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First Teaser for 'Timur' Action Movie Directed By & Starring Iko Uwais
Hollywood

First Teaser for ‘Timur’ Action Movie Directed By & Starring Iko Uwais

by jummy84 October 29, 2025
written by jummy84

First Teaser for ‘Timur’ Action Movie Directed By & Starring Iko Uwais

by Alex Billington
October 29, 2025
Source: YouTube

Straight from Indonesia is a first look at the brand new action movie not only starring, but also directed by, action superstar actor Iko Uwais. This is his first time directing anything, telling a very Indonesian story about a rescue in the jungle. His movie is called Timur and he also stars in it as the titular lead character named Timur. It’s set for release starting in December – but only in Indonesia so far. The film is based on a real military incident in Indonesia, the Mapendumayang hostage rescue operation that took place in 1996. In this incident, 11 scientific researchers, including a few Westerners, were taken hostage [by the Free Papua Movement] in a mountainous eastern part of the country. Uwais plays Timur – a special army soldier leading the rescue. This dangerous mission brings him back to his childhood home, accompanied by his best friend, Sila. As they plunge into this forest full of danger, the humanitarian mission turns into a tough personal struggle. They not only have to fight to save the hostages, but also face tough challenges where Timur was raised. The film also stars Jimmy Kobogau, Aufa Assagaf, Yasamin Jasem, Fanny Ghassani, Kiki Narendra, Andri Mashadi. Just a quick look at early footage so far – at least there will be badass fights.

Here’s the first teaser trailer (+ poster) for Iko Uwais’ action thriller movie Timur, direct from YouTube:

Timur Teaser Trailer

Timur Teaser Trailer

A soldier named Timur leads a rescue team on a dangerous mission to free researchers kidnapped in the jungle. Trapped in a fraught area, they must face extreme terrain, time pressure, and unexpected dangers. The film is based on a real military incident in Indonesia, the Mapendumayang hostage rescue operation that took place in 1996. In this incident, 11 scientific researchers, including a few Westerners, were taken hostage [by the Free Papua Movement] in a mountainous eastern part of the country. Timur is directed by Indonesian action actor Iko Uwais, making his feature directorial debut with this film after starring in The Raid films, Snake Eyes, Fistful of Vengeance, The Expendables 4, and other action movies. The screenplay is written by Titien Wattimena. Produced by Ryan Santoso. Uwais Team will release Iko Uwais’ Timur movie in theaters in Indonesia starting December 18th, 2025 later this year. No US release date or other details are available yet – stay tuned for more news. Follow updates on IG @iko.uwais. First impression? Who’s in?

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October 29, 2025 0 comments
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Movie Review: Minimalist thriller ‘Hallow Road’ lets your imagination run wild
Bollywood

Movie Review: Minimalist thriller ‘Hallow Road’ lets your imagination run wild

by jummy84 October 29, 2025
written by jummy84

There are scary movies where everything is fleshed out, where filmmakers and craftspeople show a nightmare in all its horrifying detail. In those kind of films, jump scares and reveals can even be a relief, allowing the tension and anticipation to deescalate so you can move on to the next thrill.

Movie Review: Minimalist thriller ‘Hallow Road’ lets your imagination run wild

Filmmaker Babak Anvari’s “Hallow Road,” in theaters Friday, is the opposite. Written by William Gillies, “Hallow Road” is the kind of minimalistic thriller that knows that sometimes all you need to do is establish the right mood and your audience’s imagination will take it from there. It is all ambiguity and escalation, and relief is not in the cards.

The film begins at 2 a.m., panning across a leafy forest floor to a bloodied sneaker on the ground before cutting to a long, eerie shot inside a family home, where dinner has been left out on the table, and glass has been broken and only partially cleaned up. Then the frame goes back to the woods again with fragmented shots of lights in the trees. It’s nearly six minutes of this scene-setting before we meet any characters or are given any information about what’s going on.

As if that’s not enough of a disorienting entry into this world, it’s followed with a one-sided phone call. Maddie accepts a call from Alice , her university-age daughter who left their house abruptly after a fight, taking her father Frank’s car. Before Maddie can get much information, the calls cuts off. When they speak again, the situation has changed: There’s a been a wreck, and another person is hurt, possibly dead.

There’s a lot of confusion as the stress of the situation escalates. Frank keeps asking Maddie to put Alice on speakerphone. Maddie is trying to get information from a panicked Alice. We feel Frank’s pain in only getting part of the story, but, thankfully for everyone, Maddie does finally cave to speakerphone when they start driving to the scene — a remote forest some 40 minutes away. And we have no choice but to go on this journey with them as they navigate their own issues, ideas about how to help their daughter in this situation, what exactly caused the fight to begin with, and Maddie’s very tense attempt to coach her daughter through emergency CPR while they wait for the ambulance to arrive.

