Gein has been a major inspiration for a number of major films and TV shows. The infamous killer was known for graverobbing from cemeteries and using the skin from the bodies to make suits, masks, lampshades and more. Those horrific acts were bound to draw Hollywood’s eye eventually.

Below are 5 horror films and TV shows that were inspired by Gein and his dark deeds.

The Silence of the Lambs

Ed Gein served as the primary inspiration for Buffalo Bill in “The Silence of the Lambs.” Buffalo Bill is as close to a one-to-one comp that you could get without just making the character the real person. From the skin lamps to the flesh suits, Gein’s inspiration is all over the film, which helped ignite new interest in the real killer.

Psycho

Ed Gein and his mother had a problematic relationship that was famously reflected in Alfred Hitchcock’s “Psycho.” Gein both feared and loved his mom, and it was after her death that he began to fashion his “mother suit” from the bodies he exhumed from graveyards. Norman Bates also struggled with his feelings toward his mother, which led to his own killings in the film.

Likewise, both Gein’s home and the infamous Bates Motel became horror houses of sorts for how the real and fictional men stored and hid their crimes.

The Texas Chainsaw Massacre

“The Texas Chainsaw Massacre” director Tobe Hooper was directly inspired by Ed Gein and his crimes. With a villain called Leatherface, some of that inspiration is pretty obvious. Gein made skin suits and masks from the bodies he exhumed from graveyards and Leatherface also wears the skin of his victims as masks.

Gein might not have used a chainsaw on those he killed, but he did hang bodies he acquired on hooks, much like Leatherface does in the various “Texas Chainsaw Massacre” films.

Deranged

“Deranged” has all the usual inspirations for a film loosely based on Ed Gein – a man overly obsessed with his mother who falls to killing and grave robbing in the wake of her death. The skin suits follow, the lamp shades and jars of nipples are there. But what “Deranged” gets better than many others is the sense of place.

Gein killed in Wisconsin and lived in a rural, out-of-the-way home that added to the creepy appeal of a home full of skin suits. “Deranged” nails that unsettling feeling.

American Horror Story: Asylum

There could have been lots of ways “American Horror Story” could have adapted an Ed Gein storyline into the series. The opportunity presented itself in “American Horror Story: Asylum” through Zachary Quinto’s character Dr. Oliver Thredson.

Thredson blends two ends of “The Silence of the Lambs” in both Hannibal Lecter and Buffalo Bill – and by proxy Ed Gein. The doctor is a psychiatrist like Lecter was in the books and films, but moonlights as a sadistic monster who makes skin suits, masks and objects like Gein/Buffalo Bill.

The post 5 Horror Movies and Shows Inspired by Ed Gein appeared first on TheWrap.

This scene may be even more personal to Anderson than fans realized.

This article contains spoilers for “One Battle After Another.” If you haven’t seen the film yet, do yourself a favor and head to a theater before reading on.

“One Battle After Another” follows Bob and Willa Ferguson, an ex-revolutionary and his daughter who find themselves separated when a former enemy comes knocking on their door. As Willa attempts to evade Col. Steven J. Lockjaw (Sean Penn), Bob — who has settled into a permanent high with his best days behind him — enlists the help of her karate sensei in a quest to find her.

On the road to find Willa, Bob confides in Sensei Sergio, sharing the struggles he’s had as the single father of a mixed-race daughter. In a particularly touching moment from DiCaprio, Bob shares that he never learned how to do Willa’s hair.

Fans quickly noticed similarities between this scene and Anderson’s longtime partner, Maya Rudolph — particularly, a 2018 New York Times profile where Rudolph discussed her own single father.

“Rudolph’s father — in her words, a ‘pretty adorable Jew’ — did not know how to do his daughter’s hair after his wife’s death,” Caity Weaver’s article reads. “‘So much of my childhood was dealing with my hair and being super embarrassed by it, mainly because I grew up being the only mixed kid,’ (Rudolph) said.”

Audiences have already drawn comparisons between Anderson and Bob, insisting that his own experience as the father of mixed-race children influenced the insecurities felt by DiCaprio’s protagonist. The revelation that this speech from Bob could be directly pulled from his partner’s own upbringing makes the moment all the more touching.

The scene between Bob and Sergio lies at the heart of many of the themes presented in “One Battle After Another.” When Bob — then known as “Ghetto Pat” — was a part of the French 75 revolutionary group, he fell in love with Perfidia Beverly Hills (Teyana Taylor). After Pat and Perfidia had a child (then known as Charlene), however, they quickly became distant, with Perfidia, in the midst of postpartum depression, struggling to balance her roles as a mother, partner and revolutionary leader against each other. Eventually, she becomes separated from her family, leaving Pat a single father in hiding.

Many have noted that, in the main events of “One Battle After Another,” Bob, who feels guilty over inadvertently drafting Willa into her life-threatening situation, accomplishes relatively little. Though he spends the film chasing after Willa, she gets out of her dire situation without his direct assistance. When Bob has the opportunity to kill Lockjaw himself, he misses the shot. By the time he arrives, Willa has dispatched her final threat on her own. Even as a revolutionary, he failed to leave the world better than he found it.

But it was Bob who taught Willa everything she knows, instilling the knowledge and defensive abilities she uses to survive into his daughter from a young age. Bob urges Willa to take a trust device with her to her school dance, a move that almost certainly saves her life. He may not have saved Willa himself, but Bob arrived in time to give her a shoulder to cry on, drive her home and let her know she’s OK.

“One Battle After Another” is, at its core, a metaphor for parenthood — with the film’s climactic scene literally showing a teenager take their first drive. Bob can’t protect his daughter from the world, nor can he watch over her shoulder for her entire life. Yet he can help prepare her for when danger does come knocking, and be there for her when it’s all over.

Bob doesn’t know how to do Willa’s hair, and he certainly didn’t fix the world. But, as a father, he was there when it mattered.

The post An Emotional ‘One Battle After Another’ Scene Has a Touching Real-Life Parallel appeared first on TheWrap.

While roughly a third of the $93 million opening weekend of Swift’s 2023 smash hit “Eras Tour,” that was to be expected given that “Release Party of a Showgirl” is a lyric and music video compilation as opposed to the full concert film that “Eras Tour” was.

But like “Eras Tour,” this release party had virtually no marketing costs for AMC Theatres, as Swift’s immense social media presence did all the work getting the word out to the pop star’s loyal fans after the film was announced only two weeks ago.

