West Side Story(20th Century Studios)Release:

WEST SIDE STORY is produced and directed by Steven Spielberg from a script by Academy Award®-nominated screenwriter and Pulitzer Prize-winning playwright Tony Kushner. The film has been adapted for the screen from the original 1957 Broadway musical, which was written by Arthur Laurents with music by Leonard Bernstein, lyrics by Stephen Sondheim and concept, direction and choreography by Jerome Robbins. Tony Award® winner Justin Peck will choreograph the musical numbers in the film. Also leading the production are Tony Award®-winning producer Kevin McCollum and Academy Award®-nominated producer Kristie Macosko Krieger.

The film’s music team includes renowned conductor Gustavo Dudamel, who will helm the recording of Bernstein’s iconic score; Academy Award®-nominated composer and conductor David Newman (Anastasia) who will be arranging the score for the new adaptation; Tony Award®-winning composer Jeanine Tesori (Broadway’s Fun Home and Thoroughly Modern Millie), who will be working with the cast on vocals; and Grammy®-nominated music supervisor Matt Sullivan (Beauty and the Beast, Chicago), who will serve as executive music producer for the film.

WEST SIDE STORY will be released by The Walt Disney Studios in the US on December 18, 2020.

Starring
Ansel Elgort, Rachel Zegler, Ariana DeBose, Ana Isabelle, Corey Stoll, Brian d’Arcy James, Curtiss Cook, Rita Moreno
Directed By
Steven Spielberg
Produced By
Steven Spielberg
Executive Produced By

Licorice Pizza

Licorice Pizza is the story of Alana Kane and Gary Valentine growing up, running around and falling in love in the San Fernando Valley, 1973. Written and directed by Paul Thomas Anderson (Boogie Nights, Magnolia, Phantom Thread), Licorice Pizza tracks the treacherous navigation of first love.
Raised in the San Fernando Valley, Alana Kane (played by Alana Haim) and Gary Valentine (Cooper Hoffman) have never met before picture-taking day at Gary’s high school. Alana is no longer a student but is a young woman seeking to find and define herself beyond her uninspiring job as a photographer’s aide. Gary has already established himself as a working actor — and is quick to tell Alana this in an attempt to impress her. She is amused and intrigued by his preternatural confidence and they strike up a heartfelt, if awkward, rapport. Seeking to strengthen this connection with Alana, Gary wangles an opportunity for her to be his chaperone during a New York television appearance; on impulse, she agrees.
The TV appearance does not go exactly as planned and once back in California, each of them questions their future. Over time and as their friendship grows Gary pursues career opportunities outside of acting, and becomes a budding entrepreneur selling waterbeds and opening a pinball arcade; and Alana gives serious consideration to her future (including a foray into acting). On their own or side by side, both Gary and Alana experience a series of epiphanies that are both uproarious and bittersweet: close encounters with a famous actor (portrayed by Sean Penn), a Hollywood producer (Bradley Cooper), and a local politician (Benny Safdie). Both self-aware and at loose ends, Alana and Gary blaze through a time and place that carry for them the thrill of first love, entering adulthood, and the discovery of newfound potential — perhaps, most of all, in each other.

House of Gucci.

ONLY IN THEATERS NOVEMBER 24

House of Gucci is inspired by the shocking true story of the family empire behind the Italian fashion house of Gucci. Spanning three decades of love, betrayal, decadence, revenge, and ultimately murder, we see what a name means, what it’s worth, and how far a family will go for control.

