Karan Johar, Guneet Monga Kapoor, Nikhil Nagesh Bhat on Toronto Film ‘Kill’: ‘Even ‘John Wick’ Gives You Some Respite, This Is Relentless’

EXCLUSIVE: Sony Pictures Classics is in exclusive negotiations to acquire Daddio, the Christy Hall-directed two-hander starring Sean Penn and Dakota Johnson. The film established itself as a bright spot in its premiere at Telluride and then at Toronto. SPC will get North America, Latin America and territories throughout Europe and Asia.

The Continental marks the first spin-off in the John Wick franchise.Led by showrunners Greg Coolidge and Kirk Ward, the three-part series is a prequel spin-off revolved around a young Winston Scott (Colin Woodell), who was played by Ian McShane in the mainline John Wick films.Alongside Woodell, the show’s cast includes Mel Gibson, Hubert Point-Du Jour, Jessica Allain, Mishel Prada, Ben Robson, Peter Greene and Nhung Kate.The Continental follows the story of Winston Scott and his journey to becoming the proprietor of the New York branch of the Continental hotel chain, which acts as a safe haven for assassins.The show is a prequel to John Wick set in an alternate history depiction of the 1970s, offering different spins on real-world events including the rise of the American Mafia.A synopsis reads: “The series will explore the origin behind the iconic hotel-for-assassins from the John Wick universe through the eyes of a young Winston Scott, as he’s dragged into the Hellscape of 1970’s New York City to face a past he thought he’d left behind.“Winston charts a deadly course through the hotel’s mysterious underworld in a harrowing attempt to seize the hotel where he will eventually take his throne.”Along with a younger version of Scott, the show features a younger version of Charon (Ayomide Adegun), who was portrayed by the late Lance Reddick in the films.The first spin-off film, titled Ballerina, is scheduled to be released on June 7, 2024.Ana de Armas will play the lead character Rooney, a ballerina who seeks revenge on those who murdered her family.

If you haven’t seen “John Wick: Chapter 4,” then you should probably skip this article. Long story short, there’s still no decision about whether or not a fifth film is being made.

“The Continental,” subtitled somewhere in the marketing as, “From the World of John Wick,” is indeed what it advertises: a series that spins off from the kinetic assassins action-thriller franchise starring Keanu Reeves and now on its fourth installment, possibly going on a fifth. “John Wick” has its own intricate mythology filled with codes and currencies— the High Table, The Bowery King and The Bowery Boys, The Operators, Adjudicators, and of course, The Continental, the opulently noir-ish underworld assassin-friendly hotel where “No business can be conducted on the neutral premises.” Aka, you may be a contract killer, but you cannot kill within The Continental grounds, such is the strangely gallant “honor among thieves” conduct ideologies and rules the hotel and its murderous guests abide by.

Alison Herman TV Critic I’ll give “The Continental” this: of all the reasons the “John Wick” prequel frustrates, underwhelms and disappoints, the involvement of Mel Gibson barely manages to rank. That, at least, is a major accomplishment.

Reeves wanted to be ‘definitively killed off’ in the fourth movie, which debuted at the box office in March and ranked in a whopping $187.1 million domestically and $426.5 million worldwide.“John Wick: Chapter 4” marked the biggest success for the franchise — even with a reported $100 million budget. And — gasp — the film also included the biggest shocker of all when the title character seemingly died in the end.Despite Winston (Ian McShane) and The Bowery King (Laurence Fishburn) visiting John’s grave in the film, Iwanyk is still holding out hope that Reeves will reprise the role again.There’s a “10 percent little opening” that he would, he told Collider.“After the 2nd, 3rd, and 4th movie, making these films is so exhausting and it destroys Keanu, physically and emotionally,” he continued.

Peacock in the U.S. and Prime Video internationally), tells the story of Winston Scott, who was played by Ian McShane in the movies and by Colin Woodell as a young man “The Continental.”“I was always a fan of the ‘John Wick’ movies, and what [the movie’s director, Chad [Stahelski] and [star Keanu Reeves] did,” director and executive producer Albert Hughes told The Post.

Warning: Spoilers aheadKeanu Reeves reportedly asked for the titular character of the John Wick franchise to be “definitively” killed off at the end of Chapter 4, released earlier this year.Speaking to Collider for a new interview, John Wick: Chapter 4 producer Basil Iwanyk revealed that Reeves had requested for John Wick to be undeniably dead by the fourth film’s conclusion as he was experiencing fatigue from filming.“After the 2nd, 3rd, and 4th movie, making these films is so exhausting and it destroys Keanu, physically and emotionally,” said Iwanyk. “By the end, he’s always like, ‘I can’t do this again,’ and we agree with him”.Iwanyk went on to explain: “The guy is just a shell of himself because he just goes off and goes for it.

Keanu Reeves had one request for John Wick: Chapter 4, and unfortunately for him, it wasn’t granted.