It also serves as a needed replacement for theaters for Lionsgate’s “Michael,” which was previously set to release on this early October weekend but was moved to May 2026 to take advantage of an opportunity to become a summer launch title.

Taking second is Warner Bros.’ “One Battle After Another,” which is holding decently with an $11 million second weekend that’s a 50% drop from its $22 million opening. With just under $80 million grossed after eight days in theaters, it is already director Paul Thomas Anderson’s highest grossing film of his career.

But compared to past films from lead star Leonardo DiCaprio, “One Battle” is falling well short of his 2000s and 2010s offerings and is performing more consistent with the $68 million domestic/$158 million global total of his 2023 film “Killers of the Flower Moon.” This will mean that “One Battle” will likely have to ride its critical and cinephile acclaim to strong post-theatrical revenues to turn a profit, though the $4+ billion year Warner has had at the box office will cover any losses if it falls short.

The big dud of the week is A24’s “The Smashing Machine” with $2.6 million from 3,345 theaters on Friday, putting it in line for a $6.2 million opening weekend. For comparison, A24’s wrestling biopic “The Iron Claw” opened to $6.7 million over four days on Christmas weekend 2023 from 2,774 theaters.

While Dwayne Johnson has earned the best reviews of his career for his performance as MMA fighter Mark Kerr, “The Smashing Machine” is set to be the lowest opening weekend of his career, sliding below the $8.5 million 3-day Thanksgiving opening of his 2010 action film “Faster.”

Beyond his performance, reception for “The Smashing Machine” has been good but not great, earning Rotten Tomatoes scores of 73% critics and 79% audience alongside a B- on CinemaScore.

The post Taylor Swift’s ‘Release Party of a Showgirl’ Heads for $33 Million Box Office Weekend appeared first on TheWrap.

From Mel Blanc, James Earl Jones, Cree Summer and more, it’s not easy becoming a well-known figure in Hollywood from your voice alone. But Le, who is widely celebrated for his emotional range and control over a diverse range of characters, he’s carving out his own lane on a global level.

Le has voiced several beloved animated characters, including Sung Jin-woo in “Solo Leveling,” Ao Bing in “Ne Zha” and Zenitsu Agatsuma in “Demon Slayer.” He’s cemented himself as a standout talent in the voice acting world who’s heavily sought after by productions around the world.

And he’s been awarded as such. Le took home a 2025 Astra TV award for Best Lead Voice-Over Performance for his role as Sung Jin-woo in “Solo Leveling” Season 2.

In conversation with TheWrap, Le shared the role that marked his big break in voice acting, how he protects his voice during challenging studio sessions, his thoughts on celebrities entering the anime voice-over arena and more.

You’ve swiftly become a recognizable and popular name in anime and video game voice acting. What first inspired you to pursue this career?

I’ve always been a big admirer of the animated medium. I wanted to be a cartoonist and graphic novel artist when I was younger, and while I didn’t have the time to pursue those, acting felt like the next best thing.

Was there a specific role or project that felt like your “big break”?

I’d have to say that Zenitsu from “Demon Slayer” was definitely my first-ever gigantic role in terms of status and scope!

Fans know you as Zenitsu (“Demon Slayer”), Sung Jin-woo (“Solo Leveling”), Mikey (“Tokyo Revengers”) and several others. How do you approach bringing such different personalities to life?

I think the best part about my job is that I get to portray so many different characters with a variety of attitudes. There’s a lot of research involved with every role, so it’s a combination of that and also just pushing my vocal range as far as I can go to make distinct and fun portrayals.

Which of your characters has been the most challenging to voice and why?

One of my favorite shows I’ve ever done is called “Dora Hedora,” where I voiced the lead, Kaiman. That was a very, very hard voice to do because at the time, my voice didn’t have that much depth or power behind it. And it’s basically a super gravelly and powerful, very shouty voice. It was a great learning experience, and I feel like it gave me a lot of experience and ability to further control my vocal range. So while it was definitely the hardest one, it’s one that helped me improve the most!

You’ve voiced in both anime and major video games. How does your preparation or performance differ between the two mediums?

With anime, sometimes the show or material exists before you’re in the booth, so you can at least do a lot of research about it. Or sometimes it’s based on a source material, which is a manga. So I always like to do my research. But with video games, it’s usually you find out what character you’re playing, or what the lines you’re going to say, on the day of. So it’s all about honing and refining your cold reading skills and your ability to adapt and just make the best decision and choices on the spot.

Voice acting often requires multiple takes of combat grunts, yells or variations. How do you protect your voice during these intense recording sessions?

The best thing you can do to protect yourself is to ask the production people to break your sessions up into two-hour chunks or just reallocate certain very intense yelling lines to the end of the session so that you could at least preserve most of your voice in the beginning. But honestly, there are safe ways to scream and there are also times where you can’t safely scream. So it really just depends on how you pace yourself, what you prioritize in your own personal performance and how much you know about your own voice and if you know enough to protect it.

The voice-acting industry has grown rapidly thanks to streaming and global fandoms. What changes have you noticed since you started?

I’ve definitely witnessed the industry blow up ever since streaming during the pandemic, and it’s been kind of surreal to see because something that used to be so niche is now super, super widespread! But it’s really lovely because I get comments and interactions with tons of families all the time saying they enjoy my work, and it’s not really something I ever thought would be like a family event, watching shows together.

If you could voice any dream role — anime, game or original animation — what would it be?

My favorite manga of all time is called “Real” and my second favorite manga is called “Vagabond” — both by the same author, Takehiko Inoue, who wrote and drew “Slam Dunk.” If they ever adapted those, I would love to play the leads in them, but for the most part, in terms of anime, that’s kind of the only dream project I really have left in my head. I feel that I’ve already done all I wanted to do with anime. And as for video games or TV, I definitely want to be a part of something new that’s never been heard of before. To originate an IP and be a part of the process from the very beginning is something I’ve always wanted to do. So that’s kind of what I’m aiming to do in the future.

You’re in huge franchises right now, “Ne Zha,” “Demon Slayer” and “Solo Leveling.” How does this all feel for you right now on a personal, emotional level?

To be honest, it’s all a bit surreal. But in terms of feeling, I’m not feeling … all that much as I’m very occupied all the time trying to just make it through my day-to-day. Things are very busy and I’m super grateful for that, so I don’t really ever get the time to stop, think, reflect or unfortunately, celebrate any of my past works. It’s kind of been like that for the last four to five years but honestly, I don’t mind it because the times that I care about the most and the times that I have fun with the most are whenever I’m working.

