‘Project Hail Mary’ is a big hit at the box office already.
Ryan Gosling stars in the movie.
Elsewhere, Pixar’s ‘Hoppers’ stayed strong but ‘Ready or Not 2: Here I Come’ only found modest results.
‘Project Hail Mary’ chronicles a man in spaceship on a mission to save humanity from a star-snacking organism. And the movie itself, which stars Ryan Gosling, has just saved Amazon MGM’s box office hopes.
The new film, adapted from the novel by ‘The Martian’s Andy Weir by writer Drew Goddard and directors Phil Lord and Chris Miller, enjoyed a massive domestic opening of $80.5 million, the biggest by far for the studio.
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Even with a hefty $200 million budget to make up (not including a big ad campaign), the movie’s worldwide start of 140.9 million –– the biggest in Amazon MGM’s history and the strongest launch for a movie so far this year –– will go some way to helping that.
Pixar’s ‘Hoppers,’ which has proved to be a welcome success for the animation company, slid to second place after a couple of weeks. It added $18 million for $120.4 million domestically.
Third place went to the Indian action epic ‘Dhurandhar: The Revenge,’ which earned $9.5 million from just 987 locations.
Searchlight’s ‘Ready or Not 2: Here I Come’ had to make do with $9 million domestically and $11.9 million globally, but has a relatively smaller budget of around $20 million.
Finally, in fifth place we find romantic drama ‘Reminders of Him’, which made $8 million.
What’s on the horizon?
(L to R) Luigi, Yoshi, Mario and Toad in Nintendo and Illumination’s ‘The Super Mario Galaxy Movie’, directed by Aaron Horvath and Michael Jelenic.
‘Project Hail Mary’ should have a clear run to keep earning next week, though Universal’s ‘The Super Mario Galaxy Movie’ is looming, and if it follows the pattern of the original, will likely launch in first place when it arrives on April 1.
‘Ready or Not’ was a breath of fresh air when it came out in 2019: directors Matt Bettinelli-Olpin and Tyler Gillett (‘Scream’ and ‘Scream VI’), screenwriters Guy Busick and R. Christopher Murphy, and star Samara Weaving delivered a smart, subversive, often wickedly funny and unapologetically gory horror comedy that poked fun at wealth and marriage.
‘Ready or Not 2: Here I Come’ reunites the same team and adds some more ingredients, including a new cast and an expanded in-movie mythology, occasionally yielding the same results. The movie is fun, although it takes a long time to get going and a lot of what worked the first time already seems familiar now.
The new film literally opens as the first one ends, with a bloodied Grace Le Domas (Weaving) stumbling out of her in-laws’ burning estate, having survived a brutal game on her wedding day in which her new family must sacrifice her to a demon or face ruination and death. Grace (who immediately starts using her maiden name of MacCaullay again) is whisked to the hospital, where she’s met by her estranged sister Faith (Kathryn Newton), who was called as her emergency contact.
Before the siblings can barely start airing grievances, however, they’re attacked (in a too-brief appearance from Kevin Durand); it turns out that the Le Domas family were part of a council of wealthy, powerful families who secretly rule the world thanks to their worship of Satan, and now that one of the families has been wiped out, the others have one night to kill Grace lest the same misfortune befall them. This time, however, Faith is caught up in the hunt, and the two sisters must face a violent onslaught by not one but four families, including the all-powerful Danforth clan.
‘Ready or Not 2’ gets off to a creaky start: the entire first act is almost all exposition, as first Grace explains the plot of the first film to Faith, and then a smug, subtly amused Elijah Wood – as the council’s unnamed lawyer – lays down the complicated rules of the new game once Grace and Faith are captured (those rules, by the way, are bent or disregarded more than once as we go along). All that throat-clearing takes a long time and slows the pace to a crawl, only punctuated by the first attack on the sisters in the hospital.
Once the game’s afoot, the action picks up again and the first kill (death by industrial washing machine) is morbidly hilarious, thanks to Weaving and Newton’s reactions. Most of the would-be killers this time are barely sketched in as characters – save for the sinister brother-sister act of the Danforths, played by Shawn Hatosy (‘The Pitt’) and ‘Buffy the Vampire Slayer’ icon Sarah Michelle Gellar – which is a bit of a letdown from the first film: the dynamic there, as the Le Domas clan picked at each other while hunting Grace, offered a scathing critique of family that is missing from the new story.