Director: Ridley Scott
Screenplay: Becky Johnston and Roberto Bentivegna
Story: Becky Johnston
Based on the Book: “The House of Gucci” by Sara Gay Forden
Producers: Ridley Scott, p.g.a., Giannina Scott, p.g.a., Kevin J. Walsh, p.g.a., Mark Huffam, p.g.a.
Executive Producers: Kevin Ulrich, Megan Ellison, Aidan Elliott, Marco Valerio Pugini, Aaron L. Gilbert, Jason Cloth
Cast: Lady Gaga, Adam Driver, Jared Leto, Jeremy Irons, Jack Huston, with Salma Hayek and Al Pacino

Rated R for language, some sexual content, and brief nudity and violence

Clifford the Big Red Dog(Paramount Pictures)

When middle-schooler Emily Elizabeth (Darby Camp) meets a magical animal rescuer (John Cleese) who gifts her a little, red puppy, she never anticipated waking up to find a giant ten-foot hound in her small New York City apartment. While her single mom (Sienna Guillory) is away for business, Emily and her fun but impulsive uncle Casey (Jack Whitehall) set out on an adventure that will keep you on the edge-of-your-seat as our heroes take a bite out of the Big Apple. Based on the beloved Scholastic book character, Clifford will teach the world how to love big!

Rating
PG for impolite humor, thematic elements and mild action
Starring
Jack Whitehall, Darby Camp, Tony Hale, Sienna Guillory, David Alan Grier, Russell Wong and John Cleese
Directed By
Walt Becker
Produced By
Jordan Kerner, p.g.a., Iole Lucchese
Executive Produced By
Brian Oliver, Bradley J. Fischer, Valerii An, Brian Bell, Caitlin Friedman, Deborah Forte, Lisa Crnic

GHOSTBUSTERS: AFTERLIFE
Action/Adventure/Comedy
July 10, 2020

From director Jason Reitman and producer Ivan Reitman, comes the next chapter in the original Ghostbusters universe. In Ghostbusters: Afterlife, when a single mom and her two kids arrive in a small town, they begin to discover their connection to the original ghostbusters and the secret legacy their grandfather left behind. The film is written by Jason Reitman & Gil Kenan.

Directed by: Jason Reitman

Written by: Gil Kenan & Jason Reitman

Based on the 1984 film “Ghostbusters”
An Ivan Reitman film written by Dan Aykroyd and Harold Ramis

Produced by: Ivan Reitman

Executive Producers: Dan Aykroyd
Gil Kenan
Jason Blumenfeld
Michael Beugg

Cast: Carrie Coon
Finn Wolfhard
Mckenna Grace
and Paul Rudd

Clifford the Big Red Dog(Paramount Pictures)

When middle-schooler Emily Elizabeth (Darby Camp) meets a magical animal rescuer (John Cleese) who gifts her a little, red puppy, she never anticipated waking up to find a giant ten-foot hound in her small New York City apartment. While her single mom (Sienna Guillory) is away for business, Emily and her fun but impulsive uncle Casey (Jack Whitehall) set out on an adventure that will keep you on the edge-of-your-seat as our heroes take a bite out of the Big Apple. Based on the beloved Scholastic book character, Clifford will teach the world how to love big!

Rating
PG for impolite humor, thematic elements and mild action
Starring
Jack Whitehall, Darby Camp, Tony Hale, Sienna Guillory, David Alan Grier, Russell Wong and John Cleese
Directed By
Walt Becker
Produced By
Jordan Kerner, p.g.a., Iole Lucchese
Executive Produced By
Brian Oliver, Bradley J. Fischer, Valerii An, Brian Bell, Caitlin Friedman, Deborah Forte, Lisa Crnic

Belfast(Focus Features)Release:

Focus Features presents Kenneth Branagh’s BELFAST. Written and directed by Academy Award® nominee Branagh, BELFAST is the humorous, tender and intensely personal story of one boy’s childhood during the tumult of the late 1960s in the city of Branagh’s birth.

BELFAST is a movie straight from Branagh’s own experience. A nine-year-old boy must chart a path towards adulthood through a world that has suddenly turned upside down. His stable and loving community and everything he thought he understood about life is changed forever but joy, laughter, music and the formative magic of the movies remain.