How important is it to have a big social following as a voice actor, and does that ever factor into how you get cast?

Social media followings are a huge part of big productions nowadays. I’ve personally been replaced on many projects, sometimes at the last minute because a celebrity, influencer or even a singer was brought in instead. It’s been frustrating when decisions are based more on numbers than on performance, because that can take away from the best possible result for the project. Personally, as an actor who really appreciates and loves the art, I have nothing against celebrities or influencers, or anybody if they, too, appreciate the art. I can hear that they’ve put in a lot of effort. I’ve worked with many who are incredibly talented and put a real effort into the craft. But when follower counts outweigh skill, it’s disappointing. If it were up to me, social media wouldn’t play such a big role, but the reality is that building a strong online presence has become an unavoidable part of my job. I do genuinely enjoy hearing from my fans and connecting with them, it’s just an added layer of work to stay visible to casting directors and executives.

The post ‘Demon Slayer’ and ‘Solo Leveling’ Star Aleks Le Talks Becoming One of the Most Sought-After Voice Actors in Anime appeared first on TheWrap.

The filmmaker first rose to prominence by writing some of the most engaging high-concept action movies of the ‘80s and ‘90s, for some of the biggest paychecks (Black’s script for “The Long Kiss Goodnight,” for example, netted him a then-record-breaking $4 million). His scripts where characterized by snappy dialogue, a pair of mismatched characters forced to work together and solve a labyrinthine mystery. Many were set at Christmastime.

But with 2005’s “Kiss Kiss Bang Bang,” starring Robert Downey Jr., Black became one of modern cinema’s most interesting writer/directors. All of the trademarks of his earlier films were present in his debut but they were honed, sharpened and tightly controlled. It felt like a writer whose material had maybe been more loosely adapted by directors in the past, finally getting to bring his script to the big screen in just the way he’d imagined.

Black made “The Nice Guys” in 2016, a shaggy dog detective story originally developed as a TV series that was, incredibly, even better than “Kiss Kiss Bang Bang” as it paired the comedic talents of Ryan Gosling and Russell Crowe. He also made “Iron Man 3,” which remains one of the highlights of the entire Marvel Cinematic Universe. And after a brief misstep with 2018’s “The Predator,” an attempt to “eventize” the long-running franchise that was, by all accounts, beset by unnecessary studio meddling, he returns with “Play Dirty.” It’s streaming on Prime Video right now.

“Play Dirty” is based on characters by crime novelist Donald Westlake writing under his Richard Stark pseudonym, with Mark Wahlberg essaying the role of Parker, an iconic thief in Westlake’s universe and a character that has been played, many times, in the past. (Lee Marvin, Jim Brown and Mel Gibson have all played the character.) This time the character is embroiled in a scheme to steal a priceless statue, much to the chagrin of the New York mob and a South American dictator.

Instead of adapting a single Parker story, Black and his collaborators Charles Mondry and Anthony Bagarozzi, decided to create a new Parker mélange featuring elements from actual novels, including the character of Grofield (played in this film by LaKeith Stanfield). They also set the story in modern day, resisting the urge to set the story in the 1960s, when Westlake wrote the original novels and where other adaptations, like Darwyn Cooke’s incredible graphic novels, took place.

“I think it seemed like a natural trajectory to take, because there have been Parker movies in the past. They don’t always call the character Parker, but this series of books and this character has been the subject of any number of movies in every generation – from Lee Marvin in ‘Point Blank’ to Robert Duvall in ‘The Outfit,’ then on to Mel Gibson in ‘Payback,’ and then Jason Statham, most recently, before us,” Black told TheWrap. He didn’t want to “go back and insert ourselves in what was already going,” and instead to strove to make a Parker story “for now.”

Still, there’s a timelessness to the character that Black fully embraced. “Parker’s old school. You won’t see a single frame in this movie of someone suspended upside down with laser-vision goggles. It’s not the technological thief. It’s the visceral, everyday, blue collar thief,” Black said. “That’s what makes Parker good, despite any and all considerations of the era in which that story is set, is just the fact that he’s the little guy.”

Black’s decision to make a new Parker story stemmed from the fact that the novels are, in his words, “not huge in scale.” With the option that Black had, he had access to all of the books. “We thought, Well, we can just pick and choose,” Black said. They loved much of Westlake’s dialogue and were thrilled to give Parker some additional zingers.

Then they asked themselves, What’s missing?

“Nothing, really, except that these movies and books are small, and is there a way into a more cinematic version, where we start small with Parker, and then they get onto a heist, and even Parker and his crew are amazed by how elaborate and big this thing is that they’ve stumbled into,” Black said.

He and his cowriters were not the biggest heist fans in the world. “We don’t have posters of heist movies in our houses. We like thrillers,” Black said. They formulated a new approach, with all of the elements of a heist movie still present, they would expand the world to make it a story about a guy up against the mob and what Black describes as a “cat-and-mouse game between him and the villain.” In this new framework, they were able to craft something that felt more like a traditional thriller and less specifically tied to a heist.

In many ways, “Play Dirty” feels like a throwback to those earlier Black projects, things like “Lethal Weapon” and “The Last Boy Scout.” It’s easy to imagine picking up “Play Dirty” from your local video store in 1992. It’s best enjoyed sitting in front of your television, with an extra-large pizza from your favorite delivery place and a 2-liter bottle of sugary soda. It’s not an intentional throwback or a clammy pastiche; it just has the spirit of your favorite late-‘80s, early-‘80s action movie, down to the score by Alan Silvestri, who composed the music for “Predator,” “Back to the Future” and “The Delta Force” (among many others).

Black said that he doesn’t think of his style as a brand but is instead concerned about the material that he and his co-writers are servicing.

“It’s just what we think is fun, me and my friends and what we think will be surprising. We like twists. It’s not so much that I offer anything in by way of brand. It’s just you put setups and payoffs in it. You have reversals and twists and you try to get some zingers going and throwaway dialogue,” Black said. “It just flows in certain pathways. I like what the cast brought to this, too. They bring little sparks, little flashes, little bits of life.”

In fact, he was drawn to the material because these characters are so relatable and human.

“These characters who have these little quirks and foibles. And what is great to me about Parker in general is that these are not James Bond types. They’re everyday heroes. They just happen in the midst of  burning the toast and spilling the Wheaties and arguing with their family. They’re experts at something, and it doesn’t mean that they’re experts at life,” Black said. “They’re completely screwed up and dysfunctional. But one thing they’re good at, and that’s the thing they come together to do, is the everyman version of what would traditionally be a Bond-type adventure.” In “Play Dirty” everyone is flawed and human and fascinating, dealing with increasingly disruptive curveballs from all sides.