In one funny/not funny early sequence, the Danforth patriarch, played by legendary director David Cronenberg, picks up a bedside phone and mutters ‘Approve the ceasefire,’ while watching footage of a war zone on his TV. No sooner does he hang up then a ‘Breaking News’ banner announces the ceasefire. The idea that a small coterie of very rich, well-connected oligarchs runs the world – a sort of cross between the Illuminati and the High Table of the ‘John Wick’ films – is a prescient and all too timely one, but ‘Ready or Not 2’ more or less pays it lip service and moves on.
The film really shines brightest and comes fully alive when the MacCaullay sisters fight, claw, shoot, and kick their way through the vast new labyrinth of a Danforth-owned resort, although it begins to feel repetitive down the stretch. A more acidic layer of social critique is largely absent this time amidst all the hardcore violence and gore. Two movies in, ‘Ready or Not’ is still entertaining but has lost that fresh feeling.
Although their relationship follows a shopworn narrative arc (the sisters greet each other coldly, fight, make up, fight, make up again, become besties), Weaving and Newton (‘Ant-Man and the Wasp: Quantumania’) make a great team and their interactions do keep ‘Ready or Not 2’ appealing. Weaving’s huge eyes and expressive features only emphasize her star presence, while Newton has undeniable charisma with a jaded undercurrent. Their chemistry makes the siblings’ relationship organic and well-earned.
Gellar and Hatosy make a solid brother-sister act as well, the former working a few extra layers into her character and the latter proving effective as a truly vicious, misogynistic psychopath (with all the money and power in the world at his fingertips). It’s great to see Cronenberg in his extended cameo, and the best of the supporting cast is the ever-efficient lawyer played by Elijah Wood, who’s clearly having himself a grand old time and wants to share it with us.
Directors Bettinelli-Olpin and Gillett have their strengths, including an eye for detail and a dark sense of humor, as well as their weaknesses, such as a tendency to edit their fight scenes a little too choppily. Their use of already tired tropes (such as scoring a violent confrontation with an incongruous pop ballad) is matched by their ability to concoct macabre but highly funny set pieces and some outrageous moments of gore.
But while ‘Ready or Not 2’ is moderately entertaining (especially in its second half), this sequel doesn’t sizzle like its predecessor despite doubling down on its protagonists, its world-building, and its undeniably hateful (and rich) villains. If the box office gross leads to a third film, the rules of the game may have to be changed before we’re ready (or not) to return.
‘Ready Or Not 2: Here I Come’ receives a score of 70 out of 100.
What is the plot of ‘Ready Or Not 2: Here I Come’?
After surviving a brutal ‘game’ that resulted in the deaths of her husband and in-laws, Grace MacCaullay learns that the wealthiest and most influential families on Earth have to kill her in a new game or risk losing their power and fortunes. Grace refuses to participate at first – until her younger sister, Faith, is also marked for death.
Who is in the cast of ‘Ready Or Not 2: Here I Come’?
We don’t know what role Arnett will be playing in the film, though apparently the amount to be reshot is minimal and the movie is still expected to wrap its production in the coming weeks.
While both Pascal and Gilroy –– thanks to their work in the ‘Star Wars’ galaxy –– are used to secrecy, this one is wrapped in even further layers of mystery. But a few details have emerged.
Gilroy has said in the past that it’ll focus on a cellist who moves back to Los Angeles and decides to make music for movies. The film explores why he came back and why he went away, delivered in a nonlinear, music-driven structure.
The whole movie is told through music cues, which trigger flashbacks spanning the last 20 years.
Oscar Isaac had been attached to the main role, but his busy schedule meant that he recently had to drop out. Ironically, Pascal, who might be one of the other busiest actors on the planet, had free time.
Arnett has been drawing some awards buzz for his role in Bradley Cooper’s ‘Is This Thing On?’ though has so far not scored any trophies.
He has a small recurring role on ‘The Morning Show’ and variety of projects in development, including TV series ‘Fish Out of Water’ and ‘Temporary Humans.’
When will ‘Behemoth!’ be in theaters?
Searchlight hasn’t yet said when ‘Behemoth!’ will arrive on its release schedule; the switch between actors is not expected to impact the timing since what needed to be re-shot was relatively small.
You probably won’t see another movie like ‘The Testament of Ann Lee’ this awards season or even this year. It’s a strange, often surreal, and numinous historical drama that’s frequently harrowing yet at times extremely moving. It’s also a musical of sorts, although many of the numbers are based on religious hymns and wouldn’t sound out of place in a folk horror film.