Starring
Caitríona Balfe, Judi Dench, Jamie Dornan, Ciarán Hinds and Jude Hill
Directed By
Kenneth Branagh
Produced By
Laura Berwick, Kenneth Branagh, Becca Kovacik, Tamar Thomas

#LastNightInSoho

Short Synopsis

In acclaimed director Edgar Wright’s psychological thriller, Eloise, an aspiring fashion designer, is mysteriously able to enter the 1960s where she encounters a dazzling wannabe singer, Sandie. But the glamour is not all it appears to be and the dreams of the past start to crack and splinter into something far darker.

Long Synopsis

If you could go back in time, would you? Should you?

The past is another country, they say. One whose borders are locked. But what if that wasn’t entirely true? What if you could experience another time for yourself, in full sensory overload? That’s the situation for Eloise (Thomasin McKenzie) in Edgar Wright’s new psychological thriller. A newly minted fashion student who has just arrived in the Big Smoke of London to start her future, but Eloise is obsessed with the past – longing for a bygone age, desperate to have experienced 60s London in all its glory. However, Eloise’s uncanny psychic gift means that she may get the chance more literally than she realizes.

Moving into her drab student halls, Eloise is immediately intimidated by her glittering roommate Jocasta (Synnove Karlsen) and Jocasta’s fashion-forward friends. Despite the attempts of her friendlier classmate John (Michael Ajao) to encourage her, Eloise can’t stand the all-night parties. Instead, she finds a room for rent at the top of an old house owned by landlady Ms Collins (Diana Rigg). It’s there, still unsettled yet hopeful for a new start, that Eloise slips away into dreams of the 1960s.

But are her night-time visions only dreams? Eloise finds herself inhabiting the life of Sandie (Anya Taylor-Joy), a 1960s starlet in the making, as she sashays into the Café De Paris. Sandie is a wannabe singer, dancer, actress, star – and she’s dead set on making an impression. All of Sandie’s dreams seem to come true as she meets the charming Jack (Matt Smith), a manager who might be able to introduce her to the right people to help launch her career – and Eloise is pulled along with her on an intoxicating adventure of first love, bright lights and big dreams.

Eloise immediately adopts Sandie as her role model and guiding spirit, dyeing her hair to look more like her heroine and living for the nights when she can re-join the past in her dreams. But when Sandie’s life takes a turn for the darker, Eloise threatens to spin off right alongside her. Those ‘60s dreams are now full of darkness; a darkness that seems to spill over into Eloise’s everyday existence as Sandie’s troubles become a weight around Eloise’s neck. Is there a way to change the past and save Sandie? Can Eloise solve a decades old mystery before she too is put in danger?

Herein lies the suspenseful premise of LAST NIGHT IN SOHO, a dark-tinged, neon-drenched, new thriller starring Thomasin McKenzie (Leave No Trace, Jojo Rabbit), Anya Taylor-Joy (Emma, The Queen’s Gambit), Matt Smith (Doctor Who, The Crown), Rita Tushingham (A Taste Of Honey, Doctor Zhivago), Diana Rigg (The Avengers, Game Of Thrones, On Her Majesty’s Secret Service) and Terence Stamp (The Collector, The Limey, Superman II).

Edgar Wright (Baby Driver, Scott Pilgrim Vs The World) directs LAST NIGHT IN SOHO from a story he conceived and a script he co-wrote with Krysty Wilson-Cairns (1917). The film is produced by Nira Park, Tim Bevan, Eric Fellner and Edgar Wright. Executive producers are James Biddle, Rachael Prior, Daniel Battsek and Ollie Madden along with associate producers Leo Thompson and Laura Richardson.

For his creative production team, Wright turned to regular collaborators including production designer Marcus Rowland (Baby Driver, Scott Pilgrim Vs The World), BAFTA winning editor Paul Machliss, ACE (Baby Driver, Scott Pilgrim Vs The World) and Academy Award winning composer Steven Price (Baby Driver, Gravity, The World’s End). But he also recruited exciting new team members including cinematographer Chung-hoon Chung (Oldboy, The Handmaiden, It), and Emmy winning and BAFTA nominated costume designer Odile Dicks-Mireaux (An Education, Brooklyn, Chernobyl).

