Despite spending hundreds of millions on blockbuster films, Netflix continues to churn out critically panned big-budget fare with its latest $300 million flop, "The Electric State," starring Chris Pratt and Millie Bobby Brown. While the streaming giant has produced acclaimed films by giving talented directors creative freedom -- resulting in successes like "The Irishman," "Marriage Story" and "The Power of the Dog" -- it has repeatedly failed to create genuinely compelling blockbusters despite attracting major talent and pouring massive resources into productions like "Red Notice," "The Gray Man" and now "The Electric State."

These expensive Netflix "mockbusters" lack the overwhelming sensations that theatrical blockbusters deliver, instead feeling like glorified content designed primarily for home viewing. The Russo brothers' "Electric State," with its drab visuals and lifeless performances, exemplifies how Netflix's biggest productions feel infused with the knowledge they're merely "content first."

A new statistical analysis has identified the films audiences "love to hate," with Battlefield Earth, Morbius, Grease 2, and Cats topping the list of cinema's most detested productions. The study, published by data analyst Daniel Parris, examined review data from MovieLens to calculate both the percentage of one-star reviews and total disapproval magnitude for each release.

A common thread among these widely derided titles: many were adaptations of popular books or shows, or attempted to capitalize on once-beloved franchises. Adam Sandler leads the actors most frequently appearing in widely disliked films, followed by comedians and action stars who have starred in productions with high one-star review rates.

The research also reveals an industry trend toward increasing one-star reviews over time, with family-oriented fare and horror films receiving disproportionately negative ratings despite consistent box office profitability - suggesting studios have prioritized risk-averse, commercially viable projects over critical acclaim.

Nominated for 10 Oscars, The Brutalist (directed and produced by Brady Corbet) has an "intriguing and controversial technical feature," according to the Baffler, that threatens to turn movie-viewing into "a drab appreciation of machine-managed flawlessness, and acting less interesting..." In January, the film's editor Dávid Jancsó revealed that he and Corbet used tools from AI speech software company Respeecher to make the Hungarian-language dialogue spoken by Adrien Brody (who plays the protagonist, Hungarian émigré architect László Tóth) and Felicity Jones (who plays Tóth's wife Erzsébet) sound more Hungarian. In response to the ensuing backlash, Corbet clarified that the actors worked "for months" with a dialect coach to perfect their accents; AI was used "in Hungarian language dialogue editing only, specifically to refine certain vowels and letters for accuracy...." Defenders of this slimy deception claim the use of AI in film is no different than CGI or automated dialogue replacement, tools commonly deployed in the editing suite for picture and audio enhancement. But CGI and ADR don't tamper with the substance of a performance, which is what's at issue here....

AI seems poised to decimate the voice acting industry; how long will it be before filmmakers give up on the whole time-wasting business of dialect coaching and language research and toss their performers' untrained vocalizations directly into the linguistic Instant Pot...? "Adrien and Felicity's performances are completely their own," Corbet has argued. Only, they're not. Brody and Jones's performances may now be authentic to spoken Hungarian, but they're no longer authentic to themselves: at least in the parts of the film with Hungarian dialogue, the acting stands more as a monument to the prowess of the voice-matching software than that of the actors...

AI is a different beast from color film, or the Louma crane, or the hand-held camera: it's steroidal, aesthetically corrupting, and unlike these earlier advances it confronts the filmmaker with real ethical questions... Use implies complicity. To incorporate AI into the production of art today, no matter how sparingly or subtly, is to endorse Silicon Valley's politics and worldview: its exploitation of both producers and "users," its blithe indifference to the social impact of post-automation layoffs and the environmental assault of industrial data processing, its cramped and uninteresting idea of imagination, its petrification of creation. It's a vote for the assholes...
In short, the essays calls this "recourse to corrective AI" a "filmmaking prosthesis that cheats the viewer and cheapens the performances." And ironically this clashes with the film's depiction of a "principled artist," according to the article. ("Some of the 'retro' digital renderings in the memorial video included in this scene were also, Corbet has admitted, produced with the help of AI.")