“Hallow Road” is partly about the mystery of what’s happened and what will happen — there is even a bit of a folklore element introduced that makes everything that much creepier and more confusing. You might even wonder from time to time what kind of film you’re actually watching — I think the clever trick of “Hallow Road” is that it can be different things to different viewers. In many ways, it’s also about the real nightmare of being a parent and not knowing what to do. The impulse may always be to protect, to shield, to minimize the consequences in that moment, but what are the long-term implications of that? Frank and Maddie both have different theories about the correct way to handle this horrible situation and both are right and wrong — and then there is the hysterical teen on the other end of the line.

The film plays out in near real time and its confined setting of the car recalls the Steven Knight thriller “Locke,” though a little less glossily cinematic. But that’s also OK since there’s plenty of visual interest in the faces and performances of its very compelling leads and smart script. One could imagine it being staged as a play.

It’s hard to discuss too much about what transpires in “Hallow Road” without spoiling its surprises. But ultimately, it’s an effectively minimalistic thriller that leaves much room for interpretation and debate, and a good option for anyone looking for something creepy to watch this Halloween without the gore.

“Hallow Road,” an XYZ Films release in theaters Friday, has not been rated by the Motion Picture Association. Running time: 80 minutes. Three stars out of four.

This article was generated from an automated news agency feed without modifications to text.

October 29, 2025 0 comments
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Official Trailer for 'Still Pushing Pineapples' Road Movie Documentary
Hollywood

Official Trailer for ‘Still Pushing Pineapples’ Road Movie Documentary

by jummy84 October 27, 2025
written by jummy84

Official Trailer for ‘Still Pushing Pineapples’ Road Movie Documentary

by Alex Billington
October 27, 2025
Source: YouTube

“You can’t erase history, can you?” Tull Stories has revealed the official UK trailer for a documentary film titled Still Pushing Pineapples, a fun road trip documentary from UK filmmaker Kim Hopkins. Set for release in the UK starting in November, the film is a follow-up to Hopkins’ 2022 doc film called A Bunch of Amateurs which was about one of the oldest amateur filmmaking clubs in the world. In this one, she follows the former pop star Dene Michael as he clings to the remnants of fame he once had as a member of 1980s novelty pop group Black Lace. Entertainment, working-class culture, human connection, and the power of pop align in this idiosyncratic, moving, funny and unmistakably British road movie that follows an aging pop star, his spirited 89-year-old mother, and his feisty girlfriend as they navigate love, family duty, and the relentless pursuit of one last chart success. The band’s universally known hit Agadoo – both beloved and hated by many, and the high or low point of any party – is what Dene’s best known for. Even still today. But does anyone care anymore? This looks more melancholic than entertaining but still might be a good watch.

Here’s the official UK trailer (+ poster) for Kim Hopkins’ doc Still Pushing Pineapples, from YouTube:

Still Pushing Pineapples Doc Trailer

Still Pushing Pineapples Doc Poster

What happens when you’ve created the worst hit song ever – at least according to the music press? What comes after fleeting fame, and what does it mean to grow old still chasing a dream? Kim Hopkins’ moving & funny follow up to her documentary A Bunch of Amateurs features former pop star Dene Michael as he clings to the remnants of fame he once had as a member of 1980s novelty pop group Black Lace. Still Pushing Pineapples follows Dene, his spirited 89-year-old mum Anne, and also his sassy girlfriend Hayley across Britain and the Costa del Sol in this unmistakably British road movie. En route they navigate love, family duty, and the relentless pursuit of one last chart success. But who needs an ’80s throwback in a loud pineapple shirt and oversized red specs, singing a tired earworm? Apparently, many do (doo doo). 🍍

Still Pushing Pineapples is a documentary film directed by British doc filmmaker Kim Hopkins, director of the other doc films Wanted, Folie à Deux: Madness Made of Two, Voices of the Sea, Cuban Dreams, and A Bunch of Amateurs previously. Produced by Margaréta Szabó. The film will premiere at Bradford’s 2025 UK City of Culture event next month. Tull Stories will debut Hopkins’ Still Pushing Pineapples doc in UK cinemas starting November 28th, 2025 this fall. No US release is set yet – stay tuned. Anyone interested?

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October 27, 2025 0 comments
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Hugh Jackman, Kate Hudson Neil Diamond Movie
TV & Streaming

Hugh Jackman, Kate Hudson Neil Diamond Movie

by jummy84 October 27, 2025
written by jummy84

The best Neil Diamond songs share a few simple traits: they’re catchy enough to unite the largest crowds on the planet, deeply sentimental, and refuse to make even the slightest effort to be cool. They have a real egalitarian streak to them, making the case that everyone has a voice worth using and the world is a better place when we all sing along at the top of our lungs.