LAST NIGHT IN SOHO is a Working Title / Complete Fiction production, in association with Perfect World Pictures, of an Edgar Wright film for Focus Features and Film4 and was shot on location in Soho, Leavesden, Ealing Studios and London.

#ANTLERS.

Scott Cooper, an acclaimed filmmaker known for his artful exploration of the human condition, has made a diverse array of films, each one examining cultures and stories within a host of genres. From the underside of addiction in the country music world in CRAZY HEART, to the intense familial drama that haunts the thriller OUT OF THE FURNACE, to his astute take on the journey of Native Americans in the aftermath of battle in his western HOSTILES, Cooper has sought to redefine our expectations of classic genre norms. And while Cooper explores the underlying social issues in his writing and filmmaking, he always seeks to assemble a crew of craftspeople to showcase eye-catching cinematography, intricate sound design, impeccable production design and dynamic acting to create an immersive cinematic experience. With ANTLERS, Cooper jumped at the chance to tackle the genre of classic horror, and to work with the maestro himself Guillermo del Toro, a man who knows the way to boldly tell a tale of monsters.
Cooper’s attraction to the horror genre may have been the next logical step in an already nontraditional career. “Horror movies have always been among my favorites— DON’T LOOK NOW, THE EXORCIST, THE SILENCE OF THE LAMBS, and of course THE SHINING”, says Cooper. “And after doing a -musical in CRAZY HEART, a suspense thriller in OUT OF THE FURNACE, a gangster movie with BLACK MASS and a western with HOSTILES, it felt natural to segue into horror,” says Cooper.
But Cooper wasn’t interested in horror-for-horror’s sake. He was intent to tackle a narrative that would allow him to employ the classic horror genre as a vehicle for telling a terrifying story of one family’s journey into darkness, steeped in the intimacy of a small northwestern seaside town. “How could I talk about what’s happening in America today and somehow draw those themes into horror? To me, the best of those films shares elements of social commentary, while also delving into the fears and weaknesses that haunt so many of us,” he says, adding that centering his story around a tortured yet formidable heroine as embodied by the versatile actress Keri Russell was a “complete coup for my film.”
As luck would have it, in the summer of 2017, producer David S. Goyer (THE DARK KNIGHT) met with producer J. Miles Dale (THE SHAPE OF WATER) about a script written by Nick Antosca and C. Henry Chaisson, who’d adapted author-producer Antosca’s (Hulu’s The Act) short story “The Quiet Boy.”

#DUNE

Dune Interviews Go Behind Scenes with Cast of the film First behind scenes Look Exclusive | Subscribe youtube.com/channel/UC2IN1p9X5dGi3DnO2cPV8bQ

