‘RoboDoc’ Review: Docuseries Breaks Down The Origins Of ‘RoboCop’ In Glorious, If Not Gratuitous Detail

Adam B. Vary Senior Entertainment Writer SPOILER ALERT: This story discusses a few plot developments in Season 2, Episode 3 of “Loki,” currently streaming on Disney+. While working as the production designer on Season 1 of Marvel Studios‘ “Loki” — in which Tom Hiddleston’s god of mischief became embroiled with a vast bureaucratic organization know as the Time Variance Authority — Kasra Farahani realized that he was having a greater influence on the storytelling than usual.

Todd Gilchrist editor For horror fans, Claudio Simonetti is a household name. First a founding member of rock group Goblin, whose work is synonymous with filmmaker Dario Argento’s genre standard-bearers “Deep Red” and “Suspiria,” a producer and pop artist in his native Italy, and later a lead composer on Argento’s “Tenebre,” Lamberto Bava’s “Demons” and more, Simonetti and his collaborators turned iconoclastic takes on scoring — utilizing the sounds of prog rock and disco — into iconic pieces of film music.

John Carney loves music. And he loves music in his movies.

Hunter Ingram SPOILER ALERT: This story contains spoilers for all eight episodes of “The Fall of the House of Usher,” now streaming on Netflix, and several works of Edgar Allan Poe that have been available to read for more than 150 years. Mike Flanagan never met a haunted house he didn’t want to peel back the wallpaper on and see what horrors lurk beneath. At Netflix, the writer/director has become a Halloween staple by exploring the hallowed halls of novelists Shirley Jackson (“The Haunting of Hill House”) and Henry James (“The Haunting of Bly Manor”).

Filmmaker Gareth Edwards is coming off his epic sci-fi original film, “The Creator,” a film that saved millions of dollars in VFX by essentially doing it all after the fact. Meaning instead of setting up expensive green screens, blue screens, and mo-cap suits to capture the spots where VFX would typically be inserted, Edwards and his team just shot the movie generally as one would in the wild and then basically Photoshopped on all the VFX afterward (that’s not the most technical version, but probably the most accurate the audiences will understand; read our ‘Creator’ review here).

Jazz Tangcay Artisans Editor SPOILER ALERT: This contains spoilers from “The Changeling”, now streaming on AppleTV+ “The Changeling’s” latest episode steps back in time to New York — in 1982, to be precise. For production designer Lester Cohen, he needed to find a place where he could build his red-light area and seedy hotel. The episode begins with Lillian (Adina Porter) walking through the red-light district in New York where peep shows cost 25 cents.

Jazz Tangcay Artisans Editor Oscar-winning cinematographer Greig Fraser was “devastated” when Warner Bros. announced that “Dune: Part Two” was shifting its release date from Nov. 2023 to March 2024.

Jazz Tangcay Artisans Editor Gareth Edwards’ “The Creator” was a resourceful sci-fi endeavor with an $80 million production budget, but its visuals are on par with epic blockbusters that cost three times that amount. Rather than shoot on a studio backlot, the filmmaker behind “Godzilla” and “Rogue One: A Star Wars Story” opted to shoot in eight different countries, including Nepal, Thailand, Vietnam, Cambodia, Indonesia and Japan. For an all-out climatic action sequence set in Thailand, a village comes under attack by the U.S.

Selome Hailu SPOILER ALERT: This interview contains spoilers from the fourth and final season of “Sex Education.” When “Sex Education” premiered in 2019, it followed a timid teenager (Otis, played by Asa Butterfield) with progressive ideals, trying to lead the student body of his repressive high school to sexual liberation. By 2023, when Netflix released the fourth and final season, all of that had changed. Moordale Secondary School shuts down at the end of Season 3, so Season 4 takes place in a whole new world.

