‘Presence’ Review: Steven Soderbergh Tells a Ghost Story from the Ghost’s POV. It Is Scary? Not Quite. But the Family Demons Lure You In

Michaela Zee Netflix has acquired “Skywalkers: A Love Story” following the documentary feature’s debut at the Sundance Film Festival. “Skywalkers,” which premiered Jan. 18 at the Ray Theatre, follows daring couple Angela Nikolau and Ivan Beerkus from Moscow, who saved their relationship and career by climbing one of the world’s tallest buildings.

Now that Steven Soderbergh’s three-year overall deal with HBO is over, he’s free to work with any studio he chooses. And the filmmaker is doing just that, in his usual workaholic way, as Deadline reports that Focus Features outbid everyone for “Black Dog,” Soderbergh’s upcoming spy thriller with Cate Blanchett and Michael Fassbender.

EXCLUSIVE: Focus Features has won a bidding battle for Black Bag, a package for a spy thriller film that Steven Soderbergh will direct this summer in Europe from a David Koepp script, with Cate Blanchett and Michael Fassbender attached to star. Casey Silver and Greg Jacobs are producing.

Everyone loves a what if, us especially. We all like to dream about the greatest projects never made, right? Well, here’s one more to add to that pile.

Owen Gleiberman Chief Film Critic I will never forget the first time I saw Devo. It was October 14, 1978, and my college roommates and I were watching “Saturday Night Live.” The band, which I had never heard of (I would guess that was true of 98 percent of the people watching the show), came on in their yellow jumpsuits, stiff and mechanical, swiveling like angry androids as they performed their brutalist robo version of “(I Can’t Get No) Satisfaction.” When the song ended, one of the band members shot up his hand in what looked kind of like a Hitler salute.

The “Erin Brockovich” director moves his camera around so much, you want to yell at the screen, “Settle down, please! I have a headache!” There is a rationale for his nearly-nonstop motion shtick: the audience is experiencing the haunted house from the perspective of a ghost. And this particular ghost apparently needs to get its steps in.However, aside from a couple creepy voyeuristic scenes that the technique complements, its more obvious purpose is for Soderbergh to show off elaborate tracking shots.

Brent Lang Executive Editor “Presence,” a twisty new thriller that premiered at the Sundance Film Festival, has sold to Neon. The movie, which is directed by Oscar winner Steven Soderbergh, puts an inventive spin on the haunted house genre. It unfolds from the perspective of the spectral entity and is primarily interested in dramatizing the issues of the people living in the home, who seem to be grappling with a lot of interpersonal problems.

Owen Gleiberman Chief Film Critic We look at famous actors as role models, tending to see their personal lives as soap opera, as projection, as aspiration. But the story of Christopher Reeve is different. His life became a parable.

You’ll remember during the pandemic, Steven Soderbergh revealed he wrote three scripts in a three-month blaze at the beginning of lockdown. One of them was a sequel to “Sex, Lies, and Videotape.” READ MORE: Steven Soderbergh Has Written A ‘Sex, Lies & Videotape’ Sequel; Says George Clooney & More Set For ‘Kill Switch’ Well, it’s not happening, and in a recent Variety article, Soderbergh said while he got actors like Andie MacDowell and Laura San Giacomo to agree to return, he feels like the idea has missed its moment and he’ll likely turn it into a novel instead (which would be his first).

We’ve confirmed that a new Jurassic World movie, a complete reboot, is being fast-tracked at Universal with the franchise’s original Jurassic Park screenwriter David Koepp. He adapted the first two movies from 1993 and 1997’s The Lost World from Michael Crichton’s novels.

Since returning from his announced retirement from feature filmmaking, Steven Soderbergh has been on a tear of productivity unmatched since the heyday of Hollywood’s studio system. His quickie projects might feel like slight exercises in style or storytelling, but they have never felt disposable.

Owen Gleiberman Chief Film Critic For some of us, “American Fiction” has a satirical audacity that’s funny right out of the gate, gathers speed and force on the runway — and then, somehow, just when the comedy should be taking off, it turns muted and moralistic instead. I think the hitch is that after Jeffrey Wright’s Monk sells his fake memoir of Black street life, there’s a strong urge to see him — and the film — take a certain vengeful joy in how the book’s popularity skewers the racism of clueless white people. Instead, Monk is made so miserable by what happens that the movie never allows itself to discover that joy.

Stephen Rodrick The not-so-secret fact about premieres is that the actors rarely watch, usually ducking out when the lights go down. They spend the film’s duration smoking cigarettes and reciting the cinema’s version of the serenity prayer: “God, grant me the serenity to accept the things I cannot change, i.e. the director’s predilection to use my worst take.” That was not the case at Sundance’s world premiere of Steven Soderbergh’s “Presence,” a ghostly thriller about the Payne family, a bougie clan with a significant number of problems including a spectral, uh, presence that could be friend or foe.

Directed by Steven Soderbergh and penned by David Koepp, the haunting psychological thriller Presence follows a fractured family as a mysterious supernatural force infiltrates their new home that has taken interest in their daughter Chloe. The film is written by David Koepp and stars Lucy Liu, Chris Sullivan, Callina Liang, Eddy Maday, West Mulholland, and Julia Fox.An unsettling presence permeates the home of Chris (Sullivan) and Ruth (Liu)  before they even move in. This supernatural entity is a witness to the family’s most vulnerable moments. It has a particular focus on the couple’s young daughter Chloe (Liang), who is always at odds with her mother and Brother Tyler (Maday). However, the young girl is in mourning because of her two girls, one of them her best friend Nadia, died recently.  

Well, the Steven Soderbergh/David Koepp relationship continues. After writing the surveillance thriller, “Kimi” and the upcoming ghost movie “Presence” which will premiere at Sundance soon, screenwriter David Koepp (“Jurassic Park,” “Carlito’s Way”) has penned yet another film for director Steven Soderbergh.

Cate Blanchett and Michael Fassbender are set to co-star in a spy thriller!

EXCLUSIVE: Julia Fox‘s shocking New York Times bestselling tell-all, Down the Drain, about her rise from tumultuous youth to dominatrix to multi-hyphenate fashionista-actress and social media influencer, is being developed into a series with Joey Soloway behind it; the actress told Deadline on Friday at our Sundance Film Festival studio.

Owen Gleiberman Chief Film Critic “Skywalkers: A Love Story” lends new meaning to the words “high anxiety.” It’s a documentary set in the world of rooftoopers, the new generation of daredevils who scale the tallest buildings they can find, climbing to the tips of skyscrapers and posting top-of-the-world footage of themselves on social media. Directed by Jeff Zimbalist (a former rooftopper himself), the film is brilliantly edited, and it’s full of amazing, terrifying, transfixing verité shots of figures walking on girders, sprawling on ledges, and scaling the spindly, often curved spires that shoot out of the tops of buildings, consisting up close of ladders in the form of precarious slats.

Owen Gleiberman Chief Film Critic Even next to David Bowie, with his alien regalia and mutating persona, it was Brian Eno who always seemed like the supreme spaceman of the pop-music universe. In 1972, when he first came onto the scene as the 24-year-old synthesizer wizard of Roxy Music, he sported a look that was pure glam, except that he somehow appeared even more baroque than the gender-bending rock stars of the time (the New York Dolls, Bowie, Lou Reed), because they were Dionysian pansexual strutters, whereas Eno was his own unique thing: a delicate sci-fi gamine, a geek in thrift-shop drag.

One of Hollywood’s best known boutique law firms is undergoing a touch up, in more ways than one.