In Theaters and HBO Max Oscar nominee Denis Villeneuve (“Arrival,” “Blade Runner 2049”) directs Warner Bros. Pictures and Legendary Pictures’ “Dune,” the big-screen adaptation of Frank Herbert’s seminal bestseller of the same name. A mythic and emotionally charged hero’s journey, “Dune” tells the story of Paul Atreides, a brilliant and gifted young man born into a great destiny beyond his understanding, who must travel to the most dangerous planet in the universe to ensure the future of his family and his people. As malevolent forces explode into conflict over the planet’s exclusive supply of the most precious resource in existence—a commodity capable of unlocking humanity’s greatest potential—only those who can conquer their fear will survive. The film stars Oscar nominee Timothée Chalamet (“Call Me by Your Name,” “Little Women”), Rebecca Ferguson (“Stephen King’s Doctor Sleep,” “Mission: Impossible – Fallout”), Oscar Isaac (the “Star Wars” franchise) Oscar nominee Josh Brolin (“Milk,” “Avengers: Infinity War”), Stellan Skarsgård (HBO’s “Chernobyl,” “Avengers: Age of Ultron”), Dave Bautista (the “Guardians of the Galaxy” films, “Avengers: Endgame”), Stephen McKinley Henderson (“Fences,” “Lady Bird”), Zendaya (“Spider-Man: Homecoming,” HBO’s “Euphoria”), Chang Chen (“Mr. Long,” “Crouching Tiger, Hidden Dragon”), David Dastmalchian (“Blade Runner 2049,” “The Dark Knight”), Sharon Duncan-Brewster (“Rogue One: A Star Wars Story,” Netflix’s “Sex Education”), with Oscar nominee Charlotte Rampling (“45 Years,” “Assassin’s Creed”), with Jason Momoa (“Aquaman,” HBO’s “Game of Thrones”), and Oscar winner Javier Bardem (“No Country for Old Men,” “Skyfall”). Villeneuve directed “Dune” from a screenplay he co-wrote with Jon Spaihts and Eric Roth based on the novel of the same name written by Frank Herbert. Villeneuve also produced the film with Mary Parent, Cale Boyter and Joe Caracciolo, Jr. The executive producers are Tanya Lapointe, Joshua Grode, Herbert W. Gains, Jon Spaihts, Thomas Tull, Brian Herbert, Byron Merritt and Kim Herbert. Behind the scenes, Villeneuve reteamed with two-time Oscar-nominated production designer Patrice Vermette (“Arrival,” “Sicario,” “The Young Victoria”), two-time Oscar-nominated editor Joe Walker (“Blade Runner 2049,” “Arrival,” “12 Years a Slave”), two-time Oscar-winning visual effects supervisor Paul Lambert (“First Man,” “Blade Runner 2049”), and Oscar-winning special effects supervisor Gerd Nefzer (“Blade Runner 2049”). He also collaborated for the first time with Oscar-nominated director of photography Greig Fraser (“Lion,” “Zero Dark Thirty,” “Rogue One: A Star Wars Story”); three-time Oscar-nominated costume designer Jacqueline West (“The Revenant,” “The Curious Case of Benjamin Button,” “Quills”) and co-costume designer Bob Morgan; and stunt coordinator Tom Struthers (“The Dark Knight” trilogy, “Inception”). Oscar-winning and multiple Oscar-nominated composer Hans Zimmer (“Blade Runner 2049,” “Inception,” “Gladiator,” “The Lion King”) is creating the score. Warner Bros. Pictures and Legendary Pictures Present “Dune.”

HALLOWEEN KILLS – In Theaters October 15

Official Website | Facebook | Twitter | Instagram | YouTube | #HalloweenKills

In 2018, David Gordon Green’s Halloween, starring icon Jamie Lee Curtis, killed at the box office, earning more than $250 million worldwide, becoming the highest-grossing chapter in the four-decade franchise and setting a new record for the biggest opening weekend in history for a horror film starring a woman.

And the Halloween night when Michael Myers returned isn’t over yet.

Minutes after Laurie Strode (Curtis), her daughter Karen (Judy Greer) and granddaughter Allyson (Andi Matichak) left masked monster Michael Myers caged and burning in Laurie’s basement, Laurie is rushed to the hospital with life-threatening injuries, believing she finally killed her lifelong tormentor.

But when Michael manages to free himself from Laurie’s trap, his ritual bloodbath resumes. As Laurie fights her pain and prepares to defend herself against him, she inspires all of Haddonfield to rise up against their unstoppable monster.

The Strode women join a group of other survivors of Michael’s first rampage who decide to take matters into their own hands, forming a vigilante mob that sets out to hunt Michael down, once and for all.

Evil dies tonight.