All of the same could be said about Craig Brewer’s “Song Sung Blue,” a soapy film about the stranger than fiction story of Mike and Claire Sardina, a couple whose Neil Diamond tribute band Lightning & Thunder propelled them to the apex of the Milwaukee tribute band circuit in the 1980s and ’90s. Adapted from Greg Kohs’ 2008 documentary of the same name, it treats a middle-aged mechanic and hairdresser who cover “Cracklin’ Rosie” in sequined jumpsuits with all the seriousness that you’ll find in any “Walk Hard”-esque rock and roll biopic. The stakes might be infinitely lower, but the rise, fall, and rise again are all there.

Kris Bowers and Ben Proudfoot of the 'The Last Repair Shop' attend 96th Oscar Week Events: Live Action Short Film, Documentary Short Film, and Documentary Feature Film at Academy Museum of Motion Pictures.

Mike Sardina (Hugh Jackman) has already lived a few full lives by the time we meet him on the 20th anniversary of his sobriety. A former Marine who battled addiction after coming home from Vietnam, he now plays music in any dive bar and county fair that will have him. Whether he’s playing guitar in a Black soul cover band or singing “Eye of the Tiger” under his preferred stage name Lightning, he follows the music wherever it takes him. But he becomes more and more frustrated with the fact that all of his paying gigs seem to require him to impersonate someone else. Everything seems to collapse out from under him when he backs out of playing Don Ho on a tribute act bill organized by a 52-year-old Buddy Holly impersonator (Michael Imperioli), who has been singing “Not Fade Away” for three decades longer than the real Holly ever got a chance to. Mike can’t understand why he can’t just perform as himself for a change, but a beautiful Patsy Cline impersonator points out that “nostalgia sells.”

That wise woman turns out to be Claire (Kate Hudson), who soon becomes Mike’s second wife and first (and only) performing partner. They form a new act called Lightning & Thunder — not a tribute band, they insist, but a Neil Diamond experience. A notable difference from the competition is that Mike never claims to be presenting himself as Diamond (even if his costumes are sparkly enough). They’re simply being themselves, offering interpretations of the music without the pressure to be carbon copies. Bolstered by an elite management team that includes Mike’s dentist (Fisher Stevens) and a local casino tour bus mogul (Jim Belushi), they soon find their local popularity skyrocketing once Mike reluctantly agrees to start opening with “Sweet Caroline.”

But every great music story needs a downfall, and “Song Sung Blue” offers plenty of them. At the risk of spoiling a 30-year-old true story, Claire loses a leg in a freak car accident and spirals into depression as she recovers. Mike also battles his own problems, and the pressure of keeping their blended family together while finding a way to pay their bills as working class performers weighs on them. Music brought them together and gave them the happiest years of their lives, but they’re forced to decide if it’s still enough.

Both Jackman and Hudson pour everything they have into their characters, and “Song Sung Blue” is at its most infectious when we’re watching this couple bask in the dorky pleasures of singing Neil Diamond songs loudly enough to drown out the painful realities of life. At two hours and 11 minutes, the film often feels overstuffed and too melodramatic for its own good — this movie did not need a single dream sequence, let alone multiple — and it touches on so many sensitive topics that its takes on addiction, teen pregnancy, PTSD, health insurance bureaucracy, and other social ills often feel shoehorned in with insufficient time for exploration. But even with those flaws, it’s still hard to look away from the silly sincerity that powers the film.

A dominant theme throughout “Song Sung Blue” is its defense of the kind of life that seems average and unremarkable compared to the other stories you’ll find playing at your local multiplex. “Sobriety makes you confront some hard truths,” Mike says at one point. “I know I’m not a star or a songwriter, I just want to entertain people and make a living.” The rest of the film tries to answer the question of whether someone who, by their own admission, does not have any particularly unique talent has any business pursuing such a dream. Its tensest story beats revolve around Milwaukee casino residencies and karaoke hosting gigs at all-you-can-eat Thai buffets. The biggest opportunity that’s ever at stake is the chance to play a theater show of Neil Diamond covers on the same night the real Neil Diamond is playing a show across town — even at the height of their powers, Mike and Claire are competing for the chance to be the second best opportunity to hear “Sweet Caroline” in a 25-mile radius.

But rather than mock their small-time dealings or direct them to chase brighter lights, “Song Sung Blue” treats Mike and Claire’s pursuit of tribute band glory as a sufficient driving force for a meaningful life. This isn’t a story about how you’re never too old to chase your wildest dreams and play in the big leagues; it’s about how there shouldn’t be any shame in realizing that you are. There’s no real money to be made or legacy to be forged in their line of work, but their love was never stronger than when they were belting out Neil Diamond covers together on stage. The satisfied customers who left the venue smiling each night were just an added bonus.