Directed by Mona Fastvold and co-written by Fastvold with her longtime partner Brady Corbet – who directed 2024’s ‘The Brutalist,’ which the couple also co-wrote – ‘Ann Lee’ is, like that film, eerily immersive in its historical period and driven by a singular performance from its star. You simply cannot take your eyes off Amanda Seyfried in this film, even if other actors are somewhat sidelined and the film itself raises questions about its subject that are never really answered.
Born in Manchester, England in 1736, Ann Lee (Amanda Seyfried) is brought up in a strict religious household, one of eight children, and sent to work at an early age in a cotton factory. In her 20s, she joins a religious sect known as the Shakers – literally the ‘Shaking Quakers,’ an offshoot of the Quaker faith that expiates sin and expresses devotion to God through ecstatic shaking, dancing, and singing.
After marrying an iron worker named Abraham (Christopher Abbott), being initiated into sex, and giving birth to four children who all die in infancy, Ann is committed to an asylum. These experiences, combined with a stint in prison for public evangelizing, trigger visions which result in her being deemed the second coming of Christ in female form.
Now known as Mother Ann Lee, Ann establishes a doctrine for the Shakers that renounces all sexual activity, which does not sit well with Abraham. Yet the Shakers also believe in gender equality, pacifism, human rights (they are appalled by slavery), and community sharing. Increasingly persecuted in England, Ann, her devoted brother William (Lewis Pullman), and a small band of followers journey to the American colonies and settle in upstate New York – but their persecution doesn’t end there.
Mona Fastvold presents all this in linear, straightforward fashion, adding surreal imagery and some showy camera moves to accentuate the more spiritual moments of Ann Lee’s life. The songs – a mix of chants, Shaker hymns, and folk melodies – are haunting enough to not clash with the film’s tone and esthetic, which veers from the pastoral to the brutal – the latter especially in the scenes where Ann gives birth, as well as a later, harrowing sequence of persecution and torture.
Where Fastvold loses focus is the story’s meaning. The Shakers espoused some truly progressive ideals, and their dancing and shaking were indeed rapturous, even bordering (at least onscreen) on the erotic. That brings Ann’s whole rigid adherence to celibacy for her flock into question, along with her own mental state and the frankly cult-like piety of her followers.
Was she channeling the divine, or was she suffering from trauma brought on by sexual dysfunction and the horrific loss of her children? How did her anti-sex mandate coexist with ‘be fruitful and multiply’? The film doesn’t make a strong case either way, and while it’s visually powerful and often dramatically moving, there’s a bit of an empty feeling at the end (especially when the closing credits reveal that there are only three Shakers left in the world today).
Amanda Seyfried has always been an exceptional actor, but she pushes herself to new heights in ‘Ann Lee.’ In a year full of raw performances by women like Rose Byrne, Jessie Buckley, and Jennifer Lawrence, Seyfried not only fearlessly embraces the extremes that are brought upon Ann – including graphically disastrous childbirths, beatings, and torture – but fully inhabits the spirituality and determination of the women.
While whatever drove Ann Lee – whether it was a connection to the divine or the throes of mental illness – is open to debate, Seyfried never leaves any doubt of what Ann herself believes. Her subtle physical transformation and beautiful singing voice only add to what is nothing less than an epic performance.
It’s a shame that many of the other characters and performers struggle to stand out in the shadow of Seyfried’s work, but Thomasin McKenzie makes an impression as her devoted assistant Mary and Lewis Pullman broadens his range as well with his portrayal of Ann’s fiercely loyal and devout brother William. Also notable is Christopher Abbott, whose face tells the story of a man who is slowly checking out of what he found so compelling about Ann and the Shaker beliefs – it’s too bad that he more or less disappears from the story halfway through.
Despite its thematic murkiness – and lapses in character development for everyone but its central figure – ‘The Testament of Ann Lee’ is still a unique cinematic experience. We can’t say enough about Seyfried’s performance, and the film as a whole is a gripping, evocative experience.
And setting aside the question of Ann’s convictions and the Shakers’ dedication to them, ‘Ann Lee’ is also a portrait of a woman trying to espouse and extend bold ideals and, of course, meeting resistance every step of the way. That she manages to create at least the beginnings of a truly egalitarian society, despite the odds and its own strange attributes, is akin in a way to the creation of such a challenging film itself.
