Project Hail Mary is one of the best films of 2026 so far, but it still doesn't have an official Blu-ray release date. You can place a preorder for your own copy of the movie, however, and Amazon has already dropped the price of the 4K edition for Prime Day.

If you already placed a preorder for the 4K version earlier this month, then you're automatically going to get this discounted price. Amazon's preorder price guarantee is one of the reasons it's the best place to buy 4K movies online these days. If you haven't placed your order yet, right now is a great time to do so. This is the lowest price we've seen so far.

We’re now in the thick of Prime Day, Amazon’s biggest sales event that includes discounts on just about everything. The retailer certainly hasn’t been shy about dropping 4K and Blu-ray deals, including movies from a director I'd consider a must-have for anyone with a solid 4K set-up.

In general, every single Christopher Nolan movie has gotten a solid DVD release. While not every single one of those releases is currently on sale, there are particularly solid deals, including some lowest-ever prices, on what I’d consider the director's greatest hits.

Prime Day Deals on Christopher Nolan Movies

If I had to pick any one movie from this group to own in 4K, it would be Interstellar. Candidly, I was in a contrarian phase when that movie first came out, and it’s only been with the (thematically relevant) passage of time that I’ve realized just how good it is. I also can’t imagine watching some of those sequences in anything less than 4K quality. According to the Amazon price tracker camelcamelcamel, this is the lowest price the 4K version has hit since at least 2024.

Speaking of low prices, this is actually the lowest price ever on Oppenheimer, Nolan’s most recent film that we deemed a masterpiece in our 10/10 review. The full Dark Knight trilogy is also at its lowest price ever, and one I’d argue the second movie alone is worth. I actually got this exact collection for my dad a few years back and he still proudly displays it in his living room.

Of course, each movie comes packed with its own spread of bonus features. You can check out the full list of those on each film's Amazon listing or through aggregators like Blu-ray.com.

Nolan is once again top of mind as we approach the official release date for The Odyssey, the director’s next project which happens to be the first movie shot entirely with IMAX cameras. The epic adaptation will be releasing in theaters on July 17, 2026.

Tons of Blu-ray Deals Are Live Right Now

Prime Day is one of the best times to stock up on DVDs. Amazon has unsurprisingly unleashed its own massive spread of discounts, but the Prime Day festivities have also compelled other retailers like Walmart to drop their own deals to keep up.

If you’re in the market for more than just physical media, you can check out our full guide to Prime Day 2026.

Blythe (she/her) is an Audience Development Coordinator at IGN who spends way too much time in character customization screens and tracking down collectibles.

Amazon is getting closer to finding the next James Bond, as director Denis Villeneuve has reportedly begun informing actors of the next step in the audition process.

According to Deadline, Villeneuve has been personally calling actors who have auditioned for James Bond and informing them that they will have a second round of auditions in August. The casting process officially began this spring, and it seems the producers are moving rather quickly to narrow down the search. Deadline reports that its sources have somewhat contradictory information, but the number of candidates has been narrowed to anywhere between five and seven, and up to the teens. Essentially, it sounds like there's fewer than 20 people who are in contention for the role.

It's unclear which actors have been called back, but Deadline notes that Harris Dickinson, Callum Turner, and Jacob Elordi "fit the prototype" of what producers are looking for in the next Bond. It's currently unknown whether those actors have auditioned or are actively pursuing the role. The report also states that, while it may be some time before we get definitive casting for Bond, Amazon is on track to announce the star by the end of the year, with plans to shoot in 2027.

As of right now, nothing is known about the next Bond movie beyond the fact that it will be directed by Villeneuve, written by Steven Knight, and it will be the first 007 movie under Amazon's leadership. It also seems like Amazon wants a slightly younger Bond, not unlike the one we saw in 007 First Light.

Following the release of Spectre, former Bond actor Daniel Craig said he would rather "slash" his wrists than return to 007. The actor later clarified that he made those comments partially because he was in the middle of recovery from an injury on the film.

"To be completely honest, I was thinking, 'I don't know if I can do another one of these,'" the actor said in 2021. "I finished filming Spectre with a broken leg. To your point about being in my fifties now, I thought, 'Do I have this in me? Do I want to go through all of this?' I needed a break. A little more skill in the answer might have been better. I was joking but it came across as ungrateful."

There's currently no release date for Bond 26, but presumably, it will debut in 2028 as long as everything goes smoothly.

ANGELA WEISS / AFP via Getty Images.

Cade Onder is a freelancer for IGN's news team. He covers all things entertainment, including gaming, film, and more. You can find him on Twitter @Cade_Onder.

Supergirl opens in theaters on June 26.

Walking into Supergirl, I was excited. I had real expectations. Before you even get to the DCU of it all, I’m officially a fan of Craig Gillespie. He’s a guy who makes movies that are all better than you’d think they’d be – Cruella and I, Tonya and Lars and the Real Girl and even The Finest Hours, that boat-broke-in-half rescue movie was surprisingly really good. These are movies that could've easily become forgettable entries in their particular genres, like just another biopic or live-action remake or movie about a guy who’s in love with a sex doll. So the prospect of tackling a superhero movie with that particular ability to elevate a film in an otherwise tired category was intriguing.

Where the DCU is concerned, I’m here for James Gunn’s universe. I’ve liked what’s gone into it so far and I loved Milly Alcock’s first appearance as Kara in her cameo in Superman. I think this version of Supergirl is a blast and her solo outing didn’t do anything to change my mind on that front. But this is also where Supergirl starts to become a tale of two movies. For everything that the movie does right, that thing’s got an alter ego that’s doing it wrong. As a result, the movie is this shuffling, few-steps-forward, few-steps-back kind of slog that never really finds a rhythm.