Universal Pictures, Miramax, Blumhouse Productions and Trancas International Films present Halloween Kills, co-starring Will Patton as Officer Frank Hawkins, Thomas Mann (Kong: Skull Island) and Anthony Michael Hall (The Dark Knight).

From the returning filmmaking team responsible for the 2018 global phenomenon, Halloween Kills is written by Scott Teems (SundanceTV’s Rectify) and Danny McBride and David Gordon Green based on characters created by John Carpenter and Debra Hill. The film is directed by David Gordon Green and produced by Malek Akkad, Jason Blum and Bill Block. The executive producers are John Carpenter, Jamie Lee Curtis, Danny McBride, David Gordon Green and Ryan Freimann.

Genre: Horror
Cast: Jamie Lee Curtis, Judy Greer, Andi Matichak, Will Patton, Thomas Mann and Anthony Michael Hall
Directed by: David Gordon Green
Written By: Scott Teems & Danny McBride & David Gordon Green, based on characters created by John Carpenter and Debra Hill
Producers: Malek Akkad, Jason Blum, Bill Block
Executive Producers: John Carpenter, Jamie Lee Curtis, Danny McBride, David Gordon Green, Ryan Freimann

No Time To Die

Where once the James Bond films played as separate adventures, linked by characters both malevolent and benign, EON Productions wanted the Daniel Craig series to unfold as a unified whole. Quantum Of Solace (2008) picked up immediately after Casino Royale (2006), which had tracked Bond’s initiation into the life of a double-O agent. Skyfall (2012) slotted into the series to reveal important aspects of Bond’s early life.
Now, the 25th film in the EON series, No Time To Die, begins in the aftermath of Spectre (2015) where the film’s conclusion saw Bond (Craig) and Madeleine Swann (Léa Seydoux) drive away in the Aston Martin DB5.
When Bond makes his first appearance in No Time To Die, he and Madeleine are in Matera, a rocky, hilltop city perched atop Southern Italy. According to series producer Michael G. Wilson, the narrative was always going to pick up with the Bond and Madeleine relationship. “The question was when,” he says.
Fellow producer Barbara Broccoli explains: “There was the debate on how we continue telling the love story and explore the themes that have become so pivotal across the Daniel Craig movies.”
“With No Time To Die there was a strong story to finish off, lots of loose ends to tie up,” says Craig. “I think we have managed to tell that story and get everything rounded up.”
Themes exploring secrets, betrayal and trust have stitched together the last four films and they propel the narrative towards its thrilling conclusion in No Time To Die. After the heartbreak he suffered with the loss of Vesper Lynd (Eva Green) in Casino Royale, his fluctuating relationship with M and MI6, and the pain inflicted by the revelations imparted by Blofeld (Christoph Waltz), Bond has taken another risk, letting down his guard with Madeleine as he bids to try and love again.
3
“If Bond is going to commit to a relationship, this throws up so many emotional challenges for him,” continues Broccoli. “So trust is the biggest theme in this movie; making an emotional commitment with someone is very difficult because of his history with attachments, and then betrayal being a big part of the break-up of those attachments.”
Though he is committing to his relationship with Madeleine, No Time To Die begins with Bond having severed his longest-lasting relationship, his employment with MI6. Associate producer Gregg Wilson notes that Bond’s retirement opened the filmmakers to a new reality.
“Bond being retired was a new place for us,” he says, “thinking what this man would be like if he didn’t have his day job. When you have devoted your life to the service, like Bond, what is the legacy that you leave behind?”
To tell this story, the filmmakers turned to visionary filmmaker Cary Joji Fukunaga (Jane Eyre, Sin Nombre, True Detective), who stepped in after the production parted ways with director Danny Boyle. Michael G. Wilson and Broccoli had long admired Fukunaga’s work as both a writer and a director and first met the filmmaker in New York shortly after the release of Spectre.
“When we met, Cary said he would love to do a Bond film at some point,” explains Broccoli, “So when Danny Boyle exited the project, we were looking for a new director and he reached out. It was amazing that he was available. His enthusiasm for the project and also his ability as a writer really came into it. It all worked out miraculously.”
Fukunaga is the first American to direct a Bond film. “I think that all Cary’s films are incredible and he is able to work in any kind of genre,” explains Michael G. Wilson, “and he is also a wonderful writer.”
4

