Amazon has dropped the price of the Dune Saga 6-book box set for the second time since Prime Day began. When I first started covering the best book deals on Amazon earlier this week, the set was down to $51.94, which was already the lowest price of the year. Now on day three of the sale, Amazon has shaved off an additional $3.

If you haven't read the Dune books before and only have experience with the most recent movies, you're definitely in for a surprise after book two. That's when things start to get really weird. This 6-book box set includes all of the Frank Herbert novels, which is pretty much all you need. There's technically 23 total books in the series, but don't worry about it.

New Price Drop on Dune Books

Little Brother will be released June 26 on Netflix.

After faltering a while back as a strong-jaw action hero, WWE's John Cena found his film stride with comedy, awesomely playing eccentric weirdos for Judd Apatow, James Gunn, Peter Farrelly, Seth Rogen, Tina Fey, Paul Feig, and more. Now, in Little Brother, Cena gets to be the tightly-wound character, a stressed realtor named Rudd who must deal with his own doofus in the form of calamity-magnet Marcus, played by Eric André... and the results are - hey! - better-than-average!

Little Brother breaks no molds, and clearly the blooper reel that runs during the closing credits shows you they had more laughs on set than were provided for the viewer, but there are laughs to be had here. The sheer level of ridiculous catastrophes that happen to Marcus are often a godsend, just so over the top that you can't help but cackle a bit. But this also won't be your new favorite go-to comedy. One watch is sufficient.

Little Brother is a latecomer in long line of "guy annoys another guy" comedies - from Planes Trains & Automobiles to What About Bob? to Cable Guy to even 80% of SpongeBob Squarepants. Co-written by Jarrad Paul, who co-created the severely underrated Fox comedy The Grinder, Little Brother borrows some of its best traits from that series, as both involve an uptight, insecure rule-follower being bombarded, and cuckoo'd in a way, by an oddball free spirit (though, no offense to Cena, but he doesn't top Fred Savage's ability to turn the straight man into an expert comedic performance).

Little Brother can be deviously funny at times, feeling like one of the Farrelly Brothers' better efforts. But there are also long stretches where it becomes a Plain Jane streaming comedy, and those moments make you notice the missed potential. That being said, if you're excited to see Eric André suffer a seemingly unending parade of physical indignities, most of which are timed hilariously, then you've found your Xanadu.

As Rudd sets his eyes on becoming a reality TV show star as part of a high-end NYC real estate series, Marcus re-enters his life. Decades earlier, Rudd was briefly Marcus' "Big Brother" in an after-school outreach program, which he participated in mostly because of the issues he had with his own older brother, Josh. Marcus, now a physical culmination of trauma and disarray, thinks he and Rudd have been keeping in close contact for years, though it's actually been Rudd's assistant Mia (Shrinking's Sherry Cola) running interference and answering the e-mails.

So now Rudd, at his most anxious and uncertain, has to deal with a disastrous stranger who upsets every single apple cart while also getting along smashingly with everyone in Rudd's life - including his wife (Michelle Monaghan) and the adult Josh (Christopher Meloni).

The players all have great chemistry, particularly Cena and André, but the story plays out as expected, with all the familiar beats leading you through. First you feel for Rudd, then you feel for Marcus, then you just feel good about everyone. Still, Little Brother has enough bodily fluids, bare asses, and fake penises to make for a decent couch watch, so have at it.

LEGO has a lot of really cool sets for adults these days. If you find yourself looking to build yourself something awesome out of plastic bricks, you're absolutely spoiled for choice. But one being in stock right now doesn't mean it will be around forever. LEGO is retiring a ton of sets at the end of July and many of the best sets for adults are on the chopping block.

While a few of the sets on the list have already gone completely out of stock online, most of them are still available to buy. In fact, quite a few retiring LEGO sets are actually getting Prime Day discounts right now. This includes two of the super popular, actually-transforming Tranformers sets.

LEGO Transformers Sets Retiring Soon

Only three total LEGO Transformers have been released so far, and two – Optimus Prime and Bumblee – are retiring. Both of the builds are on sale right now for Prime Day.

LEGO Optimus Prime Deal

Jackass: Best and Last is in theaters on June 26.

“My butthole really hurts,” remarks Steve-O in the midst of Jackass: Best and Last. And hey, no surprise there, because just in the course of this movie’s new material – much less what he’s endured in the past – we’ve seen Steve-O allow a robot to stick its large, jagged finger up his butt. And that’s before one of the ever-nebulous Jackass “stunts” involves Steve-O and several of his cohorts violently soiling themselves while in the midst of playing a very physical, close-quarters game.

But it’s just another day at the office for this group, the core members of whom have been somehow doing their unique mixture of wild, raucous, impressive, foolhardy and sometimes outright nauseating things for the over 25 years since MTV’s Jackass TV series debuted in 2000. But the end is here, with the series officially wrapping up with this fifth motion picture installment - they swear for real this time!

The film’s subtitle hints at the construction of Best and Last, which intermixes brand new material with a clip show/greatest hits approach that revisits material from the past. The end result doesn’t quite live up to what’s come before, feeling like an epilogue of sorts more than its own full-fledged new Jackass movie. Yet it’s not as awkward or rigid as some fans feared it might be, because Johnny Knoxville and his cohorts are upfront about what’s going on from the start and how it’s all about looking over their history, with clips from the past often set up by modern-day discussions of these moments from the guys.