For example, the reluctant hero thing is actually very difficult to pull off. It’s hard to play “I don’t care” in an engaging way, because if the character on screen doesn’t care, then I certainly don’t care either. Alcock manages it here about as well as you could hope for. Kara’s a mess and there’s no real concern with her ever not being a mess as part of her journey. It’s very fun. The other side of that coin, however, is that she doesn’t have much of a journey. She’s not a markedly different person at the end of the movie than she is at the beginning. Not because of anything she did or didn’t do as a character or an actor, but because the story she’s been put in doesn’t give her much to do and the result is a movie that sort of flattens out and drags.

When she first meets Eve Ridley’s Ruthye, the young girl out for revenge against the man who murdered her entire family, Kara is protective, sticking her neck out to do the right thing for a kid who’s in over her head. By the end of the film, Kara… does exactly the same thing. Part of the point there is that it highlights the impact she has on Ruthye. (Ridley ultimately gets the lion’s share of the character work in the film, and her character’s journey winds up feeling far more complete than Kara’s.) So while Milly Alcock’s performance is a real strength of the movie, and she does pull off the reluctant hero trope, it is still a very familiar trope and the shorthand that’s used in portraying it is a real weakness.

Familiarity in general is another villainous plot Supergirl tries to thwart. On one hand, the movie wears its influences proudly. The comparisons to James Gunn’s work on Guardians of the Galaxy have been obvious since the trailers first dropped, and we knew the True Grit/archetypal Western structure would be a big part of the film because of the source material, Tom King’s Woman of Tomorrow run. A Mad Max influence is just as obvious in the grimy, lifeless terrains and dying worlds on which most of the movie takes place, planets where people scratch for survival. But the old, reliable Mos Eisley Cantina should get a shout-out as well. The alien design and practical makeup FX and costuming throughout the movie are genuinely top shelf, and clearly the customers in Star Wars’ most wretched hive were on the filmmakers’ minds.

And yet, while I’ll happily take “True Grit meets Mad Max by way of Guardians and Star Wars,” there's still a dulled edge to the whole movie. Instead of taking the post-apocalyptic vibes of Mad Max, they lift a whole plot point straight from Fury Road and handle it, frankly, a little clumsily. And instead of the emotionally relevant needle drops of Guardians, Kara gets slow-paced montages set to a Jimmy Eat World cover that I found… well, it was baffling.

The film's two other headliners fall into these buckets as well. Matthias Schoenaerts as the film’s villain, Krem of the Yellow Hills, looks incredible. His whole appearance would make the creature design team from A New Hope proud. The beads studded into his face, the machinery grafted into his body, the weird little red button he needs to activate to speak, all of it adds up to a striking and genuinely pretty cool image that would have felt at home in the Thunderdome.

But… they don’t ever do anything with it.

Krem, for all the post-apocalyptic biker gang aura he generates, gets nothing else to go on. He has some affectations that Schoenaerts was clearly having a good time with, like how he’s eating something in almost every scene, but that’s all they really are – affectations. There’s nothing that makes him scary or formidable other than a few throwaway lines about his relative strength and the way other people on screen fear him.

Meanwhile, Jason Momoa's Lobo finds his way into the movie as well, and the mostly-impervious anti-hero bounty hunter is just as much fun as fans have been anticipating. Cigar-chomping gets thrown around a little excessively any time a J. Jonah Jameson or a Hellboy or a Will Smith and Jeff Goldblum from Independence Day show up on screen, but Momoa more than earns the descriptor in all the best possible ways in Supergirl. He looks the part as well, with face paint and prosthetics that cut the kind of imposing figure the fan favorite deserves.

But… Lobo doesn’t need to be there.

Characters come and go in movies, sometimes with very little fanfare, sometimes playing crucial roles in the story. And they don’t always have to be the latter. The issue with Lobo is that he feels a little extra tacked on. The one scene he has with Kara has real reshoot energy. It’s added on to a scene that didn’t need any extra motivation to get to the next scene, nor is he a particularly unique foil for Kara that propels her character in any meaningful way. He just happens to be looking for the same group of guys that Kara and Ruthye are after. The only real added value he gives the movie is a few (admittedly fun) one-liners. And maybe that’s all Lobo needs to be. Ultimately, he shows up to put his immortal stamp of approval on Kara’s actions, but that feels both unnecessary and more than a little pandering, and it leaves me not entirely sure what to do with him.

So the story of this movie continues to be, “they did it right on one hand, but on the other, not so much,” and as just the second entry into Gunn’s DCU, that issue spills over into all the stuff that comes with being a part of a currently-expanding expanded universe. On one hand, Supergirl needs to continue building outwards to some extent, and this is another of the film’s strengths. Her scenes with David Corenswet’s Superman are wonderful. That’s not to say that Superman saved the day here, or that Supergirl needs Superman to be interesting. It’s that the dynamic between the two of them is great – one positively looking toward the future, while the other still nurses old wounds. I’m definitely looking forward to more of this duo on screen.

But on the other hand, where her solo film is concerned, Supergirl needs to flesh out Kara’s backstory. The structure of how and when flashbacks are deployed in Supergirl aside – because my personal preference would have been a straight chronological telling of the story as opposed to stopping in the middle to tell us her backstory – I did find myself way more interested in her time growing up on a floating, life-boat of a city after the destruction of Krypton. There’s work being done there on both fronts, as the film continues to build on the changes made to Kal-El’s origin story from Superman while introducing another side to that story via Kara. The “present day” of the film, with all the cribbing from True Grit and Mad Max and Guardians, feels far less fresh and interesting than Kara's shielded childhood on Argo, even if both have their entertaining moments.

Again though, this is Supergirl’s biggest challenge. There are a lot of things that work throughout this movie, but there are just as many reasons why they don’t quite add up.

The Get Out will be released in select theaters on June 26, and on Digital and On Demand on June 30.

Russell Crowe's Albanian night club owner tries to retire from the money laundering business in the LA-set misfire, The Get Out, an underworld crime caper that tries but fails to capture the charm and richness of writers like Elmore Leonard (and filmmaker fans of Leonard like Tarantino).

