'Spider-Man: Across the Spider-Verse' Latest Film To Be Banned in United Arab Emirates

Rebecca Rubin Film and Media Reporter “Indiana Jones and the Dial of Destiny” is stumbling in its box office debut, generating $70 million internationally and $130 million globally to start. Those ticket sales wouldn’t be bad for a film aimed at older audiences, except for the fact that Disney and Lucasfilm spent $295 million before marketing to bring the fifth and final action-adventure, starring Harrison Ford, to the big screen. “Dial of Destiny” is posting similar numbers to Warner Bros. and DC’s misfire “The Flash,” which opened to $75 million internationally and $139 million globally but cost $100 million less to make. Both tentpoles are expected to lose money in their theatrical runs.

Boots has announced plans to close 300 UK stores in an effort to consolidate branches within "close proximity" of each other.

Jazz Tangcay Artisans Editor When composer Thomas Newman was having early conversations about the music of Pixar’s “Elemental,” he looked for a connecting thread between the film’s imaginary world, where elements are characters, and the human world. “I looked for similar issues of otherness and how that could be reflected in music, and how we would identify with that through our human ear,” says Newman. His approach to cracking the score was about applying a “musical color,” and association to the universal themes. When he looked at scenes and the vibrant colors of “Elemental,” what did his ears hear sonically, and did that match what his eyes were seeing?

As the summer season shines onto the box office, movie grosses don’t match what they used to be in seasons past.

Sony’s biggest hit of the summer, Spider-Man: Across the Spider-Verse, won’t be getting a release in the United Arab Emirates, Deadline has confirmed. The pic was set for release on June 22 in the Gulf region.

J. Kim Murphy “Spider-Man: Across the Spider-Verse” will not be released in the United Arab Emirates after failing to pass the country’s censorship requirements, Variety has confirmed. A scene featuring a poster in the background of the frame that depicts the transgender flag and reads “Protect Trans Lives” is said to be one of the concerns that prevented a release from being approved, sources said. The United Arab Emirates ban comes only a week ahead of the Sony Pictures film’s intended release date in the region of June 22. However, it isn’t uncommon for the country’s censorship board to axe the imminent release of films featuring LGBTQ+ content. Another animated film faced a similar predicament last summer, when Disney and Pixar’s “Lightyear” was not released in the country due to a scene depicting a same-sex kiss between two lesbian space rangers. The “Toy Story” spinoff was also banned from Saudi Arabia, Kuwait and Malaysia.

Rebecca Rubin Film and Media Reporter After less than two weeks of release, “Spider-Man: Across the Spider-Verse” has surpassed the entire box office run of its predecessor, 2018’s Oscar-winning “Spider-Man: Into the Spider-Verse.” Over the weekend, the comic book sequel hit $226 million in North America and $390 million globally. It now stands as Sony’s highest-grossing animated release in history. The original film, also a box office winner, tapped out with $190 in North America and $384 million globally. Despite competition from Paramount’s “Transformers: Rise of the Beasts,” which opened to $60 million and targets a similar audience of younger males, “Spider-Verse” added $55 million in its second weekend of release, a decline of $55% from its huge $120 million debut.

Jazz Tangcay Artisans Editor Production designer Patrick O’Keefe drew inspiration from brutalist architecture, graphic artist Syd Mead and British punk band The Sex Pistols when animating the world of “Spider-Man: Across the Spider-Verse.” As Miles Morales crosses path with different Spider-People from other dimensions, it was up to O’Keefe and his team of animators to create visual worlds that reflect those counterparts. With Variety, he breaks down the looks of each world and shares his favorite easter eggs that pay homage to the Canadian animators who worked on the film. “Whenever it comes to developing anything for the film, I’m always asking myself, whose point of view are we seeing this from? And what does it need to do?

When Manchester City take to the field in the Champions League final this evening, they will do so on the cusp of completing a historic treble.

Jazz Tangcay Artisans Editor Composer Daniel Pemberton pushed a few boundaries and “made something really creative and different” when he scored 2018’s “Spider-Man: Into the Spider-Verse.” When he returned to score the sequel, “Spider-Man: Across the Spider-Verse,” he knew he would have to “push it as far as we can go.” Pemberton says he had to build the score from the ground up, which was complicated. “You’re trying not to make a score that sounds like other film scores. You’re trying to invent your own language.” Inventing that language took experimentation, research and failure. He explains, “I spent two years researching and developing this score, going through ideas, coming up with concepts and throwing them out.”

Spider-Man: Across the Spider-Verse” using Legos. The trailer became such a viral sensation that he got a call from the film’s writer-producers Phil Lord and Chris Miller, who wanted him to make a scene for the film.