If that all sounds too sentimental for your tastes, fair enough — though in that case, it’s hard to imagine you were ever particularly moved by a song like “Forever in Blue Jeans,” and thus not the target audience for “Song Sung Blue.” But if the right Diamond song at the right time can turn you into mush, you’re likely to find that Brewer’s film is capable of tugging on the same heartstrings.

At the film’s AFI Fest premiere, Jackman told the audience that he had just finished a FaceTime conversation with the real Diamond (who retired from performing in 2018 due to his battle with Parkinson’s Disease) before taking the stage, and asked the legendary songwriter if he had a message for the crowd. Jackman said that Diamond’s response was simple: “Just keep singing.” Brewer’s film embodies that message to its core, and anyone who wishes they had a little more Neil Diamond in their life now has an excuse to sing a little more.

Grade: B-

“Song Sung Blue” premiered at AFI Fest 2025. Focus Features will release it in theaters on Thursday, December 25.

Want to stay up to date on IndieWire’s film reviews and critical thoughts? Subscribe here to our newly launched newsletter, In Review by David Ehrlich, in which our Chief Film Critic and Head Reviews Editor rounds up the best new reviews and streaming picks along with some exclusive musings — all only available to subscribers. 

October 27, 2025 0 comments
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'Springsteen: Deliver Me from Nowhere' Marketing: Who's the Movie for?
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‘Springsteen: Deliver Me from Nowhere’ Marketing: Who’s the Movie for?

by jummy84 October 26, 2025
written by jummy84

Sometimes, even the Google AI Overview gets it right. Sometimes. In searching out confirmation as to when Scott Cooper‘s Bruce Springsteen film, “Springsteen: Deliver Me from Nowhere,” first tacked on that “Springsteen,” a quick Google search helped, as did the AI Overview leering at me from the top of the page.

Important findings reigned. First up: “The initial title of the film was ‘Deliver Me from Nowhere,’ based on Warren Zanes’ book” (true!). Next: “The title was officially changed to ‘Springsteen: Deliver Me from Nowhere‘ in June 2025, according to news reports and the movie’s production status updates” (well, really, it was a new trailer, but OK). Finally: “The change was made to make it clear to the audience that the film is a biopic about Bruce Springsteen.” Ah, well.

Jeremy Strong at the 97th Oscars held at the Dolby Theatre on March 2, 2025 in Hollywood, California.

Except, well, it’s not really. At least, not in the way that a potential movie-goer who is not already a fan of The Boss would expect to see if they’re hitting the multiplex to check out the “Springsteen biopic.” Adding his name to the front of film’s title — again, a title pulled directly from a much-loved and well-known book on the subject — was the first sign that the 20th Century Studios powers that be were getting a little squirrelly about their big fall feature.

What is “Springsteen: Deliver Me from Nowhere” really about? As our own David Ehrlich wrote in his review out of Telluride, it “is a semi-desolate sketch of a biopic about a depressed 32-year-old man” who is also “haunted by unresolved childhood trauma and suffering from a depression that he knows how to sing about but lacks the words to diagnose” and “is at its best during the frequent stretches when it finds Bruce staring at the walls of his isolated rental home in Colts Neck.”

Trailers for the film — which has now screened at Telluride, New York Film Festival, and AFI Fest, to name a few, so it’s certainly not hiding — play up the more glitzy and recognizable moments of Springsteen’s career. These are also moments that have relatively little to do with the film itself. If moviegoers are taking marketing on its face, who could blame them for expecting to see a film about Bruce and the E Street Band on the road? That’s what this trailer opens with.

Or, consider this clip, the only one on 20th Century Studios’ dedicated “Deliver Me from Nowhere” YouTube page, which is entirely comprised of a performance of “Born to Run.” For those keeping track, Cooper’s film is about the creation of Springsteen’s album “Nebraska.” “Born to Run” is not a track that appears on that album. And while this performance is indeed part of the film, it’s a very weird pick to represent the entire feature.

Look, I’m the last person to think that a film about a depressive episode in a global superstar’s early career makes for the easiest of sells. (Well, small note here, I think most musical biopics should probably be about a depressive episode in a global superstar’s early career, but I don’t run a film studio.) I get the impulse to try to make this look like something more broad, but that’s a mistake.

(L-R) Jeremy Allen White as Bruce Springsteen in 20th Century Studios' SPRINGSTEEN: DELIVER ME FROM NOWHERE. Photo by Macall Polay. © 2025 20th Century Studios. All Rights Reserved
‘Springsteen: Deliver Me from Nowhere’Macall Polay

I worry that when even casual Bruce fans show up to see the movie, they’ll expect to see what they’ve seen in the trailers: The Boss jumping around on stage, playing “Born in the U.S.A.,” celebrating another smash hit show with the E Street Band. Hell, they’ll expect to see significantly more of the E Street Band in general.

This is not that film. It’s better for it, and it’s also a much tougher sell.

