‘Cobweb’ Review: Lizzy Caplan & Antony Starr Are Wonderfully Deranged In Samuel Bodin’s Bonkers & Scary Horror Delight

Beyoncé didn’t let the rain mess with the show or her glam during her Renaissance tour stop in Washington, D.C. on Sunday, August 6.

Jessica Kiang Nobody can be both the magnifying glass and the ant burning up under its glare. Nobody, that is, except shaggy Romanian shaman Radu Jude who, with his Locarno competition entry “Do Not Expect Too Much from the End of the World,” follows up 2021’s Berlinale-winning “Bad Luck Banging or Loony Porn” with a dizzying, dazzling feat of social critique, an all-fronts-at-once attack on the zeitgeist, and a mischievous, often hilarious work of art about the artifice of work.

It’s rare that European cinema impacts on Hollywood but it’s exciting when there’s a trickle-down effect, like the connection to be made between Denmark’s stripped-down Dogme movies, which launched in Cannes in the late ’90s, and Steven Spielberg’s decision to go back to basics (well, for him) with Catch Me If You Can a few years later. It’s a moot point how many will ever see Romanian director Radu Jude’s follow-up to his 2021 Berlinale winner Bad Luck Banging or Loony Porn, but, like Bob Dylan going electric or the Sex Pistols making their ramshackle debut at a London art school, this wilfully uncommercial but bloody-minded film could be genuinely seminal in its anarchic and totally individualistic approach, slipping discordant, Godardian subversion into a darkly comic, Ruben Östlund-style human drama.

Variety, the dual release of Barbie and Oppenheimer led to a sizeable uptick in UK box office numbers in July. Earlier this year, meanwhile, The Super Mario Bros. Movie had the most successful global opening ever for an animated film.At the time of writing (August 4), the video game adaptation is still the highest-grossing movie of the year, earning over $1.3billion at the global box office (via BoxOfficeMojo).

Maya Hawke already worked with her dad Ethan Hawke on the Flannery O’Connor biopic “Wildcat.” Now it’s time for her to star in something alongside her mom, Uma Thurman. And that something would be “The Kill Room,” a crime comedy about money-laundering scheme that accidentally turns a hitman into an overnight avant-garde sensation.

, but this time there's one major difference — the titular turtles are actually played by teenagers!«They're often middle-aged men doing Teenage-Voiced Mutant Ninja Turtles,» joked Seth Rogen when he sat down with ET's Will Marfuggi to talk about how a life-long love of the titular turtles led to writing and producing the latest installment in the long-running franchise.«I was really the target audience for the first iteration of all this stuff,» he explained, noting that he watched the cartoons and movies as a kid and was «obsessed» with the toys. «My dad bought like, a big box of used toys at a garage sale when I was a kid, and so I had those and I played with them so much.»However, Rogen admitted, «I always thought that the 'Teenage' part of it was weirdly under-explored, you know?»For his movie, the star added in more details about the turtles' desire to be just regular teens, and wanted the cast to be made up of voice actors that were closer in age to their characters than past iterations.star Brady Noon, 17, is Raphael, the bravest and strongest — but also most impulsive — of his brothers, who wears a red mask and fights with two pronged sai weapons.

Rebecca Rubin Film and Media Reporter Leonardo, Donatello, Raphael and Michelangelo are facing off against Barbie and Ken at the box office. Paramount’s animated adventure “Teenage Mutant Ninja Turtles: Mutant Mayhem” is projected to pick up $35 million to $45 million in its first five days of release. But those ticket sales won’t be enough to dethrone “Barbie,” which is expected to top the box office for a third weekend in a row.

One of this summer’s biggest surprises is the pure entertainment to be found scene-by-scene in “Teenage Mutant Ninja Turtles: Mutant Mayhem,” an inspired take on a once-blockbuster property that had previously been collecting dust in the IP toy box.

Looking to find its way and pull boys in, Teenage Mutant Ninja Turtles: Mutant Mayhem is getting a mid-week start here with previews yesterday grossing $3.85M. Showtimes started at 2PM for the Jeff Rowe-directed feature and the outlook is $30M over 5-days for the net $70M production. Some trackers have it at $40M. Mutant Mayheim is booked at 3,513 locations today and will expand to 3,851 theaters by Friday.

Did you know that Jack Quaid and Claudia Doumit are a real-life couple?!