“He is great with characters and with actors and he brings a level of complexity to everything he does. He is a very international person. He speaks several languages, is very well travelled and is also a kind of maverick. He is young and enthusiastic and he is visually extraordinary. Cary is also able to make very complicated things understandable and that fit so well with what we wanted from this story.”
Fukunaga’s introduction to the Bond stories came when he went to watch Roger Moore’s swansong, 1985’s A View To A Kill, at his local cinema. “I remember loving the finale on the Golden Gate Bridge,” he recalls. “It seemed like Bond had crossed over into my world. It was just a cool film with Roger Moore kicking ass.”
As Fukunaga’s career developed as a writer, producer and director, those memories remained and he says that he always hoped to direct a Bond film one day and, like the producers, Fukunaga was particularly excited by Bond’s emotional journey across the preceding films. “When you’re coming after Casino, Quantum, Skyfall and Spectre, you have a good idea of the arc that Bond’s character has been going through,” he says.
“For us, this film comes five years after Spectre. The world has changed a lot since then and much of our discussion was around how we make this film feel of the time, but also of the universe of Bond, which is never really specific to a time. That was part of the very first conversations we had together with the producers and with Daniel. You also want to bring something new to the story and also you want to honour all the Bond films in terms of leitmotifs and expectations.”
Chief among those expectations is adventure and the associated danger. “Every Bond film has danger,” the director adds. “You take the scariest thing you can imagine facing the world, and then you have Bond to get in front of it and stop it. And what has been interesting in Daniel’s run is the added layers that he’s brought to that character.”
“There’s complexity, there’s damage, there’s also vulnerability that’s been covered up since the first of his films when Vesper Lynd died. His decision-making is interesting
5

because of his ingenuity and also because of his flaws. I think his is a really interesting story.”
With the story taking shape under the guidance of Fukunaga and of long-time Bond screenwriters Neal Purvis and Robert Wade, the producers and Daniel Craig also invited contributions from writer and actress Phoebe Waller-Bridge (Fleabag, Killing Eve), who brought her unique take on character and story, while also maintaining what Broccoli describes as Bond’s “essential Britishness”.
“Phoebe had a big impact on the script and we love working with her,” says Broccoli. “All the writers made a contribution and Cary tried to incorporate as much of everybody’s work as possible. The story is very complicated but it is told in a very understandable manner. The revelations are fascinating.”
“The character development is very deep and the relationships are complicated yet interesting and emotional. I think the script has turned out great,” Broccoli adds.
With No Time To Die picking up the story immediately after the events of Spectre, Fukunaga says that the first part of the film “is tracking the honeymoon story of Madeleine Swann and Bond once he’s retired.”
Of course, things don’t always go to plan. “They end up going their separate ways,” Fukunaga continues. “We then pick up with him five years later and the world’s changed. The world’s moved on. The whole political landscape has changed as well.”
“There is a threat brewing that involves SPECTRE and some other outside elements, and Bond is drawn back in to helping MI6 prevent a diabolical weapon from getting out in the world. It’s a fascinating tale with such brilliant characters, new and old.”

VENOM: LET THERE BE CARNAGE
2021 | SUPERHERO
Tom Hardy returns to the big screen as the lethal protector Venom, one of MARVEL’s greatest and most complex characters. Directed by Andy Serkis, the film also stars Michelle Williams, Naomie Harris and Woody Harrelson, in the role of the villain Cletus Kasady/Carnage.

DIRECTED BY
Andy Serkis

SCREENPLAY BY
Kelly Marcel

STORY BY
Tom Hardy & Kelly Marcel