And Black and his team were dealt a curveball when Black’s collaborator from “Kiss Kiss Bang Bang” and “Iron Man 3,” Robert Downey Jr., who originally signed on to play Parker, dropped out of the movie shortly before production began, leaving them to call on Wahlberg to fill the void. Black said the script didn’t change at all. He said that the first draft he considers the “writer’s draft,” since he never pictures an actor. And that original script was made available for an actor – any actor. When Downey left (he remains a producer on the film), Wahlberg came in and “made this thing aggressively his own.”

“I think he was really drawn to the sense in the material of this guy with a code of conduct. I think Mark also liked the idea of playing a criminal. He’s a very likable guy. I mean, people love Mark in the ‘Ted’ movies, for instance,” Black said. “But this guy is an anti-hero. This guy is not a good guy, but it’s tempered by the fact that he does things a certain way for a reason, and he has a code he lives by. And the other criminals he’s up against are much worse. They’re much brighter and sadistic than he could ever be.”

And considering the fact that there were many Parker novels over the years, should “Play Dirty” perform well on Amazon, would Black want to come back for a sequel? He said he’s too superstitious to even think like that. But should it do well, he’d happily return. “There’s an endlessly supply of material in those books and we can generate capers all day long that continue to challenge him,” Black said. “Let’s just say, I wouldn’t be averse.” Still: too superstitious to imagine further chapters just yet.

Black said he has some “loose ideas” for a “Nice Guys” sequel, although the idea of recruiting both stars (Russell Crowe and Ryan Gosling) and convincing a studio to finance “a big budget sequel to a movie that didn’t do well in a theater” is a stretch. “There’s a cult-ness to ‘The Nice Guys.’ It’s not like everyone ran to see it when it opened, but they discovered it,” Black said. Most of the movies he’s most proud of did “middling box office and then just lingered.” “The Monster Squad,” which Black co-wrote, is a perfect example of that. “Here’s a movie that tanked in 1987 and then in 2025 there are conventions now where 2000 people show up to watch ‘The Monster Squad,’” Black said.

While he isn’t sure what he’s going to do next, Black acknowledges that it’s been almost 40 years since he sold the script to “Lethal Weapon.” “Here I am flapping my aging gums at you about movies from the past,” Black joked. “There’s a chapter left and I’ve been blessed enough, perhaps, to do it. Now I’ve got to go inside and figure out what that is. It’s no longer a game about what’s going to be a popular sequel. I’m not elderly, but I don’t have all the time in the world like I used to. I don’t know what I’m going to do, but I have to go deep and figure it out.”

We wondered if there was another literary character, perhaps, that he’d want to update. Black said that once he was suffering from a year’s-long depression and he picked up a book by American novelist Robert McCammon. “I started reading and I realized that I got hooked and I thought, This is the only thing I’m looking forward to. I’m actually excited about something – getting back to that book,” Black said. “I don’t know if he likes having his books made into movies, but I’m going to maybe look at those.”

He also is still harboring a passion to make “Doc Savage,” based on the pulp hero from the 1930s and ‘40s. There’s a script by Black, Bagarozzi and Mondry and there was movement on the project back in 2014, following Black’s “Iron Man 3” making over $1 billion at the global box office. But it still never materialized.

“I’d still like to make but it’s an IP that it’s not like Superman or Batman, and yet it’s probably going to cost as much as Superman or Batman,” Black said. “Is someone willing to take a flyer on a movie that’s the OG superhero – it’s the real deal, but it’s also not a household name.”

Maybe if “Play Dirty” hits, someone will be willing to take the risk.

“Play Dirty” is on Prime Video now.

The post How Shane Black Gave ‘Play Dirty’ the Energy of a Thriller and Rolled With a Late Casting Shakeup appeared first on TheWrap.

Tom Holland will also produce for his Billy17 banner, with an option towards potentially starring in the project. Graham Moore wrote a previous version of the screenplay.

According to Grisham’s website, the synopsis for “The Partner” reads: “Once he was a well-liked, well-paid young partner in a thriving Mississippi law firm. Then Patrick Lanigan stole ninety million dollars from his own firm—and ran for his life. For four years, he evaded men who were rich and powerful, and who would stop at nothing to find him. Then, inevitably, on the edge of the Brazilian jungle, they finally tracked him down.”

“Now Patrick is coming home. And in the Mississippi city where it all began, an extraordinary trial is about to begin. As prosecutors circle like sharks, as Patrick’s lawyer prepares his defense, as Patrick’s lover prays for his deliverance and his former partners wait for their revenge, another story is about to emerge. Because Patrick Lanigan, the most reviled white-collar criminal of his time, knows something that no one else in the world knows. He knows the truth.”

Additionally, Jonathan Eirich will produce and Nick Reynolds will executive produce for Rideback. Grisham and David Gernert will also EP. Senior Vice President of Production Development Ryan Jones and Director of Production Development Jacqueline Garell will oversee the project for Universal.

Bateman has previously been nominated by the DGA for his directing work on “Ozark,” and he won the Emmy Award for Outstanding Director for “Ozark” in 2019 as well. His other previous credits as director include his debut “Bad Words” and “The Family Fang.”

Bateman is represented by CAA, Lighthouse Management + Media, and Shelter PR.

Deadline first reported the news.

The post Jason Bateman in Talks to Direct John Grisham’s ‘The Partner’ Adaptation at Universal appeared first on TheWrap.

Often hailed as one of the greatest actors of all time, Day-Lewis has spent eight years away from the screen in what he once referred to as a retirement. Following this post-“Phantom Thread” gap, he has now returned in “Anemone,” a new drama directed by his son, Ronan Day-Lewis. In talking about the film to The New York Times, Daniel said he never really intended for “Phantom Thread” to be a permanent swan song.

“The sanctuary [of acting] is necessary, nothing has changed,” he said in the Friday piece. “When I made that daft [expletive] statement and said I wasn’t going to work as an actor anymore — and believe me, I was advised against making it by family and friends — I was at a very low ebb. Not because of the work that I’d just done, but because of those doubts about my capacity to be part of that public world, which seemed more vivid than ever. So I thought, ‘I need to make a statement to myself.’ I was really talking to myself: ‘Don’t do this again.’”