Brent Lang Executive Editor It seemed like the end of the road for the “Teenage Mutant Ninja Turtles.” The popular kids franchise had inspired a half-dozen movies of declining quality, with the live-action 2016 adventure “Out of the Shadows” suffering from the kind of withering reviews and bad box office returns that derail a film series. But Paramount and Nickelodeon CEO Brian Robbins and Nickelodeon Animation and Paramount Animation president Ramsey Naito had an offbeat idea for how they could make the Turtles cool again. That involved tapping Seth Rogen and his producing partner Evan Goldberg, the duo behind “Superbad” and “This is the End,” to give the characters an adolescent flair.

Peter Debruge Chief Film Critic It started as a joke. Way back in the ’80s, the phenomenon we now call “superhero fatigue” was already a thing, at least among comics afficionados. Frustrated with pulp creators recycling the same old ideas, Kevin Eastman and Peter Laird hatched the Teenage Mutant Ninja Turtles.

In a summer where the off-the-boards success of original movies like Barbie and Oppenheimer is all the rage, the 7th-or so feature film iteration of the Teenage Mutant Ninja Turtles franchise wasn’t one with great expectations – except when you read the credit block and discover the cowriters and producers are none other than Seth Rogen and Evan Goldberg and the director is Jeff Rowe who most recently was an Oscar nominee for the wildly inventive animated hit, The Mitchells Vs The Machines.

The Haunted Mansion is a dark ride attraction located at Disneyland, Magic Kingdom, and Tokyo Disneyland. The ride is set in a large, creaky mansion that is rumored to be haunted by the ghosts of its former residents. Riders are led through a series of rooms, each of which is decorated with creepy props and features a different ghostly encounter. Some of the most famous scenes in the ride include the Ballroom, where a group of ghosts are dancing, the Conservatory, where a casket floats in mid-air, and Madame Leota’s Séance Room, where a disembodied head floats in a crystal ball. Someone at Disney decided this was enough substance to turn this into a feature film. Not sure why.

EXCLUSIVE: Vertical has locked down rights to the romantic comedy Match Me If You Can for North America, the UK and Ireland. Marking the feature debut of director Marian Yeager, the film is now set for a day-and-date release on August 11th. Among the major titles opening against it are Sony’s Gran Turismo and Universal’s Last Voyage of the Demeter.

are back to being animated in the latest feature film,, with Ice Cube as one of the many A-list stars lending his voice to the cast. While speaking to ET's Will Marfuggi about the upcoming theatrical release, the 54-year-old performer opens up about his friendship with co-writer, co-director and co-executive producer Seth Rogen and shares an update on the status of the long-awaited sequels in the and film franchises. In the latest installment in the movie franchise, Cube voices the villain, Superfly, a mutant fly who wants all mutants to have dominance over humans. And for the performer, it was exactly the kind of character he likes to play. «You want to do characters that make an impact,» he says.

In a contorted legal case, a Delaware judge today struck down a settlement that would have helped AMC Entertainment move ahead with steps to raise cash and shore up its stock.

William Earl Horror Film School is a new feature in which talent in front of and behind the camera share the ins and outs of creating the biggest onscreen scares. “Cobweb” is French director Samuel Bodin’s feature debut, but he’s well-known to horror fans for directing and co-writing the scary-as-hell 2019 French series “Marianne.” Bodin expands on the shadows and secrets of the series with “Cobweb,” a twisty tale in which Lizzy Caplan and Antony Starr play the creepy parents of Peter (Woody Norman), who starts hearing haunted whispers in the walls. The Hollywood project, produced by Seth Rogen and Evan Goldberg’s Point Grey, was a departure for Bodin, but follows his tested guidelines for conjuring scares. Bodin shares his dos and don’ts of directing a scary movie.

Cobweb,” a wholly original story written by Chris Thomas Devlin (who wrote the 2022 reboot of “Texas Chainsaw Massacre”) that appears to draw heavy inspiration from short-form horror content like “Tales From the Crypt” and features like “The People Under the Stairs.” And if you enjoy those inspirations, “Cobweb” sets itself up to be a success, especially with its leads being Lizzy Caplan and Antony Starr, two performers who know how to creep people out. The setup is fascinating almost immediately. Young Peter (Woody Norman) lives in an old house with his parents, Carol and Mark (Caplan and Starr, respectively).

In the vast realm of horror films, Cobweb emerges as a new addition inviting audiences into a world where appearances deceive and secrets hide beneath the surface. Directed by Samuel Bodin and written by Chris Thomas Devlin, and starring Lizzy Caplan, Woody Norman, Antony Starr, and Cleopatra Coleman, the movie’s strengths lie in the established atmosphere of intrigue and suspense. However, it can’t sustain that as it grapples with some missed opportunities and a lackluster conclusion that fails to bring closure to its narrative.