written and directed by James Gunn, serves as the foundation for DC Studios' planned expansion into multiple films and television shows. Warner Bros. Discovery CEO David Zaslav appointed Gunn and producer Peter Safran to lead the newly unified DC Studios in 2022, ending decades of corporate infighting that prevented the company's superheroes from matching Marvel's success. The Disney-owned Marvel Cinematic Universe has generated $32 billion across 36 films since 2008. Warner executives want the movie to gross over $500 million globally, according to WSJ. If successful, this would mark the first year since 2008 that DC outperforms Marvel at the box office.

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