‘The Testament of Ann Lee’ receives a score of 85 out of 100.
Visionary spiritual leader Ann Lee rises from obscurity in 18th century England to forge the radical religious movement that will become the Shakers. Driven by her beliefs and persecuted in two countries, Ann gathers devoted followers who come to see her as the female embodiment of Christ.
Who is in the cast of ‘The Testament of Ann Lee’?
Amanda Seyfried as Ann Lee
Lewis Pullman as William Lee
Thomasin McKenzie as Mary Partington
Christopher Abbott as Abraham Standerin
Stacy Martin as Jane Wardley
Scott Handy as James Wardley
Matthew Beard as James Whittaker
Viola Prettejohn as Nancy Lee
Tim Blake Nelson as Pastor Reuben Wright
‘The Testament of Ann Lee’ opens in theaters on December 25th.
Amanda Seyfried stars in ‘The Testament of Ann Lee’.
Moviefone recently had the pleasure of speaking with Amanda Seyfried about her work on ‘The Testament of Ann Lee’, her first reaction to the screenplay, why she wanted to take on the role, and how she prepared for the musical sequences.
You can read the full interview below or click on the video player above to watch our interviews with Seyfried, Lewis Pullman, Thomasin McKenzie, and Mona Fastvold.
Moviefone: To begin with, can you talk about your first reaction to reading the screenplay and why you wanted to take on this role?
Amanda Seyfried: I was very confused by the script because a lot of the hymns were just written out as bookmark. Because we weren’t sure which of the hymns we were going to use. There was a lot of moments of movement and worship that I couldn’t envision. So, I was very confused, and I told her. I was very honest about it, but I was also so curious because I couldn’t envision it, and I knew Mona could. I was like, I need to know what this is. I think I took on the role because I needed a challenge. I found it very hard to envision myself as this prominent feminist leader in the 18th century. I really admire Mona’s clarity as a director, and I just had to trust that she knew what she was doing when she cast me.
MF: Finally, can you talk about preparing for the musical sequences? Did you have rehearsal time and were you singing live on set?
AS: It was a lot of live singing, for sure. A lot of the movie is just me in that moment, which is very effective, especially when you’re singing softly or you’re in grief and you can you make certain noises on set that you might not make in the studio. We pre-recorded all the songs, many times in different ways. But then when you’re on set, things could really shift and evolve into something a little different and a little bit truer. So, that was a wonderful luxury, but also, I was a part of this for a year prior, so I dove in immediately with Daniel Blumberg, the composer. He was taking all these Shaker hymns and turning them on their heads and creating this incredible composition of minor chords and different rhythms. Things that I’ve never experienced before, he’s a magician and working with Celia Rowlson-Hall, who’s the choreographer, I worked with her for months and months, like hours and hours at the studio. Between jobs, we would do workshops with William Rexer, the DP, and Sam Ellison, our camera operator back in January of 2024. Just practicing and working with all these dancers and trying different ways of shooting and different lighting techniques and it was so much pre-production, constantly coming back together, even when we were working. I mean, Sam Ellison, the camera operator and I had shot with Will Rexer an entire television show last year. We were constantly coming back with Mona, and Mona directed one of the episodes. So, we were all together on another show being able to discuss things. On the weekends, we would get together and they would keep writing. It was just so much space and time and energy and passion underneath it all. So, by the time we got to Budapest, we were ready because we didn’t have that much time or money.
‘The Testament of Ann Lee’ opens in theaters on December 25th.
What is the plot of ‘The Testament of Ann Lee’?
Spanning 18th-century England and America, visionary spiritual leader Ann Lee (Amanda Seyfried) rises from obscurity to forge the radical religious movement that will become the Shakers. Haunted by personal tragedy yet driven by an unshakable belief in gender equality, communal living and ecstatic devotion, she gathers devoted followers who come to see her as the female embodiment of Christ. As persecution intensifies, Ann fights to protect both her followers and the incipient utopia they have begun to create.
Since the Oscar-winning success of ‘A Star is Born’, Bradley Cooper has been taking big swings, such as composer biopic ‘Maestro’.
His latest co-writing/directing (and in this case acting in a small but memorable supporting role) is a swing in a different direction –– it’s a more relatable, down-to-earth story but one that might still have some issues finding an audience, since it’s a largely downbeat story of a couple going through the machinations of a split with the unusual angle of the man involved finding something new in his life.