SPOILER ALERT: This post contains details about the ending of John Wick: Chapter 4.

When I was in college cinema courses I made a Super 8 film called Movie Girl. It was a Hollywood-set love letter to movies centered on a Musso & Franks waitress who put herself dreamily into the plots of classic films. It won an award there but was the highlight of the directing career I never had. However I have always been partial to filmmakers who put their own early film going experience and passion into their careers now. You may have heard of them. Kenneth Branagh won an Oscar for doing just that in Belfast. Steven Spielberg got several nominations last year for his very personal The Fabelmans . Woody Allen had his own charming take in The Purple Rose Of Cairo. Peter Bogdanovich made a lasting impression with 1971’s The Last Picture Show, as did Giuseppe Tornatore with his Oscar winner, Cinema Paradiso. It is a combination of the latter two especially that might describe the feel of the latest movie about the love of movies, The Movie Teller (La Contadora de Peliculas) which had its World Premiere tonight at the Toronto Film Festival. And just in sheer numbers of classic film clips incorporated into its near two hour running time, this one sets a record in the little sub-genre. For movie lovers everywhere The Movie Teller is a must see.

In 2019, Australian documentary filmmaker Kitty Green made her first narrative movie, a piercing almost cinéma vérité-style movie focused on an office assistant in a Tribeca film company run by a not-so-thinly disguised Harvey Weinstein. The male culture there and the sexual acts of the boss made it almost a modern horror story at the height of the #MeToo movement. For Green’s second narrative film she has changed up the filmmaking style considerably, but with The Royal Hotel which premiered last week at Telluride and now premieres tonight at the Toronto Film Festival, she is taking an even deeper look at the dark side of men as seen through the female gaze in a broken down hotel bar in a desolate part of the Australian Outback.

Filmmaker Karan Johar, who was in the 6ix to attend the prestigious Toronto International Film Festival, got chatty with ET Canada’s Sangita Patel about the success of actress Priyanka Chopra.

Indian film maverick Karan Johar brought action thriller “Kill” to the Toronto International Film Festival this year.

Michael Keaton, after making his directorial debut with 2008’s The Merry Gentleman, steps behind the camera for only the second time with his latest film, Knox Goes Away in which he also delivers one of his finest and most poignant performances as a man facing a rare form of fast moving dementia, but who is racing the clock to save his estranged son’s life before it is too late.

Take a bit of Kafka, throw in some Buñuelian realism, add a dose of John Cheever (circa The Swimmer) and then hand the recipe over to a first-time feature-making Swedish director with fond memories of a childhood spent in IKEA furniture stores, then put together an A-List cast, and you essentially have Mother, Couch.

In a cinematic landscape built on tried-and-true formulas, Moritz Mohr’s Boy Kills World dares to be different, blurring the boundaries between absurdity and adrenaline-pumping action. Written by Tyler Burton Smith and Arend Remmers, this audacious venture is steeped in a dystopian backdrop plays by its own rules. Dive into a world where chaos meets comedy, and gory kills are an everyday thing. The film stars Bill Skarsgard, Famke Janssen, Yayan Ruhian, Sharlto Copley, Andrew Koji, and Brett Gelman.

Rebecca Rubin Film and Media Reporter Patricia Arquette, Lulu Wang, Finn Wolfhard, Barry Jenkins, Camila Morrone, Willem Dafoe and Colman Domingo mixed and mingled at Variety and Chanel’s annual female filmmaker dinner during the Toronto Film Festival. At the glamorous event, held on Saturday night at Soho House and hosted by Variety co-editor-in-chief Ramin Setoodeh, VIP attendees nibbled on tuna tartare, striploin steak and heirloom tomato salad as they toasted the recipients of Chanel’s Women Writers’ Network. The year-round program is designed to advance the careers of women and non-binary alumni of the TIFF Writers’ Studio.

You’ve seen Women Talking, welcome to Women Swearing: Wicked Little Letters, Thea Sharrock’s fantastically funny feature puts Jessie Buckley and Olivia Colman together in the filthiest pairing since Derek met Clive in the late 1970s. Set in 1920, it’s based on a story that, per the credits, is “more true than you’d think”, which, when you get to the end of it, is quite a claim. Think what a hip, modern and actually funny Carry On spoof of Call the Midwife might look like, scripted by the Coen brothers, shot with a little visual nod to Wes Anderson, and dictated by a screenwriter with Tourette Syndrome.

Flesh-eating sewer monsters, genitals with wings, grave robbing, two confused “identical twins” and 90 minutes of sexual innuendo is what you can expect from comedians Aaron Jackson and Josh Sharp’s stage show-turned-movie. Directed by Larry Charles and written by and starring the duo, the film also features Nathan Lane, Megan Mullally, Megan Thee Stallion and Bowen Yang. As a viewer, I often wondered how the hell this got turned into the movie because it is so outrageous. Thankfully, it succeeds at being fun and funny because anything less would have amounted to torture.