When audiences last saw Daniel Day-Lewis on the screen, it was as dressmaker-turned-infirmed-lover Reynolds Woodcock in “Phantom Thread,” the eighth feature by “One Battle After Another” writer/director Paul Thomas Anderson. The 2017 film quickly became a critical darling, eventually becoming a late-breaking awards contender with a handful of surprise Oscar nominations. Daniel, who had already won the Best Actor statue thrice, received a sixth nomination in the category (his second for an Anderson movie following his “There Will Be Blood” win). But awards campaigns can prove tiring for those wishing to stay relatively away from the spotlight.

“It sounds like the moaning of privilege, and I can see that. I do feel immensely privileged to be allowed to do my work as an actor, and I understand the invisible contract you sign when you agree to do that work is that you are going to participate in the entirety of what that will involve. But I have never yet found a way of living with the public aspects of it,” Daniel said. “But I’d still rather face up to that than deny myself the chance to work with my son.”

Audiences had previously felt the actor’s absence before, however. After winning an Oscar for playing the famed president at the center of Steven Spielberg’s “Lincoln,” Daniel took five years away from the screen before he reunited with Anderson. The actor similarly stepped away for a time after starring in 1997’s “The Boxer,” ultimately appearing in Martin Scorsese’s “Gangs of New York” in 2002.

Now, Daniel Day-Lewis has returned, this time to work with his son. In “Anemone,” the actor plays an ex-soldier whose brother (played by Sean Bean) arrives to ask that he returns from a life of solitude in the midst of a family emergency. “Anemone” also marks the first time Daniel has received a screenwriting credit on a film, serving as co-writer with his son on Ronan’s directorial debut.

“I’m proud to have had that time with my son to do this work,” Daniel said. “It’s his first time in the park with this, so his nerves are frayed and my nerves are frayed for different reasons, but we’ll go through this part of the process together and we’ll do it with tremendous gratitude because I’m very, very glad that we were allowed this opportunity. And I know that in a few months’ time, I’ll be looking for my quiet place again.”

The post Daniel Day-Lewis Explains Why He Announced Retirement Against Advice From Friends and Family appeared first on TheWrap.

Lori Evans Taylor, who wrote the script for “Bloodlines,” along with Guy Busick, is writing the new script.

“Bloodlines” is the first “Final Destination” movie released in 14 years, which earned an excellent $51 million opening weekend from 3,523 theaters. The film has earned far and away the most successful opening weekend in the history of the franchise even after inflation adjustment.

The series record previously belonged to 2009’s “The Final Destination” with a $27.4 million opening, or $41 million in today’s figures. The film ultimately garnered $286 million worldwide at the box office.

Nostalgia from millennials who watched the films about Death hunting those that escape its grasp back in their high school and college years is a major factor, but “Bloodlines” is also getting a big boost from the best reception the series has ever earned, including Rotten Tomatoes scores of 93% critics and 89% audience to go with a B+ on CinemaScore.

Franchise producer Craig Perry and franchise veteran Sheila Hanahan Taylor are producing the seventh installment, as are Jon Watts and his wife, Dianne McGunigle, along with Toby Emmerich. Warren Zide is exec producing.

Blanchart first broke out with his short film “You’re Dead, Hélène” which made it to the Oscar shortlist in 2023 for best live-action short. Tri-Star is now developing an English-language version with Sam Raimi as producer.

Blanchart made his feature directorial debut with 2024 action crime thriller “Night Call.” He is repped by WME and Ithaka Media.

The post ‘Final Destination 7’: Michiel Blanchart Eyed to Direct New Line Sequel appeared first on TheWrap.

Born to film star Robert Mitchum and Dorothy Spence Mitchum, Jim Mitchum entered the movie business early, appearing in his first film, a Western, at age 8. At 16, he was cast as his father’s younger brother in the 1958 cult classic “Thunder Road.” Produced by Robert, the film about whiskey runners versus federal agents featured high-speed chases and stunts that became hallmarks of the genre.

Through the 1960s, Jim Mitchum built his own career, appearing in 11 films and television shows, including “The Victors” (1963), “Ride the Wild Surf” (1964), “In Harm’s Way” (1965) and “Ambush Bay” (1966). In 1971, he joined Dennis Hopper in Peru for “The Last Movie” and later made a documentary about the experience. He went on to star in “Moonrunners” (1975), a comedy about the illegal whiskey trade that later inspired the television series “The Dukes of Hazzard.”

In total, Mr. Mitchum appeared in 35 productions before retiring in 1994. In later years, he launched a line of premium moonshine and rye whiskey, paying tribute to his father’s iconic films “Thunder Road” and “Out of the Past.”

In addition to his wife, Pamela, Jim Mitchum is survived by his brother, Christopher Mitchum; sister, Petrine Day Mitchum; daughter, Ana Liljeback; sons Will Spence Mitchum (Els) and Brian Price Mitchum; stepdaughter Tiffany Mitchum Greene (Doug); daughter Caitlin Ann Mitchum (Blaine Muir); nieces Caroline Elizabeth Day Mitchum, Jennifer Anne Mitchum and Patricia Ortega; nephews Christopher Robert “Bentley” Mitchum and Kian Clements Mitchum; and several grandchildren, grandnieces and grandnephews.

The post Jim Mitchum, ‘Thunder Road’ Breakout and Son of Film Star Robert, Dies at 84 appeared first on TheWrap.

Check out our list of the best new movies streaming in October below.

“Play Dirty”

Prime Video – Oct. 1

One of the year’s most entertaining films, “Play Dirty” is a breathless action thriller inspired by Donald E. Westlake’s Parker novels (written under his pen name Richard Stark), with Mark Wahlberg essaying a character that had previously been portrayed by Lee Marvin, Jim Brown, Robert Duvall, Mel Gibson and Jason Statham (among others). After a member of his crew (Rosa Salazar) goes rogue, he tracks her down and joins her in a heist that involves the New York mafia (led by Tony Shaloub), an unstable South American government and the world’s richest man, an unseemly tech bro (played by Chukwudi Iwuji). Co-written and directed by Shane Black, whose credits include writing “Lethal Weapon,” “The Last Boy Scout” and “The Long Kiss Goodnight,” in addition to directing “Kiss Kiss Bang Bang” and “The Nice Guys,” you can feel that he has a real grip on the pulpy, neo-noir specifics of the novel and gleefully combines those elements with punchy, oversized 1980’s action movie set pieces.

