All articles tagged with #theatrical release
Warner Bros. Discovery spent about $70 million to produce the live‑action/animation hybrid Coyote Vs. Acme, shelved it in 2023 with a roughly $30 million write‑off, and then sold it to Ketchup Entertainment for $50 million, which will release the film theatrically on August 28 after a sustained industry push and internal battles over creative choices (including reintroducing Peter Lorre’s likeness).
Olivia Wilde calls The Invite the most incredible experience of her life and the highlight of her career after the film’s European premiere at Locarno. She fought for a theatrical release, describes the dinner party dramedy as a collaborative project that honors influential filmmakers, and notes its reception as a rare summer hit with an ensemble including Seth Rogen, Penélope Cruz and Edward Norton.
At Locarno, Olivia Wilde says studios bribe financiers to move her new film The Invite to streaming, arguing the deal mainly benefits financiers rather than filmmakers and praising A24 for sticking with theatrical release.
At Locarno, Olivia Wilde said studios try to bribe financiers to shift her film The Invite from theaters to streaming, noting that the money goes to the financiers rather than the filmmakers; she praised A24 for supporting a theatrical run and highlighted how a bigger payday via streaming can influence decisions, underscoring the ongoing Hollywood tension between streaming and theatrical release.
Olivia Wilde said she fought to secure a theatrical release for The Invite after its strong Sundance audience response, pushing back on streaming-only offers and thanking producer Megan Ellison and FilmNation for backing cinemas. She noted the Locarno screening and a Swiss rollout, and cited current grosses of about $23.5 million domestically and $18 million internationally. Wilde argues comedies thrive on the communal cinema experience and pressed to shoot the film in 35mm.
At Locarno, Olivia Wilde says The Invite melted her cynicism by reframing romance as a possibility to begin again with the same partner. She notes the film’s focus on multiple relationships with one person, its resonance with younger audiences, and her pride in fighting for a theatrical release. Wilde also praises the ensemble and discusses how directing helped her show a more vulnerable, expressive side, leaving her more optimistic about romance in cinema.
At Locarno, Olivia Wilde said she insisted The Invite receive a theatrical release, calling deals that pay filmmakers to bypass theaters a 'bribe.' She lauded A24 and FilmNation for backing a cinema run, noting the communal value of the big-screen experience. The movie, Wilde's director-actor project starring Seth Rogen, Penélope Cruz, and Edward Norton, was screened to a sold-out Piazza Grande crowd, with Wilde underscoring the importance of theaters for comedy.
Kotaku argues that Avatar Aang: The Last Airbender is a visually stunning, well-crafted film saved from being merely good by its artistry, but hamstrung by a limited, awards-driven theatrical run and a shift to Paramount+; set between the original series and The Legend of Korra, the brisk 99-minute runtime sidelines some beloved characters, though Avatar Studios’ animation and fight sequences shine, making the big-screen experience the ideal, even if watching on a smaller screen is still worthwhile.
Tom Cruise praised Christopher Nolan’s The Odyssey after an early screening, thanking Nolan, Emma Thomas, and the cast and crew for an “amazing night in a movie theater.” He celebrated the film as an immersive, IMAX 70mm project (the first feature shot entirely with that format) and noted the strong critical buzz ahead of its official Friday release, reaffirming his long-standing advocacy for cinema-going over streaming alongside Nolan’s acclaimed theatrical legacy.
A24 is re-releasing the surprise horror hit Backrooms as 'Backrooms: Everything Must Go Edition' with 15 minutes of bonus footage, running about 2 hours 6 minutes and hitting theaters on July 3. The re-release features a theatrically exclusive post-credits sequence with footage from director Kane Parsons, who rose to attention on YouTube as a teen. The move aims to capitalize on the busy July 4th weekend amid competition from Toy Story 5 and Minions & Monsters; A24 did not immediately comment.
Olivia Wilde explains that The Invite was made like a play: shot in 21 days on film, sequentially, on a single San Francisco set, with the cast rehearsing for six weeks and working for scale to maintain a claustrophobic, labyrinth-like apartment that becomes a fifth character. She rejected streamer routes in favor of a theatrical release, seeing a rising indie-film audience (Gen Z returning to theaters) as a positive sign amid streaming upheaval; she frames the lukewarm 38% Rotten Tomatoes score for Don’t Worry Darling as liberating and a learning moment. Wilde also praises Seth Rogen’s performance, Jade Healy’s production design, and the ending’s deliberate ambiguity, which invites readers to read the couples’ relationships through the home’s mirrors and spaces.
After premiering at SXSW, Boots Riley urged fans on social media to see I Love Boosters during its May 22 opening weekend to secure a proper theatrical run, telling audiences to call local theaters and bring friends; the surreal, arthouse film stars Naomi Ackie, Keke Palmer, Taylour Paige, Poppy Liu and Demi Moore as a crew of boosters challenging the fashion world, with Riley cautioning that delaying could lead to the film being pulled from screens.
Space.com argues that a theatrical movie featuring The Mandalorian and Grogu may be a misstep: the trailer is underwhelming, fan fatigue around Pedro Pascal is growing, and turning nostalgia into a big-screen event risks undermining the franchise’s momentum. The piece acknowledges canonical potential but suggests Disney/Lucasfilm should save such a project for a future era, especially since all three seasons of The Mandalorian are already on Disney+.
An untitled Oasis reunion documentary produced by Magna Studios and Sony Music Vision and directed by Dylan Southern and Will Lovelace will have a limited theatrical run in IMAX and other cinemas on Sept. 11, 2026, before streaming on Disney+ internationally later this year; the film follows the band's world tour with rehearsals, backstage access and the first Noel–Liam interviews in over 25 years, framed as a celebration of fans and the cultural moment, with Steven Knight as writer and producer.
Netflix will grant Greta Gerwig’s Narnia: The Magician’s Nephew a wide theatrical window before streaming, marking the streamer’s first major move into broad in-theaters releases; the film will open in theaters in February and then stream on Netflix, a strategy Netflix says is not a general change but signals growing interest in collaborations with theaters amid pressure from the industry to extend theater windows.