Giving props. Tom Holland revealed his favorite Spider-Man movie is one that he didn’t star in.

Since the debut of Sam Raimi’s first ‘Spider-Man’ film back in 2002, there have been quite a few films featuring the wallcrawler over the past 20 years. Three of those feature none other than Tom Holland as Peter Parker.

EXCLUSIVE: Leo Leigh’s directorial debut Sweet Sue and Vincent Perez’s fencing film The Edge Of The Blade are among six international films set to get their world premiere at the upcoming Filmfest München (June 23 – July 1), which this year celebrates its 40th edition. Scroll down for full list and details.

Todd Gilchrist editor If an endless array of variations, alternatives and opportunities is a foundational concept of the animated superhero series “Spider-Man: Into the Spider-Verse,” it also seems like one for the career of Metro Boomin. St. Louis native Leland Tyler Wayne’s musical alter ego is not only the producer of the soundtrack for its sequel, “Spider-Man: Across the Spider-Verse,” but also plays a small role in the film as one of its Spider-people, Metro Spider, and collaborated with Nike on an elaborate, patchwork “Spider-Verse”-themed Air Jordan that sold out almost immediately after he and his siblings modeled for its advertising campaign.A post shared by Jordan (@jumpman23) In just the past few months, he also partnered with Major League Baseball to be the opening-day voice of its 2023 season, starred in a Budweiser Super Bowl commercial, and celebrated the release of “Heroes & Villains (Villains Version),” a remix edition of his second studio album, with a digital comic book and a debut performance at Coachella 2023 assisted by The Weeknd, Young Thug, 21 Savage, Diddy and more performers. This web (excuse the pun) of projects exemplifies the scale of his creative ambition, but even a cursory scan of their results highlights how much effort he puts into each one. After shepherding the sprawling “Across the Spider-Verse” soundtrack to completion, he spent a week on Instagram premiering Spider-person iterations of his collaborators, including Coi Leray, Future, Offset, James Blake and A$AP Rocky; it’s clear he’s not content to sit behind the boards and simply let his indefatigable collection of beats speak for him.

To get a sense of the quality of films on the docket for June, look to the opening weekend. Between “Past Lives” and “Across the Spider-Verse,” there are two genuinely terrific films that couldn’t be more different.

Adam B. Vary Senior Entertainment Writer SPOILER ALERT: This story discusses major plot developments and surprises throughout “Spider-Man: Across the Spider-Verse,” now playing in theaters. For months, the directors of “Spider-Man: Across the Spider-Verse” had been working exhaustively on a critical sequence that launches the movie’s second act. For the first time in his life, the animated film’s hero — Miles Morales (Shameik Moore), a.k.a. the Spider-Man of Earth-1610 — enters a different dimension: Earth-50101, a.k.a. Mumbattan, a dazzling amalgamation of New York City and Mumbai. Within minutes, Miles and his BFF from 2018’s “Spider-Man: Into the Spider-Verse,” Gwen Stacy (Hailee Steinfeld), encounter that world’s Spider-Man, Pavitr Prabhakar (Karan Soni), an Indian teenager who received his powers not via spider bite, but through magic. The sequence launches them all through the vertiginously vertical metropolis, as they frantically try to stop the film’s villain, the Spot (Jason Schwartzman), from using Mumbattan’s supercollider to increase his dimension-hopping abilities.

Marvel‘s Spider-Verse franchise in a new interview.The suggestion came up while Isaac was speaking to to the British edition of GQ to promote the latest animated Spider-Man movie, Spider-Man: Across the Spider-Verse.Isaac – who voices Spider-Man 2099, a futuristic version of the web-slinger in the film – was asked by journalist Lucy Ford if there was anyone he hoped would join the cast in the franchise’s coming films.“I don’t know,” he responded. “They’re so brilliant at finding the right person for the right character, but maybe Pedro Pascal.

Oscar Isaac is already imagining the next Spider-Verse film and has a role for Pedro Pascal.

Pedro Pascal to join him in the Spider-Verse. Isaac, known for his roles in films like “Star Wars” and “Dune,” has already lent his voice to the character of one of the Spider-Man characters, Miguel O’Hara, in the critically acclaimed animated film “Spider-Man: Into the Spider-Verse.” With Pascal’s rising popularity and talent, the prospect of these two friends sharing the screen in the beloved Marvel universe is an exciting idea for fans. Let’s delve deeper into the friendship between these talented actors and explore their respective contributions to the entertainment industry (via Hollywood Reporter).