With a budget of $80 million—a pittance compared to the budgets of most modern blockbusters— Gareth Edwards has made his long-awaited return to science-fiction on the big screen with “The Creator,” a provocative sci-fi adventure set roughly 50 years in the future, where Western society is devastated by and at war with artificial intelligence (read our review). Whereas the East, having not undergone a similar tragedy, has embraced and fostered the technology.

Michaela Zee “Rogue One: A Star Wars Story” director Gareth Edwards is once again addressing the multiple reports about the 2016 film requiring extensive reshoots overseen by Tony Gilroy (the eventual “Andor” creator was hired by Lucasfilm to join the “Rogue One” team in June 2016). On a recent episode of KCRW’s “The Business” podcast, Edwards claimed “there is so much inaccuracy” surrounding the making of the “Star Wars” prequel.

Refresh for latest…: Here we are with a sort of hybrid weekend at the international box office: there were fresh entries from the Hollywood studios, as well as major new titles timed to holiday play in local markets, and a holdover that’s continuing to rack up records.

Rogue One director Gareth Edwards‘ new movie The Creator is now in theaters and it’s an epic sci-fi action thriller that will definitely have audiences excited!

Todd Gilchrist editor As costs spiral upward for production infrastructure, visual effects and good old fashioned star wattage, blockbuster budgets tend to be one of the closely guarded secrets in Hollywood. Yet in the weeks and months leading to the release of “The Creator,” due Sept.

Hopefully three wide releases can wake up what’s been a relatively sleep time at the box office, ratcheted down by the SAG-AFTRA strike. With New Regency/20th Century Studios/Disney’s original Gareth Edwards sci-fi movie The Creator, Paramount and Spin Master’s PAW Patrol: The Mighty Movie, and Lionsgate’s Saw X, the top three movies look to make around $45M. All three of them are vying for No. 1 with a high teens take, however, it’s likely a two-way race between PAW Patrol 2 and The Creator since both pics have had the loudest marketing campaigns, and Lionsgate usually executes their smaller budgeted movies on the cheap.

Jordan Moreau Move over, Barbenheimer, it’s time for Saw Patrol. This weekend sees the releases of four major movies, including Paramount’s family friendly “PAW Patrol: The Mighty Movie,” Lionsgate’s gory, R-rated “Saw X,” 20th Century’s sci-fi epic “The Creator” and “Sony’s GameStop stock story “Dumb Money.” “PAW Patrol” is expected to come out on top with an estimated $18 million to $20 million opening, but “Saw X” will be right on its tail with an estimated $15 million to $18 million. However, some projections go as high as $20 million to $25 million, overtaking the “PAW Patrol” pups.

“No one is really creating original sci-fi blockbusters anymore, it’s an endangered species.”

Gareth Edwards returns to theaters this weekend with “The Creator,” a sci-fi epic that’s his first feature since 2016’s “Rogue One: A Star Wars Story.” But is a return to big-budget blockbuster filmmaking for the director? Kind of, sort of, but not quite. “The Creator” boasts an $80 budget, still a hefty price tag these days, but mild in comparison to the estimated $265 million for “Rogue One” and the $160 for Edward’s 2014 film “Godzilla.” READ MORE: ‘The Creator’ Final Trailer: Gareth Edwards’ Sci-Fi Epic About The War Between Humans & A.I.

So, filmmaker Gareth Edwards is doing the interview round for his latest sci-fi extravaganza, “The Creator,” starring John David Washington. It’s a movie heavily indebted to “Blade Runner,” “Apocalypse Now,” and even “Star Wars” (read our review here).

A familiar mélange and pastiche of sci-fi-tropes you’ve seen and felt before, filmmaker Gareth Edwards’ science-fiction drama, “The Creator,” is recognizable but, nonetheless, largely compelling— skillfully understanding the crucial balance of blockbuster scale and grounding character intimacy. Its intriguing examination of what constitutes a sentient being—coupled with its aesthetic mix of lo-fi, gritty, and grimy tech blended with sleeker, cleaner, and austerely traditional visual references to the future— makes for an engaging experience clearly designed for the big screen.