Other marketing, the kind of stuff that people who would need to seek out (like, oh, big fans of Bruce) is more honest, like this featurette all about Cooper’s approach to this specific time in The Boss’ life and career. Cooper isn’t shying away from what sort of film he’s made, even if audiences might be surprised. As he told IndieWire earlier this week, “So many people have preconceived notions about a music film about Bruce Springsteen. Or a film that they want to see, like the ‘Born in the U.S.A.’ or ‘Born to Run’ story. … This is probably the most unexpected story that folks will get about a music icon. … I’m realizing this film is not what people expected. Now, whether it’s what they wanted is another thing.”

If it’s not clear: I am a huge Springsteen fan. I’ve seen him live over a dozen times — that includes actual concerts, performances at premieres (like the NYFF premiere), and quite literally live in his own home studio when I interviewed him for “Western Stars” in 2019 — and the prospect of a biopic uniquely tailored to some of Springsteen’s continuing obsessions, interests, and neuroses is particularly appealing to me. And, based on the general queries I’ve made of other Bruce fans, that holds true for them, too.

(Fun fact: Ehrlich’s older brother is a Springsteen freak who has seen him in concert so many times that he’s pushing triple digits with his count. When I asked David if Steven is excited to see the film, he said he was “frothing at the mouth.”) Now that’s an audience to bank on and appeal to.

Those are not the people who need a trailer or a clip or a title that simplifies what they’re going to see (or, if we’re being more candid about it, just kind of lies about it). Those are the people who will come multiple times, tell their fellow fans to check it out, to champion it. They’re Bruce fans; dedication is part of their DNA. Don’t ever count them out. Like the Boss, they’re tougher than the rest. Selling this film to them does not have to be.

A 20th Century Release, “Springsteen: Deliver Me from Nowhere” hits theaters on Friday, October 24.

October 26, 2025 0 comments
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A Sci-Fi Movie Searching for Truth in the Modern World
TV & Streaming

A Sci-Fi Movie Searching for Truth in the Modern World

by jummy84 October 26, 2025
written by jummy84

While “Orion” is an ambitious indie space saga, its examination of human nature is decidedly earthbound.

The film stars Andrew McCarthy as Jim, a NASA bigwig tasked with helping Apollo (Drew Van Acker), an astronaut with memory loss, figure out what happened to cause his ship to crash and leave the other crew dead. Their back-and-forth makes up the core of the film, as twists, turns and discoveries gradually unfold.

Director Jaco Bouwer found plenty of grounded elements in Anne Vithayathil’s script for “Orion.” Audiences will set sail on the film’s maiden voyage when it has its world premiere at FilmQuest in Provo, Utah, on Oct. 25.

“I don’t think we have an absolute truth anymore in this world,” he says. “This really touches on that without being super on the nose. Science fiction intrigues me a lot. I like the genre because it’s a little bit more of an expressionistic way of going about emotions.”

Bouwer credits his collaborators for helping walk the film’s tricky tightrope of making a largely two-hander feel expansive. He cites McCarthy’s curiosity about the script — which is miles from the Brat Pack roles that first made him famous — as one big benefit.

“He needs to know exactly what’s going on,” Bouwer says of McCarthy. “He really portrays Jim in a good way: There’s a cerebral aspect to him, he’s the master manipulator. In our film, there’s a moment towards the end where we do see some part of humanity behind it. I find him really professional, and I think his range is much bigger than we’ve seen before.”

Beyond the dialogue, Bouwer and his cinematographer David Kruta were eager to make the contained film feel taut and dynamic — no easy feat on an indie production.

“We actually used quite a few different lenses,” Bouwer says. “For the flashbacks, we used anamorphic, and we also changed the ratio. We sometimes went extreme wide-angle. Most of the effects were done in-camera. For me, it’s always performance first, so it’s important that the actors feel that. Because everything happens under one roof, the movement is motivated. So I would come in in the morning and we would block it in a way, and once we’ve done that, then I had a meeting with my DP to see how we can best choreograph the camera to suit them. Sometimes it’s purely for a visual, but mostly it was plotting their journey and letting the camera follow them or capture them in the best way.”

Also critical were the sparingly-used glimpses of the further regions of outer space, which helped to convey the scale of the story — including a stunner of a final scene.

“Especially that shot at the end, you pull back and just see the smallness and the scale of it,” Bouwer says. “There’s something really great for me, and emotional and sad as well, about that image. It’s kind of subliminal, but it was always in the back of my mind to make it feel that there is something bigger around. It makes the world bigger, although it’s a two-location film.”

And while the vastness of the universe is worth considering, Bouwer had the most fun conjuring all of the fun and thrills out of a small-scale story.

“I was really trying to mislead the audience in subtle ways,” he says. “I think it boils down to performances. If the performances weren’t believable, you’re in big trouble. So I was very happy to have Drew and Andrew as my main guides through this maze of twists and turns.”