Before delving into shortcomings, let's note that Crowe himself is the most vibrant part of the film. It's a good reminder of how fun he can be as a comedic performer, though the side effect of The Get Out could be making you watch The Nice Guys again (which also includes pining for a sequel). As earnest, hardworking Marco Kapak, who is truly in love with his much younger girlfriend, Sunny (Teresa Palmer), Crowe anchors the film while providing the best balance of tone.

Kapak is a quasi-criminal in a landscape of more brutal cartel characters (which allows for a Pope's Exorcist reunion with Daniel Zovatto), but The Get Out — originally titled Bear Country — feels like a mess of a story lacking the spark of cleverness to excuse all the rambling. Directed by Derrick Borte and adapted from a novel by Thomas Perry, the film isn't fun enough to warrant its '90s-style crime ensemble, nor are the moments of violence that are meant to act in contrast to its lighter elements captivating enough to add true excitement. Ultimately, it's a parade of half-measures.

After a heart attack makes Kapak rethink his current vocation, setting his sights on a relaxing future away from his current stress, he starts making moves to sell off his club. Enter Aaron Paul's Jeff, a poor schmo who's in over his head and forced to act as a sabotaging pawn. Jeff's story is the least satisfying of the bunch, as Paul is given only constant anxiety and frustration to play, with no narrative reprieve.

The Vampire Diaries' Nina Dobrev plays a wild card bank teller who attaches herself to Jeff (as one more melodramtic bad thing in Jeff's sad life), but she's just given the "crazy" card to work with and a token pop culture reference to wear as her identity. The Get Out sets up a lot of moving parts, including Luke Evans and Josh McConville as different parts of the law enforcement spectrum with secrets of their own. There's the whispered promise of things colliding in a twisty, rewarding way, but the third act is pretty flat, and we're never given a decent surprise or revelation.

With some format tinkering, The Get Out could have had some zigs and zags to make things more entertaining, but instead we're shown everyone's hand when we meet them, and then we just watch them randomly succeed or fail. Crowe maintains his charisma throughout, but the story — which aims for the comedy of errors/serendipity circus vibe — is too dry and toothless.

The boss of Japanese company Kadokawa has survived a shareholder vote on his future amid increasing pressure from an activist investor who believes the company has failed to capitalize on Elden Ring’s enormous success.

Reuters reported on the result of a showdown between Kadokawa CEO Takeshi Natsuno and Hong Kong-based Oasis Management, which is now the company’s largest shareholder with a 13.76% stake, during a meeting of shareholders. While Natsuno has survived for now, Automaton reported that Oasis has just upped its stake to 15.25%, with plans to increase it further.

Elden Ring is from legendary video game developer FromSoftware, which is owned by Kadokawa. It has sold an astonishing 30 million copies — a figure that is sure to rise with the release of Tarnished Edition in August. Elden Ring launched in 2022, and since then has released expansion Shadow of the Erdtree (2024) and multiplayer spinoff, Elden Ring Nightreign (2025), but Oasis wants more financial return from the franchise.

Part of Oasis’ complaint about Kadokawa and indeed Elden Ring is that it does not publish the game itself globally. While FromSoftware self-publishes Elden Ring in Japan, Bandai Namco publishes the game internationally, reducing profit. Oasis wants Kadokawa to self-publish its games everywhere.

Meanwhile, Sony’s high-profile investment in Kadokawa amounted to just a 10% stake and little has come of it.

“FromSoftware is Kadokawa’s crown-jewel asset: a globally recognized studio with a loyal international fanbase and a proven ability to create blockbuster titles such as Elden Ring,” Oasis has said. “Yet Kadokawa continues to leave a meaningful share of the economics from these titles with third-party publishing partners, creating a significant and ongoing loss of value for all of Kadokawa’s stakeholders.”

Oasis has insisted it isn’t trying to force a sale of FromSoftware (there have been all sorts of rumors about various video game companies buying it over the years). Oasis instead believes FromSoftware should be the "central driver" of Kadokawa’s long-term growth.

“Our point is that FromSoftware must be managed with the ambition, investment, and strategic focus that an asset of its quality deserves,” Oasis said. “Its employees, creators, and fans deserve ownership and leadership that are fully committed to helping the studio realize its extraordinary global potential.”

Earlier this month, celebrated FromSoftware director and architect of its hit games, Hidetaka Miyazaki, commented on the shareholder pressure Kadokawa is under. Reassuring fans, he insisted that FromSoftware can still “freely make the kind of games we want to make without excessive interference."

FromSoftware has Elden Ring Tarnished Edition as well as new action title The Duskbloods to look forward to later this year. But fans are wondering what's next from the developer. Could Elden Ring 2 be on the cards? In December 2024, Miyazaki said the developer was not considering making Elden Ring 2, but wouldn't shut down the possibility in the future. If not, there is an Elden Ring movie in the works.

Wesley is Director, News at IGN. Find him on Twitter at @wyp100. You can reach Wesley at wesley_yinpoole@ign.com or confidentially at wyp100@proton.me.

David Ellison, the CEO of Paramount Skydance, is a big fan of what DC Studios is cooking up.

When speaking with The Hollywood Reporter, Supergirl producer Lars P. Winther stated that David Ellison has already visited the set of Man of Tomorrow, the Superman sequel from James Gunn, which has been filming for about two months and will feature Supergirl.

“He came to Trilith [Studios] already. That’s where we shoot all our movies that James [Gunn] directs,” Winther said. “He came to Atlanta, we showed him everything, and we’re having discussions with him.”

The producer went on to note that Ellison is "open to" what DC is doing and is a "big fan," suggesting there is no reason to raise any alarms.

“He’s pretty open to what we’re doing. We do have a slate and a lot of it — obviously, Clayface is already coming out. We already have the Lanterns TV show. On those things, the train’s left the station. So we’re good. But he’s a big fan, he’s been great with us. He’s giving us kind of what we want. So far, everything’s good.”