The essay notes that several of 2024's other Oscar-nominated films also employed Respeecher, including Dune: Part Two and Emilia Pérez. "What matters here is not this particular infraction but the precedent it sets, the course it establishes for culture."

An anonymous reader quotes a report from Ars Technica: A 37-year-old Tennessee man was arrested Thursday, accused of stealing Blu-rays and DVDs from a manufacturing and distribution company used by major movie studios and sharing them online before the movies' scheduled release dates. According to a US Department of Justice press release, Steven Hale worked at the DVD company and allegedly stole "numerous 'pre-release' DVDs and Blu-rays" between February 2021 and March 2022. He then allegedly "ripped" the movies, "bypassing encryption that prevents unauthorized copying" and shared copies widely online. He also supposedly sold the actual stolen discs on e-commerce sites, the DOJ alleged.

Hale has been charged with "two counts of criminal copyright infringement and one count of interstate transportation of stolen goods," the DOJ said. He faces a maximum sentence of five years for the former, and 10 years for the latter. Among blockbuster movies that Hale is accused of stealing are Dune, F9: The Fast Saga, Venom: Let There Be Carnage, Godzilla v. Kong, and, perhaps most notably, Spider-Man: No Way Home. The DOJ claimed that "copies of Spider-Man: No Way Home were downloaded tens of millions of times, with an estimated loss to the copyright owner of tens of millions of dollars."

Amazon has launched a pilot program testing "AI-aided dubbing" for select content on Prime Video, offering translations between English and Latin American Spanish for 12 licensed movies and series including "El Cid: La Leyenda," "Mi Mama Lora" and "Long Lost." The company describes a hybrid approach where "localization professionals collaborate with AI," suggesting automated dubbing receives professional editing for accuracy. The initiative, the company said, aims to increase content accessibility as streaming services expand globally.

Apple users noticed a change in 2023, "when streaming platforms like Netflix, HBO Max, Amazon Prime, and the Criterion Channel imposed a quiet embargo on the screenshot," noted the film blog Screen Slate: At first, there were workarounds: users could continue to screenshot by using the browser Brave or by downloading extensions or third-party tools like Fireshot. But gradually, the digital-rights-management tech adapted and became more sophisticated. Today, it is nearly impossible to take a screenshot from the most popular streaming services, at least not on a Macintosh computer. The shift occurred without remark or notice to subscribers, and there's no clear explanation as to why or what spurred the change...

For PC users, this story takes a different, and happier, turn. With the use of Snipping Tool — a utility exclusive to Microsoft Windows, users are free to screen grab content from all streaming platforms. This seems like a pointed oversight, a choice on the part of streamers to exclude Mac users (though they make up a tiny fraction of the market) because of their assumed cultural class.
"I'm not entirely sure what the technical answer to this is," tech blogger John Gruber wrote this weekend, "but on MacOS, it seemingly involves the GPU and video decoding hardware..." These DRM blackouts on Apple devices (you can't capture screenshots from DRM video on iPhones or iPads either) are enabled through the deep integration between the OS and the hardware, thus enabling the blackouts to be imposed at the hardware level. And I don't think the streaming services opt into this screenshot prohibition other than by "protecting" their video with DRM in the first place. If a video is DRM-protected, you can't screenshot it; if it's not, you can.

On the Mac, it used to be the case that DRM video was blacked-out from screen capture in Safari, but not in Chrome (or the dozens of various Chromium-derived browsers). But at some point a few years back, you stopped being able to capture screenshots from DRM videos in Chrome, too -- by default. But in Chrome's Settings page, under System, if you disable "Use graphics acceleration when available" and relaunch Chrome, boom, you can screenshot everything in a Chrome window, including DRM video...