Cooper, writing here with Will Arnett and Mark Chappell, takes the story of UK comic John Bishop (who himself got into stand-up later in life after his marriage collapsed) and transposes it to the States.
Naturally, the focus is on Arnett’s character, but there is enough space for Dern’s to have her own storyline, while Cooper’s is more comic relief, but with an emotional undercurrent.
The various comics whom Arnett meets are well drawn enough given limited screen time.
Directorially, Cooper keeps things low key to match the story, and finds a good groove with his cast. The comedy isn’t exactly the best you’ve ever heard, but then that’s kind of the point.
Arnett’s Alex Novak is a careworn type, who feels like life has somewhat drained from him. Still, the actor gives him enough energy so as not to be a depressing chore.
Dern’s Tess, meanwhile, feels like an equally rounded character in her own right, and while most of the other characters drift in and out, the likes of Cooper and Andra Day’s do make an impact.
‘Is This Thing On?’ seems unlikely to find the sort of rapturous response as ‘A Star is Born,’ and it may still have trouble succeeding at the box office (since there are other, better examples of relationship and life dramas this awards season), but it’s got a certain something that works.
As their marriage quietly unravels, Alex (Will Arnett) faces middle age and an impending divorce, seeking new purpose in the New York comedy scene while Tess (Laura Dern) confronts the sacrifices she made for their family — forcing them to navigate co-parenting, identity, and whether love can take a new form.
The first images from ‘Ready or Not 2: Here I Come’ are online.
Samara Weaving returns, with Kathryn Newton playing her estranged sister.
Matt Bettinelli-Olpin and Tyler Gillett are once again in the director’s chair.
When the first sequel to magician heist movie ‘Now You See Me’ came out, there was widespread dismay that it wasn’t called ‘Now You See Me, Now You Don’t.’ While this year’s threequel has finally employed that title, the filmmakers behind 2019’s horror comedy thriller ‘Ready or Not’ are not wasting their own opportunity for a title pun.
Returning from the original (since, er, she was pretty much the only one to survive), is Samara Weaving’s Grace, still fighting for her life (see more on the story below).
The original movie followed a young bride (Weaving’s Grace) as she joined her new husband’s (Mark O’Brien) rich, eccentric family (which included Adam Brody, Henry Czerny, Andie MacDowell) in a time-honored tradition that turned into a lethal game with everyone fighting for their survival.
Writers Guy Busick and R. Christopher Murphy returned to craft the chaos, and we have an official synopsis: Moments after surviving an all-out attack from the Le Domas family, Grace discovers she’s reached the next level of the nightmarish game –– and this time with her estranged sister Faith (Kathryn Newton) at her side.
Grace has one chance to survive, keep her sister alive, and claim the High Seat of the Council that controls the world. Four rival families are hunting her for the throne, and whoever wins rules it all.
Bettinelli-Olpin and Gillett are clearly happy to be back at it:
“We’re thrilled to be returning to the world of ‘Ready or Not’ with Samara, Brett, Avery and Andrew and so excited to work with this immensely talented cast and the incredible artists across every department joining the ‘Ready or Not’ family.”
When will ‘Ready or Not 2: Here I Come’ be in theaters?
In theaters via Searchlight Pictures on November 21st is ‘Rental Family’, a comedy drama about the lies we tell others (and ourselves) that explores a fascinating real-world service in Japan through the eyes of an American actor.
Films that view Japan through the lens of outsiders can sometimes be distancing. Yet in ‘Rental Family’, co-writer/director Hikari has found an emotionally satisfying way into the unusual business of performers playing family members to help strangers through awkward social situations that not only has solid things to say about how we interact, but also tells a satisfying story.
Hikari co-wrote the script with collaborator Stephen Blahut, and together, they have crafted a sensitive, well-sketched portrait of a man seeking his place in a changing world who finds it in the seemingly fake world of pretend relatives.
While there are initially concerns that one of the subplots –– about Fraser’s character pretending to be a journalist interviewing a famed filmmaker whose faculties are failing –– might seem less effective than the main story of his bonding with a young girl needing a father to help her pass a school admissions test –– it all gets tied together and works well.
Fraser, who won the Oscar for ‘The Whale’, is, if anything, even better here, his big frame juxtaposed with his fellow Tokyo residents for both comic and emotional effect. He’s superb in the role of a struggling actor looking to find meaning, and his scenes with Shannon Gorman as young Mia are particularly effective.