Ellison is currently trying to merge Paramount with Warner Bros., the parent company of DC. Some feared that Ellison might pull the plug on the current iteration of DC in an effort to pinch pennies or create something that is aligned with what a new regime would want. So far, Ellison has yet to indicate that publicly, but nothing is ever off the table when someone is spending billions of dollars to take control of a company.

The new era of DC has really only just begun. 2025's Superman was the first film in the new DC universe, and Supergirl, releasing in theaters this weekend, will be the second. There are a few more projects on the horizon with Clayface and Lanterns later this year, as well as The Batman Part II and Man of Tomorrow in 2027. Beyond that, things are a bit fuzzier.

Given Warner Bros spent a decade trying to get the previous DC universe under control with various power struggles between executives, directors, and other creatives, it seems like it would be wise to just leave things alone rather than reboot the entire thing once again. Even if some things need to change, it's clear that tons of meddling and an inconsistent vision only does more harm to a brand.

Cade Onder is a freelancer for IGN's news team. He covers all things entertainment, including gaming, film, and more. You can find him on Twitter @Cade_Onder.

The Fast and the Furious franchise is celebrating its 25th anniversary this year. While we patiently wait for more news about the next and possibly final film, Fast Forever, it shouldn’t come as too much of a surprise that Universal is taking the opportunity to release yet another limited-edition steelbook of the movie that started it all.

The new 4K Ultra HD remaster is set to release on August 25, just after the movie's official anniversary on August 21, with both a limited-edition and standard steelbook now available to preorder. While Amazon has both editions up for preorder at $34.99 and $29.99, respectively, you can get either edition for about $5 less by ordering through Gruv.

The Fast and the Furious 25th Anniversary Limited-Edition Steelbook Releasing August 25

This is a spoiler-free review of Batman: Knightfall Part 1 - Knightfall. The film premiered at the Annecy International Animation Film Festival and will be released on digital and home video later in 2026.

After a bit of a post-Crisis on Infinite Earths lull period, DC’s direct-to-video line of animated movies is back in action. And DC certainly picked a whopper of a storyline to return with. Batman: Knightfall Part 1 - Knightfall kicks off a new trilogy covering what is arguably the most seminal Batman comic yet to be adapted (it’s certainly high up on our list of the greatest Batman graphic novels). Fans of that iconic ‘90s crossover story will be pleased to know that Knightfall succeeds in delivering a very streamlined but generally faithful and loving take on the source material.

The premise of Knightfall is right in line with the comic. The film chronicles the origin of the rivalry between Batman (Anson Mount) and Bane (Michael Mando), as the latter makes his way to Gotham City and sets about systematically trying to wear down the Dark Knight physically and psychologically. Even as Batman deals with this shadowy foe and an endless gauntlet of Arkham Asylum escapees, he struggles to mentor his newest Robin, Tim Drake (Jack Griffn), and help the tortured vigilante Jean-Paul Valley (Pablo Schreiber) overcome his mental conditioning. As Bane understands all too well, even Batman has a breaking point.

My main concern coming into Knightfall was how well this trilogy would be able to cover such an extensive library of material. The Knightfall/KnightSaga trilogy comprises dozens of comics on its own, and that’s not even counting the essential prologue material like Sword of Azrael and Vengeance of Bane. It’s a lot of ground for even three films to cover.

Fortunately, screenwriter Jeremy Adams seems to hit on the right approach when it comes to adapting that voluminous saga. Not unlike Denny O’Neil’s excellent Knightfall novelization from the ‘90s, Part 1 trims a great deal of fat from the original crossover, jettisoning those characters and storylines that aren’t absolutely essential to the bigger picture. The end result keeps the focus squarely on Batman himself, his small circle of allies, and Bane.

This is a time before the modern Bat-family was firmly established, and you have a film that sees the Dark Knight constantly torn between a pathological desire to go it alone and a growing need to let others in. It’s a particularly dark and brooding take on the character, but one that serves a purpose and builds a worthy character arc for Bruce and his alter ego.

Knightfall captures what made the Batman line such an exciting read in the early ‘90s. It certainly looks like a ‘90s Batman comic come to life, with the animation directly evoking the hulking, Gothic physicality of Kelley Jones’ art and Batman’s billowing, almost living cape as rendered by the late, great Norm Breyfogle. Visually, this is easily one of the more stylish and attractive offerings from DC’s long-running animated line.

When it comes to Bane, Knightfall delivers what may be the most faithful take on a villain who hasn’t always fared the best in other media. He’s an imposing force of nature who quickly emerges as a legitimate, urgent threat to the Dark Knight. Yet he remains a character with a sympathetic backstory and clear motivations, with the film taking pains to show us Bane’s tragic upbringing in the hellish prison Peña Duro. It certainly helps that Mando excels in the role. While it’s a bit odd that the character speaks in perfect, unaccented English, Mando brings exactly the right source of menace and bravado to the screen.

The rest of the voice cast is solid, as well. Mount already had experience playing Batman in the Injustice animated movie, and his gravelly voice is well-suited to a conflict dealing with a slightly older and more weary Caped Crusader. Mount gets bonus points for drawing such a subtle but firm distinction between his Batman and Bruce Wayne voices. Schreiber is also strong as Jean-Paul. While his delivery is definitely a bit melodramatic at times, that suits a character who carries as much psychological baggage as he does. Another highlight comes in the form of Bruce Boxleitner’s Commissioner Gordon, a troubled man who can do little but watch as his old friend pushes himself further and further beyond his limits.

No, Knightfall is hardly a perfect adaptation. As much as it focuses on cutting out what isn’t necessary and focusing on the core of the story, it does skip over a few critical elements. Not enough time is spent fleshing out Jean-Paul’s origins and history as Azrael. And as much as the film emphasizes Bane’s obsession with Gotham and the Wayne family, it skips over what I’d consider to be a crucial link between the villain and Batman. At a brisk 80 minutes long, there’s only so much room to work with.