What I don't understand is why Apple bothered supporting this in the first place for hardware-accelerated video (which is all video on iOS platforms -- there is no workaround like using Chrome with hardware acceleration disabled on iPhone or iPad). No one is going to create bootleg copies of DRM-protected video one screenshotted still frame at a time -- and even if they tried, they'd be capturing only the images, not the sound. And it's not like this "feature" in MacOS and iOS has put an end to bootlegging DRM-protected video content.
Gruber's conclusion? "This 'feature' accomplishes nothing of value for anyone, including the streaming services, but imposes a massive (and for most people, confusing and frustrating) hindrance on honest people simply trying to easily capture high-quality (as opposed to, say, using their damn phone to take a photograph of their reflective laptop display) screenshots of the shows and movies they're watching."

It's a feature-length film "rendered on a free and open-source software platform called Blender," reports Reuters. And it just won the Oscar for best animated feature film, beating movies from major studios like Disney/Pixar and Dreamworks.

In January Blender.org called Flow "the manifestation of Blender's mission, where a small, independent team with a limited budget is able to create a story that moves audiences worldwide, and achieve recognition with over 60 awards, including a Golden Globe for Best Animation and two Oscar nominations." The entire project cost just $3.7 million, reports NPR — though writer/director Gints Zilbalodis tells Blender.org that it took about five and a half years.

"I think a certain level of naivety is necessary when starting a project," Zilbalodis tells Blender. "If I had known how difficult it would be, I might never have started. But because I didn't fully grasp the challenges ahead, I just dove in and figured things out along the way..." Zilbalodis: [A]fter making a few shorts, I realized that I'm not good at drawing, and I switched to 3D because I could model things, and move the camera... After finishing my first feature Away, I decided to switch to Blender [from Maya] in 2019, mainly because of EEVEE... It took a while to learn some of the stuff, but it was actually pretty straightforward. Many of the animators in Flow took less than a week to switch to Blender...

I've never worked in a big studio, so I don't really know exactly how they operate. But I think that if you're working on a smaller indie-scale project, you shouldn't try to copy what big studios do. Instead, you should develop a workflow that best suits you and your smaller team.
You can get a glimpse of their animation style in Flow's official trailer.

NPR says that ultimately Flow's images "possess a kinetic elegance. They have the alluring immersiveness of a video game..."

Technicolor Group has filed for a court recovery procedure in France after failing to secure new investors, putting its VFX brands, including MPC, The Mill, Mikros Animation, and Technicolor Games, at risk of closure. Variety reports: A total shutdown of MPC and Technicolor's operations would affect thousands of visual effects workers in countries include the U.S., UK, Canada and India. The turn in business has raised the alarm and sparked sadness within the VFX community. Parot's memo explains, "In each country, the appropriate framework for orderly protection and way forward is currently being put in place to allow, when possible, to remain in business continuity."

Technicolor has already started to shut down U.S. operations. On Friday, it began alerting customers and employees, sending U.S. employees a WARN notice as required by law for large companies that anticipate closings and mass layoffs. At least one recovery effort already started for roughly 100 U.S. employees of The Mill. The creative leadership and most of the creative staff that was Technicolor's The Mill U.S. is joining forces with Dream Machine FX to launch a new venture, Arc Creative, Variety reported exclusively on Monday. A statement from the artists explains they they are working to launch the new entity amid "the complexities of Technicolor's Chapter 7 proceedings."

Questions remain about how studios will finish upcoming projects that are currently housed at MPC, which include Disney's live-action remake of "Lilo and Stitch" and Paramount's "Mission: Impossible -- The Final Reckoning," as well as Mikros' work, such as Paramount and Nickelodeon's upcoming "Teenage Mutant Ninja Turtles" sequel.

The boss of The Pokemon Company believes the series can last for at least another 50 years if it continues to innovate. From a report: First launched on Nintendo's Game Boy in 1996, the video game has expanded into films, TV and toys to become one of the world's highest-grossing media franchise. Most recently, the trading card game based on the cute creatures at the centre of its universe has seen a surge in popularity -- but it has also brought scalpers and frauds to the hobby.