Watch the first footage of “Orion” below.

October 26, 2025 0 comments
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Explaining the Kathryn Bigelow Movie – Hollywood Life
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Explaining the Kathryn Bigelow Movie – Hollywood Life

by jummy84 October 25, 2025
written by jummy84

Image Credit: Eros Hoagland/Netflix

A House of Dynamite hit Netflix on October 24, 2025, leaving viewers deeply unsettled by its ending. With an all-star cast telling the fictional story of an apocalyptic missile attack on the United States, the Kathryn Bigelow-directed movie unfolds over the course of 18 minutes as the military and the White House watch the impending strike on a screen.

“Eighteen minutes to decide the fate of the world and yet limited information [with] which to do so,” the director told Netflix Tudum. “We see into the halls of power, where highly competent individuals are confronted with confusion, chaos, and helplessness.”

Below, Hollywood Life explains that ambiguous ending of A House of Dynamite.

Who Is in the A House of Dynamite Cast?

As previously noted, the A House of Dynamite cast features some of Hollywood’s most recognizable names, from Jason Clarke, Rebecca Ferguson, Idris Elba, Gabriel Basso, Jared Harris, Tracy Letts, Anthony Ramos, Moses Ingram, Jonah Hauer-King and Greta Lee.

A House of Dynamite Movie Ending Explained

Idris’ POTUS character is rushed away from a girls’ charity basketball event, is handed the “Black Book” and is told by the nuclear football handler, Lieutenant Commander Robert Reeves (Jonah), that he must select one the retaliatory attack options. Though the film’s president seems to be a composed and empathetic leader, the country — and the world — is about to explode. Even an ideal presidential character can’t offer the audience guaranteed comfort in the face of doomsday.

In the motorcade, Russia’s foreign minister tells the American president that they were not behind the missile. Therefore, the country or terrorist organization responsible for the attack is unknown.

'A House of Dynamite' Ending Explained: Breaking Down the Kathryn Bigelow Movie
Courtesy of Netflix

Idris’ POTUS is then asked, “What are your orders, Mr. President?” to which he replies, “My orders …” then the film fades to black. The film ends there, with POTUS having to select one of the strike options.

While speaking with Netflix’s Tudum, Kathryn explained why she wanted an open-ended conclusion.

“I want audiences to leave theaters thinking, ‘OK, what do we do now?’” the Zero Dark Thirty filmmaker said. “This is a global issue, and of course, I hope against hope that maybe we reduce the nuclear stockpile someday. But in the meantime, we really are living in a house of dynamite. I felt it was so important to get that information out there, so we could start a conversation. That’s the explosion we’re interested in — the conversation people have about the film afterward.”

Will There Be A House of Dynamite 2?

No, despite the 2025 film’s chilling ending, there are no plans for a sequel to A House of Dynamite. As Kathryn said to Netflix, she wanted viewers to reflect on the world’s current “nuclear stockpile” and realize that we are all living in one large “house of dynamite.”

October 25, 2025 0 comments
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'BTS Movie Weeks' Crosses $10M At Global Box Office Ahead Of Boyband's Comeback
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‘BTS Movie Weeks’ Crosses $10M At Global Box Office Ahead Of Boyband’s Comeback

by jummy84 October 24, 2025
written by jummy84

BTS Movie Weeks, a collection of four concert films from Korea’s history-making boyband, BTS, has grossed over $10M at the global box office, according to HYBE and Trafalgar Releasing.

The concert films were released in over 80 territories, across 2,700 cinemas, and premiered globally from September 24 to October 5.

There are screenings still ongoing this month and into November, across South Korea, Vietnam and Japan.

BTS confirmed in July that a full-length album will be released in spring next year, alongside a world tour, marking the group’s long-awaited return. In 2022, the group went on hiatus, as members Jin, Suga, J-hope, RM, Jimin, V and Jung Kook enlisted for Korea‘s mandatory military service and pursued solo activities.

BTS Movie Weeks was distributed worldwide by Trafalgar Releasing, excluding South Korea and Japan, where the title was released by Megabox and Avex, respectively.

Accompanying the film screenings around the world, cinema foyers carried installations and themed message walls, and also offered dancefloors and gathering spaces for BTS fans to come together.

Four concert films were screened: BTS’ 2016 performance “On Stage : Epilogue,” 2017’s “Live Trilogy Episode III: The Wings Tour —The Final,” 2019 world tour “Love Yourself: Speak Yourself — London” and 2021’s “Muster Sowoozoo.”

BTS Movie Weeks marks the third collaboration between HYBE and Trafalgar Releasing with added fan and exhibitor activations. Previous partnerships include the “HYBE Cine Fest In LATAM” in 2024 and “HYBE Cine Fest In Asia” in 2025.