Still, it’s impressive what Knightfall is able to accomplish with its modest runtime. It captures most of what makes Knightfall such a compelling read among the vast Batman canon, and it doesn’t attempt to cram too much material into too small a space. I won’t spoil where in the Knightfall crossover this adaptation ends, but it’s a logical stopping point that sets up an equally exciting Part 2.

The Invite will be released in select theaters on June 26 before receiving a wide release on July 10.

Olivia Wilde’s double date dramedy The Invite achieves the kind of artistic maturity and formal control that was missing from her first two features, teen comedy Booksmart and scattered sci-fi Don’t Worry Darling. Although a nearly scene-for-scene remake on paper, it’s arguably Wilde’s first good feature for the way it imbues the story of Cesc Gay’s 2020 Spanish original, Sentimental (or The People Upstairs) — and its subsequent Italian, Swiss, French, and South Korean versions — with energy and intensity from minute one.

Penned by Toy Story 4 scribes Will McCormack and Rashida Jones (yes, the actress), and purchased by A24 after its Sundance bow, The Invite follows a middle-aged couple on the rocks who host their attractive upstairs neighbors for dinner before one thing leads to the next. Its swinger/spouse-swap premise disguises a pressurized tale of domestic discontent, crowbarred open by exotic curiosities. In the process, its impeccably cast characters are forced to leave everything about themselves on the table… or at least, more of themselves than they’re comfortable with. This psychological unspooling holds your attention right up until it can’t; the film eventually peters out, but only near the very end, leaving quite an enjoyable experience in its wake.

Seth Rogen plays Joe, the film’s ostensible protagonist, whose life as a failed pop punk musician in the aughts has given way to a mundane music teaching job in California. He bicycles home at his wife’s behest, leading to a snappy introduction rife with split-screens and other economical tricks that introduce us to his high-strung spouse, Angela (Wilde), who meticulously prepares their apartment for a fancy evening while their tween daughter is away. Unbeknownst to Joe — though according to Angela, he simply forgot — they’re meant to host their idiosyncratic neighbors for an informal dinner, the prospect of which sends the unhappy couple spiraling through never-ending disagreements.

Wilde’s 107-minute version (about half an hour longer than the original) smartly delays both the arrival of the guests and their eventual proposition. This allows The Invite to marinate in the awkward atmosphere of a married couple putting on a cheery façade that threatens to crack at any moment. Joe and Angela barely talk to each other anymore, at least not in a way that doesn’t involve petty sniping, and to make matters more uncomfortable, their guests — the frank, filterless firefighter Hawk (Edward Norton) and his free-spirited therapist girlfriend Piña (Penélope Cruz) — see right through their ruse and aren’t afraid to call it out.

The ensuing evening is a tale of dysfunction forced into temporary alignment (and beyond that, painful honesty) by Hawk and Piña’s apparent harmony. Still in their honeymoon phase, the alluring guests are so seemingly in sync emotionally and sexually that their explosive lovemaking has long been heard by Joe and Angela downstairs. It’s a disturbance the hosts argue about bringing up, a minor point from which much of their conflict stems and which is subsequently magnified, including and especially their compunctions around sexual liberation. Maybe they’re too prudish for an orgy, but they’re certainly willing to demonstrate otherwise if only to prove each other wrong, leading to some hilarious escalations.

Wilde and cinematographer Adam Newport-Berra capture each conversation with dizzying verve, as though any given interaction were a make-or-break moment for the hosts. Their relationship rests on a knife’s edge, a sensation that Wilde carries throughout her haggard performance as a woman who struggles to see herself through anyone else’s eyes, or as anything but a bored, unattractive housewife. Wilde, despite being a conventionally beautiful Hollywood star, plays this insecurity in immensely convincing ways. Rogen, meanwhile, portrays a husband tipping so far over the edge of unhappiness that he practically exists in constant free-fall. He smooths over difficult conversations with weed and poorly-timed jokes at everyone else’s expense, and cuts through the film's overlapping dialogue like a hissing pipe.

Norton and Cruz play their opposites in fascinating ways, with an air of shocking honesty and self-confidence concerning their bodies and sexual proclivities. They disguise all of this under and around the conventions of polite conversation, even though they have only one goal in mind: sleeping with their hosts. Wilde captures this objective through careful movement and blocking as the characters move throughout the film’s single location, before she suddenly peels back the layers of the guests’ dysfunctions too. All the while, composer Devonté Hynes ping-pongs between jagged and melodic notes to mirror the characters’ states of mind before remarkably building to the familiar, seductive tones of Georges Bizet’s classic opera, Carmen; the Habanera has rarely sounded so mischievous.

All these wonderful aesthetic setups, however, demand payoffs the film isn’t really willing to engage with. Wilde’s remake goes much further with its chemistry and sensuality than Gay’s — whose version feels intentionally more mundane — but it cuts itself off at the knees without offering Joe and Angela a complete glimpse of the emotions and sensations their marriage has long been missing. Its climactic scenes seldom replace the movie’s initial bursts of energy with anything nearly as engaging or enveloping.

When it slows down to really dig into its characters and unveil their emotional cores, The Invite runs out of steam, becoming stilted and stage-like until eventually, its conclusions teeter halfway between something definitive or cathartic and hauntingly open-ended. It is perhaps a fitting irony that a film so effective at portraying festering discontent should close in such a dissatisfying fashion. Then again, accidentally or otherwise, few films more honestly replicate how a dwindling relationship feels like a chess game at stalemate.

I was very lucky to grow up with the first two Toy Story movies. Other than the occasional Sid-induced nightmare, I absolutely loved them - and one Space Ranger in particular.

Despite a rather lengthy obsession with Buzz Lightyear, I never actually owned a proper action figure version of him. The tech just wasn’t there, and definitely not at a price my parents would have been willing to pay.

Now it’s 2026, Toy Story 5 is in theaters, and we finally have a reasonably-priced Buzz Lightyear action figure that looks like the real thing. It’s also Prime Day, so if you’re a Prime Member (you can sign up for a 30-day free trial here), you can get the figure for 15% off.