[...] Pokemon has continued to bring new fans to the franchise by expanding into anime, card games, movies and toys alongside its video game titles. CEO Tsunekazu Ishihara says fans now "span several generations" and believes "the biggest reason behind their success is the fact that Pokemon became a tool of communication." Last weekend, about 13,000 Pokemon fans headed to the European leg of the International Championships at London's Excel Centre. It demonstrates Mr Ishihara's point that people have found their way into the series through various means.

The Guardian: For some, the adverts that precede the start of a film are the bane of a trip to the cinema; for others, they are a useful buffer as you stand in the popcorn queue. But for one man in India, the lengthy marathon of cinema advertising was so infuriating that he took the matter to the courts -- and won. Abhishek MR, a 30-year-old man from the southern city of Bangalore, had booked a trip to the cinema with friends in December last year to watch wartime drama Sam Bahadur.

But while the scheduled time he had booked the ticket for was 4.05pm, he had to sit through 25 minutes of adverts for upcoming features and commercial items such as homewares, mobile phones and cars before the film actually began. Having planned to return to work straight after the film, Abhishek MR was angered by what he felt was a costly disruption to his life. He filed a lawsuit against PVR Inox, India's largest cinema multiplex chain, stating that: "The complainant could not attend other arrangements and appointments which were scheduled for the day and has faced losses that cannot be calculated in terms of money as compensation." Bruce66423 adds: Great outcome -- and only 25 minutes of garbage punished. Note that Indian cinemas also make patrons sit through 15 minutes of adverts in the middle of the film.

The Los Angeles Times publishes a weekly "Boiling Point" newsletter about climate change and energy issues. And this week they examined whether the scientific fact of a change climate is reflected in the mass media: For the second year running, nonprofit consulting firm Good Energy applied its Climate Reality Check to the actual Oscar-nominated films [which] tests whether a movie and its characters acknowledge global warming... Of last year's 13 Oscar-nominated films that met Good Energy's criteria (feature-length movies set in present-day or near-future Earth) three passed the test. This year, there were 10 eligible films. Only "The Wild Robot" passed...

Maybe a few years from now, studios will release a torrent of movies and shows reflecting the realities of a scary-but-still-salvageable world, helmed by producers and writers jolted into renewed awareness by the infernos. But for now, the picture is bleak. A peer-reviewed study slated for publication this month, led by Rice University English and environmental studies professor Matthew Schneider-Mayerson, analyzes climate change mentions in 250 of the most popular movies of the last decade. The authors found that just 12.8% of the films allude to global warming. Just 3.6% depict or mention the climate crisis in two or more scenes. "A lot of times, it's really being mentioned in passing," Schneider-Mayerson said...

[Good Energy Chief Executive Anna Jane Joyner] pointed to another analysis led by Schneider-Mayerson, which found that movies passing the Climate Reality Check and released in theaters earned 10% more at the box office, on average, than films failing the test. Netflix, meanwhile, says on its website that 80% of its customers "choose to watch at least one story on Netflix that helps them better understand climate issues or highlight hopeful solutions around sustainability...." [Netflix's "Sustainability Stories" collection includes Dr. Seuss' The Lorax, Chicken Run: Dawn of the Nugget, and Waterworld]

Sponsors are interested in selling audiences on climate-friendly products, too. I was sitting in a movie theater last weekend enjoying "Captain America: Brave New World" — the latest entry in Disney's Marvel Cinematic Universe — when, to my surprise, Sam Wilson (Anthony Mackie) got out of his SUV and pulled his iconic red-white-and-blue shield out of the front trunk. Yes, a front trunk, where an internal combustion engine would normally be. That meant Captain America was driving an electric vehicle, right? Indeed, he was. I did some research after I got home and learned that Wilson was driving a GMC Hummer EV, the result of a paid partnership between Marvel Studios and GMC parent company General Motors.
Ironically, the movie does not at any point acknowledge global warming, the article points out (adding "Also, SUVs kill more pedestrians and cyclists than smaller cars.")

