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‘Knives Out 3’ Title Revealed as ‘Wake Up Dead Man’; Rian Johnson Confirms 2025 Release

‘Knives Out 3’ Title Revealed as ‘Wake Up Dead Man’; Rian Johnson Confirms 2025 Release

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By Ethan Shanfeld Benoit Blanc is back to solve another mystery in Rian Johnson‘s third “Knives Out” film, titled “Wake Up Dead Man.” Johnson announced the title, along with a 2025 release date, in a teaser posted to X Friday morning. “In the beginning, the knives came out. Then, behold, the glass was shattered. But my most dangerous case yet is about to be revealed,” narrates Daniel Craig in the 45-second video, referencing the first two titles of the murder mystery franchise, 2019’s “Knives Out” and 2022’s “Glass Onion.” “Wake Up Dead Man” will be distributed by Netflix as part of Johnson’s two-sequel deal with the streamer, worth $450 million. Despite the first film, distributed by Lionsgate, grossing $312 million at the global box office, Netflix put out “Glass On...
Morgan Spurlock, ‘Super Size Me’ Director, Dies at 53

Morgan Spurlock, ‘Super Size Me’ Director, Dies at 53

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By Addie Morfoot Morgan Spurlock, a documentary filmmaker who captured his own psychological and physical symptoms from eating McDonald’s every day for a month in the Oscar-nominated 2004 feature “Super Size Me,” died Thursday in upstate New York due to complications of cancer. He was 53. Spurlock’s family confirmed his death. “It was a sad day, as we said goodbye to my brother Morgan,” says Craig Spurlock, who worked with his brother on several projects. “Morgan gave so much through his art, ideas and generosity. Today the world has lost a true creative genius and a special man. I am so proud to have worked together with him.” Spurlock rose to prominence for “Super Size Me,” in which he conducted an experiment involving consuming only food from McDonald’s for a 30-day stretch....
Emily in Paris’ Season 5 Role Auctioned Off in Cannes, but Netflix Denies Renewal

Emily in Paris’ Season 5 Role Auctioned Off in Cannes, but Netflix Denies Renewal

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By Joe Otterson “Emily in Paris” Season 5? Not so fast. During the amfAR Gala at the Cannes Film Festival, which raises money for research to end HIV and AIDS, Winnie Harlow and Paris Jackson appeared onstage to auction off a walk-on role in a previously unannounced fifth season of the Netflix series. The winner of the auction shelled out €250,000 to appear in the series as well as the chance to attend the Season 4 premiere in Los Angeles. Harlow and Jackson also said that Season 5 of the popular series is scheduled to begin shooting in mid 2025. However, an individual with knowledge of the situation says that Netflix has not in fact greenlit another season of “Emily in Paris.” According to the official amfAR auction website, the walk-on role came “Courtesy of Darre...
In pictures: Mongolian projects pitched in Cannes

In pictures: Mongolian projects pitched in Cannes

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MONGOLIAN FILM COUNCIL Mongolia’s film industry is on the rise, with a momentum that began at Cannes in 2023. Zoljargal Purevdash’s If Only I Could Hibernate was the first Mongolian film to be shown in Cannes’ official selection when it played in Un Certain Regard last year, going on to win a jury prize at Tokyo FilmEx and scoring box-office success both at home and internationally. It was followed by Lkhagvadulam Purev-Ochir’s City Of Wind, the first feature from the Asian country to play Toronto and Venice. Both features followed the introduction of a film law in January 2022 to promote production in Mongolia, leading to the establishment of the Mongolian National Film Council (MNFC) and Mongolian Film Fund. International film productions can now receive up ...
‘Kurak’ set up as first France-Kyrgyzstan co-production (exclusive)

‘Kurak’ set up as first France-Kyrgyzstan co-production (exclusive)

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BY SILVIA WONG Erke Dzhumakmatova and Emil Atageldiev’s gritty drama Kurak is set to be the first official France-Kyrgyzstan co-production, following an agreement signed between CNC and Kyrgyzstan’s Cinema Department in Cannes. Through Oymo Studio, director Dzhumakmatova is also the main producer of Kurak, an international collaboration co-produced with France’s Johann Chapelan of Girelle Production, along with Kairat Birimkulov from Switzerland’s KBP and Katerina Tarbo-Ignatenko from Serbia’s Spirito Libero. Based on true events, the film touches on the disempowerment of women against the background of the patriarchal society of modern-day Kyrgyzstan. It is set in the capital Bishkek, using locations where the real events took place. The story revolves around a ...
AGC reports roaring Cannes trade on Ron Howard all-star, Venice-tipped package ‘Eden’ (exclusive)

AGC reports roaring Cannes trade on Ron Howard all-star, Venice-tipped package ‘Eden’ (exclusive)

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BY JEREMY KAY AGC International has closed major territory sales here in Cannes on Eden, Ron Howard’s all-star survival thriller and potential awards season contender which is tipped to land a Venice world premiere slot. A multi-territory deal with Amazon Prime Video includes the UK & Ireland, Australia, New Zealand, Canada, France, Scandinavia, Spain, Latin America, Japan, South Korea, South Africa, India, Turkey, West Indies, and Asia pay-TV. Jude Law, Ana de Armas, Sydney Sweeney, Vanessa Kirby, and Daniel Brühl star in the story based on an unsolved mystery in the Galapagos which explores the lengths people go in pursuit of happiness. Rights have also gone in: Germany (Leonine); Italy (Italian International Film); Middle East (Selim Ramia); former Yugoslavia, Polan...
SNL S49 E20: Who Got the Most (and Least) Screen Time?

SNL S49 E20: Who Got the Most (and Least) Screen Time?

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By Matthew Stewart The 49th season finale of Saturday Night Live was hosted by Road House star Jake Gyllenhaal, who previously headlined the show in 2007 and 2022. On this outing, his screen time came to about 26 and a half minutes, or nearly 42% of the episode’s running time. Scroll down to see how Gyllenhaal stacked up against each of the show’s named performers, including musical guest Sabrina Carpenter and surprise guest Jon Hamm. Note that our screen time data is calculated using a method that prioritizes face time, meaning that any contiguous (off-screen but in-scene) moments and practically all partial body appearances do not count. Screen time in the opening credits, bumpers and goodnights are not included, nor do those portions factor into our assessment ...
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