IGN can exclusively reveal the new trailer for Batman: Knightfall Part 1: Knightfall, the first entry in a three-part animated feature film adaptation of the classic DC Comics storyline. The trailer can be viewed via the player above or the video embedded below.

From DC, Warner Bros. Animation, and Warner Bros. Home Entertainment, Part One of the trilogy premiered Tuesday at the Annecy International Animation Film Festival. Batman: Knightfall Part 1: Knightfall will be released later this year.

The movie – directed by Jeff Wamester and written by Jeremy Adams – adapts the DC Comics storyline by Doug Moench, Chuck Dixon, Alan Grant, Dennis O’Neil, Peter David, Jo Duffy, Jim Aparo, Graham Nolan, Norm Breyfogle, and Jim Balent.

Batman: Knightfall Part 1: Knightfall stars the voices of Anson Mount (Star Trek: Strange New Worlds) as Batman/Bruce Wayne, Michael Mando (Spider-Man: Brave New Day) as Bane, and Pablo Schreiber (Halo) as Jean-Paul Valley/Azrael.

Part One’s official plot synopsis reads: “When the mysterious behemoth known only as Bane frees Batman’s entire Rogue’s Gallery from Arkham Asylum, the Caped Crusader is pushed to his mental and physical breaking point.”

Rick Morales serves as the movie’s Supervising Producer alongside Producers Jim Krieg and Kimberly S. Moreau. Sam Register and Michael Uslan are Executive Producers.

Batman: Knightfall came in at #15 on IGN’s picks for the top 27 best Batman comics and graphic novels. Elements of Batman: Knightfall made their way into Christopher Nolan’s The Dark Knight Rises where Tom Hardy’s Bane broke Batman’s back and took over Gotham City.

Batman: Knightfall Part 1: Knightfall was announced at New York Comic Con 2025.

Disney's expensive buying spree almost included James Bond and Twitter in addition to a merger with Apple.

In a recent article from the Financial Times, former Disney CEO Bob Iger revealed his ambitious plan to expand the House of Mouse. After Iger took over Disney in 2005, he began making big moves to acquire key companies and IP. This started with Pixar, and then he created a wishlist of future acquisitions. Iger's list included Marvel and Lucasfilm, the company that created Star Wars and Indiana Jones. However, Iger had his eyes set on another major film franchise: James Bond.

“We put together a list of acquisition targets. Marvel was one, Star Wars was another, James Bond was one. We had a list and I figured let’s just tick them off and buy them all.” James Bond was the only thing on Iger's list that didn't come to fruition, and eventually, Amazon came in and took control of 007.

Iger also considered two other deals that likely would've completely changed the world. Disney nearly bought Twitter at an "attractive price" and planned to use it as a global distribution platform for Disney. Iger, however, backed out the morning of the deal as he felt it would be a "horrible distraction." Had Disney bought Twitter, it's hard to imagine Elon Musk acquiring the social media platform.

Finally, Iger revealed that Disney considered merging with Apple. However, Disney failed to reach any kind of advanced conversations, as Apple didn't seem as interested. “We talked about it internally, and we had some conversations with Apple about it, but it never went anywhere," said Iger.

Iger resigned as CEO of Disney earlier this year, passing the baton to Josh D'Amaro. Iger had previously been CEO of Disney from 2005 to 2020, but came back in 2022 when the company was in a bit of a crisis. Iger has been attributed as a key factor in a lot of Disney's modern success and tried to steer Marvel back into a 'quality over quantity' mindset.

Cade Onder is a freelancer for IGN's news team. He covers all things entertainment, including gaming, film, and more. You can find him on Twitter @Cade_Onder.

The creative team behind Toy Story 5 has no interest in a live-action version of the iconic Pixar franchise.

When speaking with BAFTA, director Andrew Stanton and producer Lindsey Collins were asked about the potential of a live-action Toy Story film, akin to Disney's Lilo & Stich remake. However, Stanton and Collins seemed to be repulsed by the idea, and actively denounced such a concept.

"I hope not, please god, no," said Collins. "Don't say that loudly. You know that Disney is going to be like... [makes silly face]. No. The answer is hard no."

"That's like a hat on top of a hat," said Stanton. "I hope not."

Stanton and Collins are Pixar veterans who have been with the company since the 90s. Disney, meanwhile, has drawn fire for its upcoming live-action remake of Moana, a film that was originally only released a decade ago. Although people seem to largely dislike the concept of retreading animated films in live-action, they have often (but not always) performed well at the box office.

Disney's remakes of The Lion King and Lilo & Stitch both made over a billion dollars at the box office, while The Jungle Book remake made $966 million. DreamWorks' How to Train Your Dragon remake made $636 million, almost $150 million more than the original film on a similar budget. There have been some duds, like the remake of Snow White, but it seems like there hasn't been a failure big enough to scare studios away from these remakes yet.

However, Pixar seems protective of its IP and is actively opposed to remaking its films in a different medium. Whether they could talk Disney down from the idea if it came about remains to be seen, though. Toy Story remains strong as an animated franchise, as Toy Story 5 just released with massive success at the box office. The film raked in $312 million at the global box office in the first weekend and will likely continue to pull in the big bucks throughout the summer.

IGN gave Toy Story 5 a 7/10, noting that despite any issues it may have, "Toy Story 5 manages to pull off an adventurous and resonant conclusion. With a handful of new characters adding some fresh batteries to the mix, and sidelining the right legacy characters at the right time, the fifth installment of Pixar’s main event finds another good way to wrap up. At least until the inevitable Toy Story 6…"

Cade Onder is a freelancer for IGN's news team. He covers all things entertainment, including gaming, film, and more. You can find him on Twitter @Cade_Onder.

The Blair Witch Project series will return to theaters next year, with a fresh installment due in the fall.

A release date for the as-yet untitled sequel was announced today by production company Lionsgate, via a creepy teaser posted on Instagram. The short clip confirms that the new movie will launch on September 24, 2027.