"But the more movies and TV shows spotlight climate solutions — electric vehicles, solar panels, induction stoves — the more likely people are to support those solutions. For Hollywood, that's a step in the right direction."

Netflix calls it "a live-action reimagining of the acclaimed Nickelodeon animated series, Avatar: The Last Airbender. And this weekend Netflix shared a blooper reel from their live-action show's first season, reports Engadget, "giving fans a look at some cute behind the scenes antics while they wait for the next season." The first season was released a year ago, and Netflix announced shortly after that the show had been renewed for two more [with the third season being its last]. There's no release date yet for the new episodes, but the streaming service said on Saturday that production for the second season is underway.
"Just as the animated series matured and progressed, the live-action will also take these characters and worlds and grow them," executive producers Christine Boylan and Jabbar Raisani said in Netflix's announcement.

And speaking of Nickeloden's 2005 animated series, "The mythology and adventure of Avatar: The Last Airbender will continue," writes Deadline, "with Avatar: Seven Havens, a new 26-episode, 2D-animated series ordered by Nickelodeon, from original series creators Michael DiMartino and Bryan Konietzko and Avatar Studios....

"The duo also was originally involved in Netflix's live-action series adaptation but left in 2020 due to creative differences." Avatar: Seven Havens is set in a world shattered by a devastating cataclysm. A young Earthbender discovers she's the new Avatar after Korra — but in this dangerous era, that title marks her as humanity's destroyer, not its savior. Hunted by both human and spirit enemies, she and her long-lost twin must uncover their mysterious origins and save the Seven Havens before civilization's last strongholds collapse...

"When we created the original series, we never imagined we'd still be expanding the world decades later," said DiMartino and Konietzko....

Previously announced, Paramount Pictures and Nickelodeon Movies' Untitled Animated Aang Avatar film debuts only in theaters on January 30, 2026, featuring a voice cast that includes Dave Bautista, Dionne Quan, Jessica Matten, Román Zaragoza and introducing Eric Nam.

"Amazon has long allowed you to download its ebooks to your computer," notes PCMag.com, "where they can serve as a backup or be transferred to other devices.

"However, that feature will end on February 26, 2025, along with the ability to transfer books from your computer to your Kindle via USB." If you attempt to download your ebooks right now, a message says: "Starting February 26, 2025, the 'Download & Transfer via USB' option will no longer be available. You can still send Kindle books to your Wi-Fi-enabled devices by selecting the 'Deliver or Remove from Device' option." After February 26, you will still be able to download Kindle books [onto your Kindle] from the Kindle Store via Wi-Fi, and you can also use the Send to Kindle page on Amazon to send a variety of files to your Kindle.

Should you want to transfer your titles from your Kindle to your computer while you still can, go to Amazon.com, sign in, and click Accounts & Lists > Content Library > Books. Navigate to the book you want to download and click More actions > Download & transfer via USB.
Tom's Guide shares their reaction: Most people probably won't notice this latest example of an Amazon service getting worse, but the feature has existed for over a decade and is useful for backing up your purchases or converting them to formats compatible with other non-Kindle e-Readers or devices. It's also useful for those times when you don't have access to Wi-Fi, and of course, there's peace of mind knowing you have copies of your books... All in all it is a reminder that you don't actually own many or most of your digital purchases, as what you are typically actually "buying" are licenses to use content that can be revoked at any time.

If you find this decision annoying and want to find alternatives, here are a few. To start, might we recommend the Libby app which lets you borrow ebooks from your local library. You can also borrow audiobooks... You can also try purchasing books from places like Google Books and Apple Books, both of which offer a number of ebooks. eBooks.com offers DRM free books and EPUB formats. For those looking for free ebooks there is always Project Gutenberg which has over 75,000 free books largely those in the public domain though there are some more recent titles as well.