The resulting movie, peppered with superb supporting performances from LaKeith Stanfield, Keegan-Michael Key, Thomas Jane and Nat Wolff, is absolutely intoxicating. It feels like the kind of movie you’d rent from your local video store on a Friday night in 1991 and will go along perfectly with a piping hot pizza, a giant bottle of soda and a bowl filled to the brim with your favorite candy. It’s that kind of movie and it demands that kind of experience. It’s unclear if you’ll have as much fun with a movie all year long. And, yes, you will want them to make many more movies with Wahlberg as Parker – it’s the best he’s been in ages.

“Death Becomes Her”

Netflix – Oct. 1

Robert Zemeckis’ “Death Becomes Her” defies genre. It’s one part supernatural thriller, one part rom-com and one part slapstick. But it’s all delightful. Meryl Streep and Goldie Hawn play two women who are in love with the same man, played by Bruce Willis. Years after Willis leaves Hawn’s character for Streep, Hawn’s character appears rejuvenated and looking more beautiful than ever. How? She took a secret beauty serum that’s made her immortal, and now Streep wants her hands on it. Hilarity ensues as Zemeckis delights in practical and special effects (including some killer makeup) throughout.

“Trick ‘r Treat”

HBO Max – Oct. 1

A Halloween classic, “Trick ‘r Treat” is a perfect pick to either kick off Spooky Season or celebrate on All Hallow’s Eve. The 2007 film is an anthology that tells five separate horror stories, all revolving around Halloween. Each one has terrifically spooky vibes, some intense R-rated gore and a twist ending that’ll have you reaching for the lights. The less said the better, but if for some reason you’ve never seen this one there’s no time like the present.

“The Craft”

Paramount+ – Oct. 1

Just one of the all-time great Spooky Season watches, 1996’s “The Craft” is maybe the best teen witch movie ever made. The film stars Fairuza Balk, Robin Tunney, Neve Campbell and Rachel True as high school friends who dabble in witchcraft for their own gain. But the unforeseen cost of these spells starts to throw their lives into chaos. Also the ’90s soundtrack is rockin’.

“The Lost Bus”

Apple TV+ – Oct. 3

“The Lost Bus” is based on the Camp Fire, a 2018 wildfire that wound up being the deadliest blaze in California history, with 85 casualties and thousands of acres of burned land. In the film Matthew McConaughey plays Kevin McKay, a screw-up and bus driver who ends up taking a dangerous mission to transport a classroom full of kids to safety. America Ferrera plays the kids’ schoolteacher who accompanies them on their potentially deadly trek. And Yul Vazquez plays Ray Martinez, the Cal Fire battalion chief, who is dealing with the administrative and organizational complications of the fire. (The fire was later blamed on poorly maintained Pacific Gas and Electric Company wires.) “The Lost Bus” was directed by Paul Greengrass, whose breathless kineticism brought life into “The Bourne Supremacy,” “United 93” and, most recently, “News of the World.” He brings the tragedy to life with an edge-of-your-seat immediacy but never loses sight of the emotional center. You’ve never seen fire sequences quite like this or worried for those in danger quite as much.

“Steve”

Netflix – Oct. 3

In Cillian Murphy’s latest tour-de-force performance, he portrays the title character, a headteacher in charge of a school for boys with behavior and societal issues. According to the official synopsis the film “follows a pivotal day at a last-chance reform school amid a world that has forsaken them. As Steve fights to protect the school’s integrity and prevent its impending closure, he grapples with his own mental health. In parallel to Steve’s struggles, we meet Shy (Jay Lycurgo), a troubled teen caught between his past and what lies ahead as he tries to reconcile his inner fragility with his impulse for self-destruction and violence.” The script by Max Porter is based on his bestselling novella “Shy,” with directorial duties handled by Murphy’s “Small Things like These” collaborator Tim Mielants. The film, which debuted at this year’s Toronto International Film Festival, sounds absolutely devastating. But, you know, in a good way.

“Bring Her Back”

HBO Max – Oct. 3

Danny and Michael Philippou made the unlikely leap from YouTube wiseacres to very talented filmmakers with 2022’s “Talk to Me,” a movie that reframed demonic tinkering as a casual teenage party game. It was grim, it was thrilling, and it announced the Philippous as some of the most exciting filmmakers currently work. Their sophomore feature, “Bring Her Back,” might not hit the same highs as “Talk to Me” but it cements their place as fascinating and fearless, willing to mine genre conventions for something more emotional and odder. In “Bring Her Back” a high schooler and his partially sighted stepsister are adopted by an odd middle-aged woman (Sally Hawkins). Almost as soon as they arrive, they realize something about their new “mother” is off. And it only gets stranger and bloodier from there. It would be criminal to reveal any more about “Bring Her Back,” but just know this is considerably bleaker than “Talk to Me.” Maybe you’ll love it more? But just know that the Philippous are the real deal.

“Honey, Don’t!”

Peacock – Oct. 3

The second film in Ethan Coen’s so-called lesbian B-movie trilogy after last year’s so-so “Drive-Away Dolls,” “Honey Don’t!” once again stars Margaret Qualley, this time as a hot lesbian private detective who stumbles onto a mystery involving deaths connected to a church (led by a reverend played by Chris Evans). Even if “Honey Don’t” winds up as lousy as “Drive-Away Dolls,” there will undoubtedly be some fun to be had – the stellar supporting cast includes Aubrey Plaza, Charlie Day, Kristen Connolly and Billy Eichner and the trailer was intriguing enough. And hey, having a movie from one Coen Brother is better than having no Coen Brothers. That’s something, right? Honey, yes!

“The Woman in Cabin 10”

Netflix – Oct. 10

Streaming services love a starry based-on-a-bestselling-novel and “The Woman in Cabin 10” is the latest of these types of movies. Based on Ruth Ware’s 2016 book of the same name, “The Woman in Cabin 10” stars Keria Knightley as a hard-charging journalist who gets invited onto a yacht run owned by a rich guy of questionable morals (Guy Pearce). The other guests on the boat include Kaya Scodelario, David Morrissey and Hannah Waddingham. But who is the titular “Woman in Cabin 10?” It’s a woman that Knightley sees but the rest of the yacht insists doesn’t exist. That’s right – we’ve got a real “Flightplan” scenario on our hands! The movie was helmed by Australian director Simon Stone, the filmmaker behind 2021’s acclaimed “The Dig,” and is the kind of slick mystery that works if you’re mesmerized, in rapt attention, or folding laundry and only half paying attention. Truly, a movie for everyone and every viewing experience.