The teaser gives away little about the film, and simply shows a series of wooden mobiles listing out the movie's date — 9/24/27 — and recreating the classic Blair Witch symbol.

No story or acting credits for the film have been revealed, though this would fit with the franchise's low-fi found footage approach that keeps things mysterious. The original Blair Witch Project, launched back in 1999, kicked off a cultural sensation as audiences were presented with a film that looked authentic enough to be real.

A subsequent sequel, Book of Shadows: Blair Witch 2, proved less convincing. A third film, simply titled Blair Witch, then followed in 2016, but again failed to make a large impact. Whether this fourth entry will also tie into the series' existing lore remains unknown.

"The horror masterminds at Blumhouse Atomic Monster (Obsession, The Conjuring, Backrooms) remind us how scary the woods can be with this groundbreaking new chapter of The Blair Witch Project," reads an official blurb. Like Backrooms, this new Blair Witch movie will be directed by a YouTuber with experience in the genre, in this case, Dylan Clark.

"Executive producers include the 1999 film’s creators Eduardo Sánchez, Daniel Myrick, and Gregg Hale, alongside original film cast members Joshua Leonard and Michael C. Williams, who join Michael Clear, Judson Scott, and Steven Schneider," the blurb continues. "Directed by Dylan Clark, written by Chris Thomas Devlin and produced by Jason Blum, James Wan, Roy Lee, Adam Hendricks, and Greg Gilreath."

Ready to head back into the woods again?

Tom Phillips is IGN's News Editor. You can reach Tom at tom_phillips@ign.com or find him on Bluesky @tomphillipseg.bsky.social

93-year-old Michael Caine has announced he will narrate his own version of The Odyssey — launched via an AI company that has officially licensed and reproduced his voice.

This reproduction of Caine is AI company ElevenLabs' first "cinematic multicast audiobook," a press release for the project states, combining a reproduction of Caine's British tones with "a full cast performance, original music and immersive sound design" — all of which sound like they're being created using AI as well.

To be clear, this is nothing to do with Christopher Nolan's The Odyssey, starring Matt Damon and Tom Holland, which also arrives this year. Despite previously making regular appearances in Nolan's films, Caine officially retired from acting three years ago, when he hit 90.

"The Odyssey is one of the greatest stories ever told," Caine said in a statement. "By bridging classical storytelling with digital innovation, this epic is reimagined for modern audiences through ElevenReader. It was a pleasure to be a part of this retelling."

ElevenLabs announced it snapped up the rights to Caine's voice last year, entombing his vocal performances in a growing library of living and dead celebrities that also includes Judy Garland, David Hasselhoff, Albert Einstein, and Matthew McConaughey — the latter of whom has also invested an undisclosed amount in the company.

Last month, ElevenLabs announced its latest celebrity voice acquisition: the late Marvel Comics legend Stan Lee. In a statement, ElevenLabs said it now owned the commercial rights to Lee's image and voice and intended to license them for further use by other companies, opening the door to a digitally-resurrected Lee appearing in films and commercials. Similar to The Odyssey, Stan Lee will also be heard narrating audio books, including a "Stan Lee Book Club of the Month."

Michael Caine's AI version of The Odyssey is available now. Christopher Nolan's The Odyssey launches in theaters on July 19.

Image credit: Daniele Venturelli/Getty Images for The Red Sea International Film Festival.

Tom Phillips is IGN's News Editor. You can reach Tom at tom_phillips@ign.com or find him on Bluesky @tomphillipseg.bsky.social

25 years after Shaolin Soccer came out, spinoff Kung Fu Soccer is confirmed to be getting a theatrical release in North America.

Written and directed by Stephen Chow, who was behind the much-loved 2001 sports martial arts movie Shaolin Soccer, Kung Fu Soccer will be launched internationally by Encore Films, with a release expected later this year in the hope of capitalizing on World Cup fever.

According to The Hollywood Reporter, Kung Fu Soccer stars the Emei Women’s Football Team, who use martial arts to help fuel their underdog run in a tournament called the Supreme Invincible Cup. Expect plenty of visual effects, as Shaolin Soccer had. Zhang Xiaofei, Dilraba Dilmurat, and Lay Zhang Yixing are set to star.

Chow directed and starred in the wonderful 2004 martial arts movie Kung Fu Hustle, which enjoyed critical acclaim and commercial success globally. Kung Fu Soccer is his first new movie since 2019’s The New King of Comedy, although he won’t appear in it as he has some of his previous films.

“Director Stephen Chow is widely regarded as the ‘King of Comedy’ and one of the rare filmmakers whose work has entertained audiences across cultures for decades,” Joyce Lee, managing director of Encore Films, told Variety.

“Most football films ask, ‘Can they win the match?’ A Stephen Chow film asks, ‘Can they win the match while breaking the laws of physics?’ That’s the magic of Kung Fu Soccer — a film that blends imagination, action, heart, and comedy in a way only Chow can.”

Wesley is Director, News at IGN. Find him on Twitter at @wyp100. You can reach Wesley at wesley_yinpoole@ign.com or confidentially at wyp100@proton.me.

Ack! Ack! IGN can exclusively reveal that director Tim Burton’s cult classic alien invasion comedy Mars Attacks! will get a 4K Blu-ray and digital release in honor of its 30th anniversary.

Mars Attacks! will be available for purchase digitally in 4K Ultra HD and on 4K UHD Blu-ray Disc on August 11.

The newly remastered film will also include new bonus content featuring behind-the-scenes bonus content of the filmmakers reflecting on the making of the movie, an exclusive clip of which can be viewed via the video embedded below.

The Mars Attacks! digital release and 4K Ultra HD Blu-ray Disc contain the following new special features:

• Looking Back on Mars Attacks!

Filmmakers swap stories about working with Tim Burton on one of the 1990s’ wackiest alien-invasion films.