Deadline reports: It's taking around $1 billion to have 007 stewards Barbara Broccoli and Michael G. Wilson cede creative oversight of their family's storied James Bond franchise to Amazon MGM Studios, sources tell us. Amazon originally overpaid on its purchase of MGM in a deal orchestrated by then-MGM board chair Kevin Ulrich. Though valued between $3.5 billion-$4 billion, the legendary motion picture studio was absorbed by the streamer for $8.5 billion, the hefty sum propped up by the potential access of the 007 franchise. However, Amazon couldn't fully freely develop Bond with Broccoli and Wilson in the mix. Hence, it took another $1 billion to ensure that they could fully steer and exploit the Ian Fleming IP.
The article suggests Broccoli's long hold-out came from "Amazon's desire to expand the James Bond franchise into its own universe akin to Marvel or Star Wars." In the past, filmmakers including Quentin Tarantino and Christopher Nolan have expressed an interest in putting their stamp on Bond; both however, required complete creative control, which wasn't possible under the reign of Broccoli and Wilson. Now, with the producers on the side, Amazon can move forward to attract a top-tier director.

Also available to come to life in the new deal finally are a slew of Bond villains and women in their own series or features. The last time an attempt was made to spin off the Bond franchise was in 2003 with a stand-alone movie about the spy's girlfriend Jinx, played by Halle Berry in Die Another Day. Bond scribes Neal Purvis and Rob Wade were attached to pen that, with Stephen Frears circling, but Broccoli and Wilson put the kibosh to the idea due to creative differences.
In a related note, the article adds that Amazon "is looking to have an international theatrical distribution arm fully operational by some time in 2026."

Jeff Bezos asked his followers on X.com who should play James Bond in the next movie, reports IGN, "and the answer was loud and clear." On X.com the "clear fan favorite" was DC Extended Universe actor Henry Cavill. (Besides playing Superman, Cavill also appeared in the 2024 film spy action-comedy Argyle, and fought Tom Cruise's character in 2018's Mission Impossible: Fallout — and played Geralt of Rivia in the Netflix series The Witcher.)

An anonymous reader quotes a report from Reuters: The chief executive of streaming giant Netflix on Thursday announced a $1 billion investment to produce some 20 films and TV series in Mexico annually over the next four years. Speaking at President Claudia Sheinbaum's morning press conference in Mexico City, Netflix CEO Ted Sarandos said he looked forward to entering more partnerships with producers in the Latin American nation. Sheinbaum said the investments in the film industry should produce many jobs beyond immediate production needs, such as hospitality for actors and crew members, fashion designers and also spur tourism. "It's an industry that gives a lot of mileage to the economy," Sheinbaum said. "It's not only important for Mexico to be seen in the world, but also because of the economic development and jobs generated by a production."

Netflix content briefly appeared in the Apple TV app due to an unintentional glitch, sparking excitement among users before the company swiftly rolled back the integration. Engadget reports: A Netflix spokesperson told The Verge on Friday that the Apple TV app integration was an error that has been rolled back. Indeed, Redditors who had been tracking the forbidden fruit with unbridled glee confirmed that all signs of Netflix content had since vanished from Apple's streaming hub. Netflix giveth, and Netflix taketh away.

While the boo-boo was still active, PC World reported it let you add Netflix originals like Stranger Things, Cobra Kai and The Crown but lacked licensed shows and movies. Even the available content was a buggy mess. For example, only season five of The Crown was available, leaving you to wonder what hijinks Liz and the gang had gotten into before or after the grunge era. The "Add to Watchlist" and "Continue Watching" features were also said to be spotty.

An anonymous reader quotes a report from Ars Technica: Last night, Apple posted a new support document about migrating purchases between accounts, something that Apple users with long online histories have been waiting on for years, if not decades. If you have movies, music, or apps orphaned on various iTools/.Mac/MobileMe/iTunes accounts that preceded what you're using now, you can start the fairly involved process of moving them over.