“How to Train Your Dragon” (2025)

Peacock – Oct. 10

Dean DeBlois, one of the original directors of DreamWorks’ animated “How to Train Your Dragon,” returned for the live-action remake. And the results are unbelievable. This new “How to Train Your Dragon,” which follows the same contours of the animated original, feels vitally new and just as essential. Part of this is because DeBlois actually chose to embrace the practicalities of live-action, shooting the film in Northern Ireland and allowing the majesty of the actual landscapes influence the storytelling. And part of it is because the actors he chose, including Gerard Butler (reprising his mythic Viking role from the animated original), feel so committed to the material.

Nothing about this new movie feels like it’s simply going through the motions. Instead, it feels totally alive in a wonderful way. If you’ve never seen the original, you’ll be delighted by “How to Train Your Dragon.” And if you’re already familiar with the first film (and its sequels), you might like the remake even more, because you’ll appreciate just how well they captured that spirit. Only this time, you can really feel the wind rushing by your hair as you watch the relationship between young Viking Hiccup (Mason Thames) and the dangerous dragon he befriends, Toothless. It might not have made $1 billion like the live-action “Lilo & Stitch.” But it’s a much better film.

“John Candy: I Like Me”

Prime Video – Oct. 10

This one is going to hurt. John Candy, the beloved Canadian actor, passed away at the age of 43 back in 1994. It was a huge loss, for his family and for those who loved seeing him perform in countless films and television series. “John Candy: I Like Me,” which was directed by Colin Hanks and produced by Ryan Reynolds, is a documentary devoted to the life and work of a singular comedic genius. According to Prime Video’s official synopsis for the movie, which just had its world premiere at the Toronto International Film Festival, this documentary captures those who knew John best, sharing his story, “in their own words, through never-before-seen archival footage, imagery, and interviews.” Among those who appear in the documentary are Mel Brooks, Dan Aykroyd, Tom Hanks, Eugene Levy, Bill Murray, Martin Short and Steve Martin. Chances are high that you’ll laugh a lot. But you’ll also cry a lot too. It’s probably what Candy would have wanted.

“Vicious”

Paramount+ – Oct. 10

Bryan Bertino, the director of “The Strangers,” “The Dark and the Wicked” and “Mockingbird,” a found footage horror movie from Blumhouse that barely got released but is super underrated, is back with an all-new tale to keep you up at night. “Vicious,” which was originally scheduled for a theatrical release but will now be debuting on Paramount+ alongside digital retailers, stars Dakota Fanning in a positively “Twilight Zone”-y trap. According to the official synopsis, when Fanning’s character “receives a mysterious box from an unexpected late-night visitor, it comes with one rule: place inside something you need, something you hate, and something you love. When she opens it, she’s pulled into a surreal and shifting nightmare where every choice she makes leads to terrifying consequences.” This sounds very good to us. Bertino has been a perennially undervalued horror filmmaker and whatever he does next should be on any genre fan’s radar. So place “Vicious” there now.

“My Father the BTK Killer”

Netflix – Oct. 10

Kerri Rawson is the daughter of Dennis Rader, also known as the BTK (which stands for Bind Torture Kill), a notorious serial killer who terrorized the community around Wichita, Kansas, and murdered at least 10 people between 1974 and 1991. And she is the subject of this new documentary, “My Father, the BTK Killer.” Rawson has been the subject of books and countless true crime podcasts, but this it the first documentary feature to tell her story. Skye Borgman, who directed the recent Netflix doc “Unknown Number: The High School Catfish,” helmed “My Father, the BTK Killer,” which Netflix describes as “impact of Rader’s crimes on his family and community, following Kerri as she confronts the possibility of additional victims and reckons with childhood memories that may hold hidden traumas. The film weaves together interviews with the investigators who helped uncover BTK’s identity and features chilling archival photos and sketches, and interrogation footage of Rader himself.” Whether or not you know about the killer and his crimes, this is still one of the movie’s must-watch documentaries.

“The Perfect Neighbor”

Netflix – Oct. 17

“The Perfect Neighbor,” which premiered at this year’s Sundance Film Festival and was easily one of the most talked-about documentaries at the festival, interrogates the controversial “stand your ground” laws as it surrounds the murder of Ajike Owens by her “perfect neighbor.” If you don’t know the story, in 2023 Owens was shot and killed by her white neighbor Susan Lorincz. The documentary is put together using body cam footage from the officers at the scene, both in the lead-up to the killing, and in the immediate aftermath. The results, based on the early reviews, are profoundly disturbing. It was awarded the Directing Award: U.S. Documentary at Sundance. And since then it has screened at the SXSW Film Festival, CPH:DOX, the Miami Film Festival, Full Frame Documentary Film Festival, where it received a Special Jury Award, and at Sheffield DocFest. It is currently playing at the New York Film Festival. And soon enough you can watch it at home.

“The Twits”

Netflix – Oct. 17

Will the Netflix Animation hot streak continue? Following the outsized success of “KPop Demon Hunters,” Netflix will now deliver “The Twits,” a Roald Dahl adaptation directed by Phil Johnston, who co-wrote the original “Zootopia” and directed “Ralph Breaks the Internet,” both for Walt Disney Animation Studios. The titular Twits, Mr. Twit (Johnny Vegas) and Mrs. Twit (Margo Martindale), run an absolutely repulsive amusement park and house some magical animals that should definitely be set free. When they threaten an entire town, it takes some plucky kids to keep them in check and potentially stop their reign of terror. Natalie Portman, Emilia Clarke, Timothy Simons, Alan Tudyk and Nicole Byer also provide voices, with new songs from David Byrne and Hayley Williams. At the very least it will pause “KPop Demon Hunters” for 98 minutes before you throw that back on again.

“The Hand That Rocks the Cradle”

Hulu – Oct. 22

The original “Hand That Rocks the Cradle,” released in 1992 by Disney subsidiary Hollywood Pictures, was the kind of zeitgeist-capturing phenomenon that doesn’t happen anymore. Slickly directed by Curtis Hanson from a razor-sharp script by Amanda Silver and featuring gorgeous cinematography from the legendary Robert Elswit, it was about a psychotic nanny that gradually took over a nice suburban family. People were talking – could this actually happen in your own home? Now, more than 30 years later, we have a new “Hand That Rocks the Cradle” and this time it’s going straight to Hulu. This time around the mom, originally essayed by Annabella Sciorra, is played by Mary Elizabeth Winstead, while the sexy, scary nanny, originally played by Rebecca De Mornay, is now portrayed by genre queen Maika Monroe from “Longlegs” and “It Follows.” That’s a pretty solid cast for an unnecessary remake, but perhaps most exciting of all is the director. Mexican filmmaker Michelle Garza Cervera, whose first feature “Huesera: The Bone Woman” was very good and extremely scary, is behind this new “Hand That Rocks the Cradle.” Hopefully she’ll bring the sly social commentary and finger-on-the-pulse anxieties from the original film to this new iteration. That would rock.