• Ack! Ack! Aesthetic

Filmmakers explore the distinctive style of Mars Attacks! and reveal how then-cutting-edge CGI shaped its iconic look.

The sci-fi spoof reunited director Tim Burton with Batman’s Jack Nicholson, who plays dual roles here as President James Dale and Las Vegas casino owner Art Land.

The star-studded ensemble cast also includes Glenn Close, Annette Bening, Pierce Brosnan, Sarah Jessica Parker, Martin Short, Michael J. Fox, Natalie Portman, Rod Steiger, Danny DeVito, Jim Brown, Lukas Haas, Sylvia Sidney, Lisa Marie, and singer Tom Jones as himself.

For more coverage, check out IGN’s picks for the best sci-fi comedies and the Top 25 sci-fi films of all time.

Spider-Man: Brand New Day's villain is "still very much a secret," Tom Holland has said, despite half a dozen foes already being glimpsed in trailers.

Holland made the comment during the ongoing Spider-Man: Brand New Day press tour (via Global Box Office), adding to the sense that Marvel and Sony are still keeping key details of the film back from audiences ahead of time.

Of course, there remains huge speculation over the character that Stranger Things star Sadie Sink is playing — and whether she too will be presented as an antagonist. But persistent speculation and rumor that she is playing a new MCU version of Jean Grey (and returning for Avengers: Secret Wars) all but confirms that she ultimately will not be a baddie.

In contrast, Holland's comment suggests that Brand New Day's main enemy still remains under wraps, despite a rogues' gallery of other foes already being present.

"The villain that we have in this new movie, which is still very much a secret, is I think unlike anything we've seen in these movies before," Holland said, clearly trying his hardest not to spoil anything else.

As a reminder, Spider-Man: Brand New Day features Michael Mando's returning Scorpion, Marvin Jones III as a new MCU version of Tombstone, plus Boomerang, Tarantula, Ramrod, and ninja monk organization The Hand. Then there's the rampaging Hulk to worry about, as well as the typically nefarious aims of the Department of Damage Control (DODC).

Is Holland referring to one of these as Brand New Day's true villain? Not all of the above have been glimpsed in trailers (toy leaks have confirmed Tombstone, but he's been kept out of official marketing) and fans have merely speculated about the DODC's true role. Then there's Boomerang, who some fans think will be revealed as the character played by Eman Esfandi (who is also MJ's new boyfriend).

Alternatively, could Holland be discussing another villain that no one expects? Questions remain about how the Venom symbiote may (or may not) pop up here, after being teased in No Way Home's post-credits scene. Or could the film secretly feature yet another villain from Spider-Man's comic book history?

In April, Holland said he was still shooting Brand New Day to add “the icing on the cake in certain areas.” That included adding more humor and “layering in” a villain plotline “in a new way."

“I can positively say that the stuff we’re doing, we don’t need," Holland said at the time. "The movie works and sings as it is. We’re just adding the icing on the cake in certain areas. We’re finding some ways to add a little bit more humor. We’re layering in a villain plotline in a new way and some really fun stuff."

How this will all fit into the film's plot remains to be seen — though we've not got long to wait now until Spider-Man: Brand New Day finally arrives on July 31.

The past week has seen the ever-chatty Holland also reveal that "one person" still remembers Peter Parker is Spider-Man, and try to avoid spoilers when discussing his potential involvement in Avengers: Doomsday and Avengers: Secret Wars — which he suggested he would feature in.

Tom Phillips is IGN's News Editor. You can reach Tom at tom_phillips@ign.com or find him on Bluesky @tomphillipseg.bsky.social

Milly Alcock’s Supergirl will continue to butt heads with her cousin, Superman, in next year’s DC Universe sequel, Man of Tomorrow, James Gunn has teased.

Supergirl’s appearance in Man of Tomorrow was already confirmed, but speaking to extratv at the premiere of the Supergirl movie, DC Studios co-CEO James Gunn said her relationship with Superman will be explored further in the 2027 film.

“I've liked a lot of the iterations of Supergirl. Helen Slater was great, all of them really have been great versions. But I do think that this Supergirl is apart because she's not so much like Superman,” Gunn explained.

“She's very, very different from her cousin, which puts them at odds, which is a big part of this movie [Supergirl]. And then an even bigger part of Man of Tomorrow, which we're filming now.”

Gunn was asked about Supergirl’s involvement with Man of Tomorrow, and while he kept his cards close to his chest, he did suggest fans will see her show up in a significant way that goes beyond a cameo.

“Milly’s got a big role in that one [Man of Tomorrow]. I feel sorry for her because she's flying around the world, coming to set, shooting with me, coming back, having to do more press, flying back. So, it's hard. It's hard. But she’s a trooper,” he said.

Supergirl appeared in cameo form at the end of last year’s Superman, drunk and dishevelled in front of a disapproving Kal-El. Her mental issues due to her tough upbringing are at the heart of the Supergirl film, where she struggles to accept hero status quite so readily as her cousin.

Supergirl takes place after the events of Superman and sees her encounter other galactic characters like Lobo, played by Jason Momoa. As for Man of Tomorrow, all we really know about the movie is that Superman and supervillain Lex Luthor have to work together somewhat to combat the threat of Brainiac. But we can also expect to see the main cast from Superman return. With Supergirl’s involvement, could we see the Justice League finally take shape?

Last month, DC Studios co-CEO Peter Safran said Supergirl is "a major part of what we’re doing," so perhaps we’ll see the character appear in many more DCU movies to come. “I think they're just going to be really surprised,” Gunn said this week of what he expects fans to take away from Man of Tomorrow.

Elsewhere in the DCU, we have confirmed release dates for HBO show Lanterns, the Clayface movie, and the aforementioned Man of Tomorrow. The Jimmy Olsen / Gorilla Grodd HBO show starts filming this year.

Wesley is Director, News at IGN. Find him on Twitter at @wyp100. You can reach Wesley at wesley_yinpoole@ign.com or confidentially at wyp100@proton.me.