"You can choose to migrate apps, music, and other content you've purchased from Apple on a secondary Apple Account to a primary Apple Account," the document reads, suggesting that people might have older accounts tied primarily to just certain movies, music, or other purchases that they can now bring forward to their primary, device-linked account. The process takes place on an iPhone or iPad inside the Settings app, in the "Media & Purchases" section in your named account section.

There are a few hitches to note. You can't migrate purchases from or into a child's account that exists inside Family Sharing. You can only migrate purchases to an account once a year. There are some complications if you have music libraries on both accounts and also if you have never used the primary account for purchases or downloads. And migration is not available in the EU, UK, or India. The process is also one direction, so you have to give some real thought to which account is your "primary" account going forward. If you goof it up, you can undo the migration. "The list of things you need to do on both the primary and secondary accounts to enable this migration is almost comically long and detailed: two-factor authentication must be turned on, there can be no purchases or rentals in the last 15 days, payment methods must be updated, and so on," notes Ars' Kevin Purdy.

Chinese animated film Ne Zha 2 has broken multiple box office records, becoming China's highest-grossing film of all time and the first non-Hollywood movie to surpass $1 billion in a single market. From a report: Helmed by Yang Yu, known as Jiaozi, the film hit the big screen during the lucrative Chinese New Year frame on Jan. 29, surpassing 2017's "Wolf Warrior 2" to become China's most-watched film. Meanwhile, its total revenue (including presales) hit 8 billion yuan (about 1.12 billion U.S. dollars) by Sunday. In just eight days and five hours after its release, "Ne Zha 2" became China's highest-grossing film of all time on Thursday, exceeding the 5.77 billion yuan record set by "The Battle at Lake Changjin." A day later, it overtook "Star Wars: The Force Awakens" to become the highest-grossing film ever in a single market, reaching over 6.79 billion yuan (including presales) in China on Friday.

A follow-up to the animated sensation "Ne Zha," which grossed 5 billion yuan and topped the country's box office charts in 2019, the sequel has captivated audiences with its breathtaking visuals, rich storytelling and deep cultural resonance. The record-breaking run makes "Ne Zha 2" not just a box office titan but a cultural phenomenon, further underscoring China's ability to produce homegrown blockbusters that strike a chord with domestic audiences. You can watch the international trailer on YouTube.

Connecticut's highest-ranking state legislator has proposed a bill requiring movie theaters to disclose both preview and feature film start times, setting up a clash with theater operators who say the measure threatens their advertising revenue.

Senate President Pro Tempore Martin Looney's proposal aims to prevent moviegoers from sitting through up to 30 minutes of advertisements and trailers before features begin. The Democrat cited complaints from constituents about lengthy pre-show delays. Theater owners are pushing back, local outlet RegisterCitizen reports, with Avon Theatre's executive director Peter Gistelinck warning the measure could undermine their financial stability.

To celebrate 2025's newest arrivals in the public domain, the Internet Archive held a special in-person event at their San Francisco headquarters, as well as a virtual celebration online. (It opens with an absolutely gorgeous rendition of "Happy Days are Hear Again" played on a musical saw.)

And somewhere in the festivities they announced the winners of this year's annual "Public Domain Day Film Remix Contest." These remarkable films not only reimagined and transformed public domain works but also demonstrated the boundless potential of remixing creative works to create something new... Explore all 140+ submissions at the 2025 Public Domain Day Film Remix Contest collection at the Internet Archive...

"The jury was deeply impressed by Queline Meadows's inspired mix of movies, images, music and text woven into a subtle and emotionally affecting video expressing a strong sense of nostalgia and the irretrievable passage of time," said film archivist Rick Prelinger... Filmmaker Samantha Close expresses both the breadth of 1929's production and the eternal bounty of the public domain, using images from 1929's films and public domain images from elsewhere and elsewhen.
One honorable mention entry was described as "an audacious and yes, dopey exploration of the essential greatness of Internet Archive and the dread near-infinity of copyright."