“We’re truly excited by the response to BTS Movie Weeks” said Marc Allenby, CEO of Trafalgar Releasing. “It’s a testament to the enduring power of BTS and the anticipation for their return, while also showcasing innovative new ways to create global event cinema experiences.”

October 24, 2025 0 comments
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A Tribute to the White House Movie Theater, Now Demolished
TV & Streaming

A Tribute to the White House Movie Theater, Now Demolished

by jummy84 October 24, 2025
written by jummy84

The history of movie screenings in the White House did not begin auspiciously.

On February 18, 1915, D.W. Griffith unspooled his three-hour “The Birth of a Nation” in the East Room of the White House to a rhapsodic response. The then-president, Woodrow Wilson, was a defender of the Confederacy and peddled “Lost Cause” propaganda, and he was literally quoted three times in the film itself, including a remark in which he praised the Ku Klux Klan.

It’s generally accepted that after that screening Wilson said of Griffith’s film, immediately controversial upon release as it has been ever since, that it was “like writing history with lightning.” If this choice as the first movie ever projected inside the White House is lamentable, take heart in knowing that there was a previous screening outside on the lawn of the 1914 Italian silent masterpiece “Cabiria” that was the very first movie shown on the grounds full-stop.

Johnny Depp, Ti West, and Andrea Riseborough

These screenings kicked off a history of moviegoing at the White House that has continued ever since, culminating with the conversion of an East Wing cloakroom into the White House Family Theater, an on-site cinema, in 1942.

Well, it was a history that lasted until October 2025. The movie theater was razed this week as part of the Trump administration’s demolition of the entire East Wing to make way for a proposed $300 million ballroom. A lot of history was lost this week, but the movie theater was part of it — and it shouldn’t be forgotten.

Capable of seating 42, the White House Family Theater came about at a moment when the Franklin Roosevelt administration recognized the unique power movies held over the public. This was a time when the average moviegoer went to the cinema twice per week. And as America lurched ever closer to entering World War II, despite national polls showing the American public was extremely isolationist and that Charles Lindbergh’s “America First” rhetoric had taken root, Roosevelt recognized that closer ties with the American movie industry might be in the government’s best interest. When the U.S. finally entered the war, Roosevelt said, “Entertainment is always a national asset. Invaluable in time of peace, it is indispensable in wartime.”

Creating a Bureau of Motion Pictures, Roosevelt also transformed part of the White House’s East Wing in order to screen films as a way of gauging the national mood. As the White House Historical Association puts it, “In 1942, Roosevelt ordered an East Terrace cloakroom called the ‘Hat Box’ converted into a movie theater. Here the president enjoyed watching newsreels and took special interest in the battles fought in Europe and Asia.”

Since then, films screened in the White House Family Theater have been a matter of public record. The Washington D.C. rare books store Second Story Books has a handwritten log of many of the movies screened during the FDR, Truman, and Eisenhower administrations, and it’s an eclectic list. FDR watched Paul Robeson in “The Emperor Jones” along with many Marie Dressler comedies. Many Disney films were screened for younger members of the Roosevelt family. And he even took movies on the road, including the 1943 version of “The Phantom of the Opera” to that year’s Cairo Summit, and Howard Hawks’ masterpiece “To Have and Have Not” to Yalta. The final film FDR watched before his death was the Charles Laughton noir “The Suspect,” screened in March 1945 and with Crown Princess Juliana of Holland in attendance.

Decades before President Obama made the reveal of his favorite movies each year an annual event, a kind of White House to Oscars pipeline took hold, starting with a White House screening of 1948’s eventual best picture winner “Hamlet.” Eisenhower’s screening of “High Noon,” which he later declared a personal favorite, established that movie as a go-to answer for presidents or aspiring presidents when asked their favorite movie.

The D.C.-Hollywood connection was then forever set during the Kennedy Administration. On November 20, 1963, two days before his assassination, JFK watched the last movie he’d ever see, the second James Bond entry, “From Russia with Love” — he had declared Fleming’s original novel one of his top 10 favorite books.

Subsequent administrations would go so far as to keep official screening records of all the movies watched at the White House Family Theater in their respective presidential libraries (though the University of Chicago Press compiled all of Nixon’s screenings, which featured some contemporary titles but veered more toward Old Hollywood throwbacks). There are publicly accessible archives online through these libraries where you can see what exactly was screened for POTUS during the Reagan administration, Bill Clinton’s, and George W. Bush’s.

Jimmy Carter saw about 480 movies at the White House during his four-years in office, including a pre-Cannes screening of “Apocalypse Now” in May 1979 with Francis Ford Coppola in attendance. One screening of Ingmar Bergman’s “Autuma Sonata” apparently drew 48 White House staffers, beyond the Family Theater’s capacity. Carter’s moviegoing even extended to Camp David, where he arranged a screening for Egyptian leader Anwar Sadat of “Star Wars” that they watched together in the leadup to the historic summit that led to peace between Egypt and Israel. Paul Schrader’s “Hardcore”? Screened at the White House.