“A House of Dynamite”

Netflix – Oct. 24

Thankfully, Kathryn Bigelow has returned. One of our most exciting filmmakers, whose previous films include “Near Dark,” “Zero Dark Thirty” and the Oscar-winning “The Hurt Locker,” hasn’t made a movie since 2017’s powerful and extremely depressing “Detroit.” After dabbling in some other projects, including an adaptation of screenwriter David Koepp’s amazing novel “Aurora,” she has returned with “A House of Dynamite.” The thriller, set at the White House, is set in the immediate aftermath of a missile being launched at the United States by an unknown enemy. Bigelow, in her characteristically chaotic style, captures all of the maneuvering behind-the-scenes – Will America retaliate? Who fired the missile? Was it a mistake or intentional? – supported by a dazzling cast that includes Idris Elba, Rebecca Ferguson, Tracy Letts, Jared Harris, Anthony Ramos, Greta Lee and Jason Clarke, just to name a few. Hey, when Kathryn Bigelow calls, you answer.

“Stiller & Meara: Nothing Is Lost”

Apple TV+ – Oct. 24

Ben Still has been quietly working on a documentary about his parents, Jerry Stiller and Ann Meara, for years and now it’s finally coming to Apple TV+. The film explores their impact both on popular culture and at home, where the lines between creativity, family, life and art often blurred. In the process, per the official synopsis, “Stiller turns the camera on himself and his family to examine Jerry and Anne’s enormous influence on their lives, and the generational lessons we all can learn from those we love.” If the trailer is any indication, this is going to be a candid and emotional look at how we view our parents when they’re no longer here.

“Ballad of a Small Player”

Netflix – Oct. 29

Edward Berger, who directed last year’s surprisingly satisfying Oscar contender “Conclave,” returns with a new thriller exactly a year later. (Both films premiered at the Telluride Film Festival.) “Ballad of a Small Player,” based on the 2014 of the same name by Lawrence Osborne, follows an obsessive gambler (Colin Farrell) hiding out in Macau and confronting his demons, both real and imagined. The original novel was praised for its incorporation of surreal imagery, which embellished and expanded upon its themes of isolation, loneliness and retribution, which maybe hasn’t translated as well. Early reviews out of Telluride have complained that the movie is a perfect example of style over substance, but have praised Berger’s direction and Farrell’s deeply committed performance (is there any other kind?) Either way, a new Edward Berger movie is always cause for celebration. Especially when it stars Farrell and Tilda Swinton. We’d bet all our chips that you will at least have a good time watching “Ballad of a Small Player.”

“Hedda”

Prime Video – Oct. 29

Nia DaCosta, the extremely talented filmmaker behind the new “Candyman” (and, um, “The Marvels”), is back with a new adaptation of classic play “Hedda Gabler” by Henrik Ibsen. And this time she’s cast Tessa Thompson, who worked with DaCosta on the underseen, underrated “Little Woods,” in the title role, who is usually the daughter of a general who is about to enter into a marriage she is unhappy with. “Hedda” premiered at the Toronto International Film Festival, where it was warmly reviewed, with a brief theatrical run before it debuts on Amazon’s Prime Video platform. The film boasts a cast that includes Imogen Poots, Tom Bateman, Nina Hoss and Imogen Poots, with a score by Oscar-winning “Joker” composer Hildur Guðnadóttir. And you won’t have to wait long until DaCosta’s next film; she helmed the second “28 Years Later” film, slated for release in early 2026. The age of DaCosta is upon us. And we couldn’t be happier.

“Sorry, Baby”

HBO Max – Oct. 30

One of the few breakouts from this year’s Sundance Film Festival, A24’s “Sorry, Baby” marks the directorial debut of Eva Victor, who had previously written articles for Reductress, made short films on social media and appeared on Showtime’s “Billions.” It was produced Barry Jenkins who encouraged Victor to make a movie when she had expressed doubts about the process. In the film Victor plays a professor at a small liberal arts college in New England, who was sexually assaulted by a former professor years earlier. How that incident has shaped her life – and continues to shape it – is the main thrust of the movie; as an old friend (a wonderful Naomi Ackie) comes to visit her, the two parse out the past as best they can. The resulting film is surprising and warm and incredibly touching. A feel-good comedy about sexual assault isn’t probably something you thought you’d ever see. But “Sorry, Baby,” thanks to its thoughtful mixture of yuks and catharsis, absolutely makes that happen. It’s one of the very best movies of the year. And now you can watch it via your subscription to HBO Max. What a dream.

“Jurassic World: Rebirth”

Peacock – Oct. 30

The last entry in the “Jurassic World” franchise, an extension of the “Jurassic Park” series, was 2022’s “Jurassic World Dominion,” which brought together the stars of the original movie (Sam Neill, Jeff Goldblum and Laura Dern) with the stars of the latter films (Chris Pratt and Bryce Dallas Howard) for a big dinosaur-filled extravaganza. That movie was plagued by production issues related to shooting during the pandemic, to the point that an entire separate movie was made lampooning its production (Netflix’s “The Bubble”), but it still made $1 billion at the global box office. Barring the discussion of whether or not three years is enough time to have a film series reborn, “Jurassic World Rebirth” does feel like an attempt to recapture the magic of Steven Spielberg’s original film. In this entry, a small team (led by Scarlett Johansson’s mercenary Zora Bennett) travels to a previously unknown island used for the development of dinosaurs, to capture DNA from creatures that reside in the land, sea and air. The implications for pharmaceuticals are huge.

But getting off the island alive proves to be the bigger challenge. Original “Jurassic Park” and “The Lost World” writer David Koepp returns, this time joined by Gareth Edwards, who has a knack for placing small characters against giant creatures (his credits include 2014’s “Godzilla” and 2016’s “Rogue One”). If you missed it in the theaters, now is a perfect chance to catch up with the new movie – arguably the most satisfying installment since those early Spielberg favorites. We’re particularly enamored with the D-Rex, a freaky castoff dinosaur that looks a bit like the Rancor from “Star Wars.” Well done, dinosaur designers! 

The post The Top 21 New Movies Streaming Right Now appeared first on TheWrap.