Yet the movie also boasts great roles for the likes of Takehiro Hira and Mari Yamamoto, never neglecting to explore the inner worlds of the rental family company’s employees.
A movie such as this could, in the wrong hands, turn out mawkish and saccharine, but Hikari walks the line with such elegance and care that ‘Rental Family’ never has to lean on stereotype or crude laughs.
It’s a beautifully-crafted and effective comedy drama.
Set in modern-day Tokyo, ‘Rental Family’ follows an American actor (Brendan Fraser) who struggles to find purpose until he lands an unusual gig: working for a Japanese “rental family” agency, playing stand-in roles for strangers.
As he immerses himself in his clients’ worlds, he begins to form genuine bonds that blur the lines between performance and reality. Confronting the moral complexities of his work, he rediscovers purpose, belonging, and the quiet beauty of human connection.
Moviefone recently had the pleasure of speaking with Brendan Fraser and Takehiro Hira about their work on ‘Rental Family’, Fraser’s first reaction to the screenplay, Hira’s approach to his character, working with director Hikari, and shooting on location in Japan.
(L to R) Takehiro Hira and Brendan Fraser star in ‘Rental Family’.
You can read the full interview below or click on the video player above to watch our interview.
Moviefone: To begin with, Brendan, can you talk about your first reaction to the screenplay and why you were excited to play this character?
Brendan Fraser: First reaction, sign me up! Second reaction was that I love the premise of a rental family for how unusual that really and truly is. Then to learn that this really is a business, where I think it has been since the 1980’s or something like that. There are some 300 of them still exist in today, probably more now. But I felt like, of course it makes sense to have actors stand in for these surrogate mothers, fathers and brothers to the client’s needs. But the story itself deviates from that make believe pretend, and it gets real when they stop pretending and are genuinely affected by the relationships that are forged. I mean, take one look at little Shannon Mahina Gorman, and you can’t not fall in love with this kid, just like Philip does. He did not expect it. He didn’t even know he was looking for anything like that. But in her innocence and in his need to discover who he is and his paternal instincts that he didn’t know he had, something magical happens between the two of them. That’s really what the movie is about, when make believe stops and reality begins.
MF: Takehiro, can you talk about the unusual business that your character operates and why he recruits Phillip for this unique job?
Takehiro Hira: Because he’s a token white guy. Well, to be honest with you, in Japan, if you or let’s say, over the age of 70 and if you have gray hair and a big beard, you can get a job as a Santa Claus. That’s happened. I mean, you will see them all over the town during the Christmas period. So, along that line, you know, he’s found (the right person for the) part.
MF: Finally, Brendan, what was your experience like working with director Hikari and shooting on location in Japan?
BF: Hikari, well, she is her namesake. Light. Fire, energy and light. The experience of shooting and Japan was unique, singular to me. I traveled there several times before, but I was always trapped in a hotel room answering questions to journalists, with respect. So, this time I got to get out into the city, get good and lost, and eat a lot of good food. Make friends with people that I still feel are now my family and leave the experience after having worked with her, knowing that it is true. I do feel I am claimed by the cast and crew of ‘Rental Family’. I’ll be their guy forever, I will. It was so positive.
A lonely American actor (Brendan Fraser) living in Tokyo starts working for a Japanese rental family service to play stand-in roles in other people’s lives. Along the way, he finds surprising connections and unexpected joys within his new family.
While both Pascal and Gilroy –– thanks to their work on ‘Star Wars’ –– are used to secrecy, this one is wrapped in even further layers of mystery. But a few details have emerged.
Gilroy has said in the past that it’ll focus on a cellist who moves back to Los Angeles and decides to make music for movies. The film explores why he came back and why he went away, delivered in a nonlinear, music-driven structure.
The whole movie is told through music cues, which trigger flashbacks spanning the last 20 years.
Oscar Isaac had been attached to the main role, but his busy schedule meant that he recently had to drop out. Ironically, Pascal, who might be one of the other busiest actors on the planet, apparently has free time, and the cameras are rolling now.
And beyond ‘Behemoth!’, she’s also attached to new thriller ‘Monkey Hill.’
When will ‘Behemoth!’ be in theaters?
Searchlight hasn’t made an actual announcement about the release date for this one. Given that it has only just started shooting, that’s not surprising. But with that cast and director, we wouldn’t be shocked if this ended up positioned as an awards contender for later in 2026.