Moviegoing at the White House Family Theater arguably hit an all-time high during the Reagan years, not surprising given that the White House’s occupant was a former Hollywood movie star himself. But Reagan went a step further than his predecessors by leaving mini reviews of the movies he screened, as recalled in the memoir of his press secretary Mark Weinberg, titled “Movie Nights with the Reagans.” Reagan’s taste could be pretty wide-ranging, and for as much as he was a staunch anti-communist Reagan told Warren Beatty he wished his movie “Reds” had a happy ending.

Later on, Gwyneth Paltrow says that Bill Clinton dozed off and snored loudly during a screening of “Emma,” while Roland Emmerich recalled to THR how Bill Clinton watched the White House get blown up for a screening of “Independence Day.” George W. Bush took the White House Family Theater so seriously that he actually had the whole thing redecorated in movie theater red to look like an old movie palace. Barack Obama screened “La La Land,” and Donald Trump‘s first movie he watched there was “Finding Dory.”

Now, the White House Family Theater is no more.

October 24, 2025 0 comments
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Movie Review Thamma | Soulless | Glamsham.com
Bollywood

Movie Review Thamma | Soulless | Glamsham.com

by jummy84 October 23, 2025
written by jummy84

Maddock Films extends its Horror-Comedy Universe (MHCU) with Thamma, pitched as a hor-rom-com (horror romantic comedy) mixing Indian folklore, mythology, and modern satire. Directed by Munjya’s Aditya Sarpotdar, it promises a fresh supernatural romance but collapses under overblown world-building and forced humour.

The film opens in 323 BC, where Sikandar (Alexander the Great) in Bharat, alarming the Betaals. The scene exists only to announce their ancient roots — visually grand, narratively pointless.

In the present, Alok Goyal (Ayushmann Khurrana), a Delhi journalist influencer, stumbles into the hidden world of Betaals. After a brutal encounter, he’s saved by Tadka / Tarika (Rashmika Mandanna), herself a Betaal. As she protects him from her own kind, love brews between them — the film’s only pulse amid chaos.

The story alternates between Delhi and the Betaals’ secret settlement, ruled by their chained leader Thamma / Yakshasan (Nawazuddin Siddiqui), imprisoned for defying their laws. He can only be freed when another Betaal breaks the same rule. Alok’s accidental entry triggers Thamma’s release and a war between humans and Betaals.

In a clumsy attempt to tie into the larger Maddock universe, Bhediya (Varun Dhawan) appears, seeking Alok’s blood to boost his powers. By the end, Alok learns that drinking Bhediya’s blood could make him stronger — a pointless, mechanical crossover that serves the franchise more than the story.

With its soulless structure and franchise-driven plotting, Thamma feels less like a film and more like a marketing extension linking Stree, Bhediya, Munjya, and now Thamma.

Ayushmann Khurrana anchors the film with easy charm, but shallow writing leaves him adrift. His evolution from influencer to reluctant hero feels rushed. Rashmika Mandanna gives Tadka intensity, but uneven dubbing and accent make her dialogue land awkwardly. Their chemistry works only in quiet pauses.

Nawazuddin Siddiqui’s Thamma is disappointingly flat — mythic in setup, lifeless in delivery. Paresh Rawal is underused, Sathyaraj’s cameo as a priest border on parody, and Varun Dhawan’s brief appearance feels contractual.

Tonally, Thamma never settles — not scary enough for horror, not witty enough for comedy, not tender enough for romance. The humour strains, the scares fizzle, and the romance suffocates beneath CGI and uneven pacing. The 1947 flashback looks cliché with no depth. The music by Sachin–Jigar, including the catchy “Tum Mere Na Huye”, feels misplaced, while the background score overwhelms.

Instead of expanding the MHCU organically, Thamma feels engineered. Cameos, callbacks, and name-drops replace heart and coherence. The wit and invention of Stree and Bhediya are missing — replaced by mechanical universe-building.

The film may be positioned as a horror romantic comedy, but the love is bland, and the blood runs thin.

Bottom line: Thamma wants to deepen the Maddock universe with myth and romance but ends up a patchwork of half-baked ideas. Flashy, noisy, and forgettable — a film that bites off more than it can chew.

Movie: Thamma
Director: Aditya Sarpotdar
Cast: Ayushmann Khurrana, Rashmika Mandanna, Nawazuddin Siddiqui, Paresh Rawal, Faisal Malik, Geeta Aggarwal, Rachit Singh, Ankit Mohan
Run Time: 150mins
Theatrical Release Date: 21 October 2025
Streaming Partner: Amazon Prime

October 23, 2025 0 comments
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