There’s also some nice layering here done by Jackass’ perennial director, Jeff Tremaine. For instance, rather than just cutting to a clip of Steve-O’s infamous “Poo Cocktail Supreme” stunt from Jackass 3D, we begin this specific trip down memory lane portion of the movie with a never-before-seen stunt filmed for the Jackass TV show that got Knoxville in trouble with the law. Then we see how Knoxville would go on to film the original “Poo Cocktail” stunt just after that bit (while worrying the show itself might be in trouble now, thanks to MTV’s unhappiness with what had just occurred), and then go into Steve-O’s "Supreme" version from the third film.

It’s appreciated how Tremaine, Knoxville, producer Spike Jonze, and all involved add in material we’ve never seen (or, in some cases, hasn’t been widely seen at least) to the archival footage. This includes some moments that are fascinating for die-hard Jackass fans, including a genuinely life-endangering stunt Knoxville filmed in 1998 as test footage – that you can absolutely understand MTV’s refusal to air – and an expanded version of the memorable “Silence of the Lambs” stunt from Jackass Forever that has been restored to include former Jackass member Bam Margera participating, whose footage was excised from that sequence after he was fired as a result of his ongoing substance abuse issues.

From test footage to TV series footage to deleted scenes to Bad Grandpa spinoff movie footage, the entire history of Jackass is culled from here in a properly nostalgic, fond farewell manner. Oh, and if you love the Brad Pitt “The Abduction” stunt from the TV series as much as I do, you’ll also be happy about getting both modern day context for how they pulled it off, and also a bit of additional footage included from the amazing night that Pitt led a bunch of Los Angelenos to believe they’d just seen him dragged into a van and kidnapped right in front of their eyes.

As for the new stuff, it’s fun and funny for sure and it doesn’t feel like a tiny or inconsequential part of the movie. Plenty of screen time is spent on new stunts involving stuff like a Jackass take on an Escape Room or a trivia game with dire consequences for the loser that involve the sizeable rear end of one of the younger crew who joined the team in Jackass Forever, Zach Holmes (whose butt is prominently featured in more than one stunt).

On the other hand, the new stuff does generally feel smaller compared overall to what’s come before. The fact that Best and Last was shot on a rather short schedule compared to other Jackass movies isn't surprising. That’s not just because new footage takes up less screen time, but also because it all seems more contained this time out, sticking to a few buildings or backlots versus the earlier films having some big location and weather/environment changes, sometimes including trips overseas. And as outrageous and legitimately funny as many of these stunts are, and as painful as it no doubt is to, say, have your penis be given a shock or to have a row of shoes spin around while hitting you in the crotch, it’s also clear that these stunts are rarely as large scale or daunting as what’s come before (and that a couple of cast members are present but rarely actively participating).

But look, the fact is most of these guys are in their 50s now. And so you can be a bit disappointed to not see them go as all out as they once did, but also understand that they just don’t have the capabilities to do so anymore. Hell, Knoxville has quite literally been medically ordered not to do what he once did, after the bad injuries he sustained on Jackass Forever’s bull stunt. So yeah, it definitely feels like it’s time to finally wrap it all up, but it’s also hard to begrudge them the indulgence of doing so onscreen. And the thing is, it’s a truly sweet and loving send off, which is funny to say about a movie that had me feeling queasy thanks to seeing so much onscreen poop covering a mat on the floor at one point. Yet that’s just the magic of Jackass and its depiction of a bunch of guys doing profoundly dumb and disgusting things who also love each other and have charmed the audience into loving them in turn.

Johnny Knoxville gets openly emotional and choked up more than once in Jackass: Best and Last, because this whole series and the people he makes it with clearly mean so much to him and it’s hard for him to say goodbye. As both that previously unreleased footage that opens the movie and the Jackass Forever bull stunt underline, Knoxville could have quite literally died more than once making Jackass, had things gone just a bit differently. Thankfully, he did not, and as much as it might be sad for him to see it come to an end – just as it can be for longtime fans – he can do so with his head held high, because he made something that made people laugh so much through the years. And something that showed them so much male genitalia in the process, in all of its many shapes, sizes, and forms.

You will believe a man can fly. Or in this case, a girl.

But not just fly. In Supergirl (review), the latest movie from James Gunn’s DCU, the Girl of Steel has her own particular style of flying, using the ability as a sort of unique form of martial arts at times.

“I kind of liked her having her own flying style, because I think she's so herself in every sense of the word,” star Milly Alcock recently told me. “She can only ever be exactly who she is, so it makes sense that she wouldn't conform.”

But it’s been quite a journey to go from the early days of onscreen Kryptonian flying to today’s high-tech methods – and it’s rarely been an easy path along the way.

So with the help of the Woman of Tomorrow herself, Milly Alcock, and Supergirl’s director Craig Gillespie, let’s trace the earliest attempts to depict super-flight in movies and TV, and the heights that have been achieved in the modern DC movies.

The Fleischer Shorts and the ‘Effortlessness’ of Flying

Of course, there've been a ton of superhero movies over the years, and many of them have featured some form of flying or another. But Superman- and Supergirl-style flight has always been the trailblazer to which all other airbound characters have looked. In the case of Alcock’s Supergirl, she flies in a manner similar to her cousin, as we saw in last year’s Superman, but then she adds in a kick here or a punch there – melding her fighting with her flying.

“I hadn't got to see Superman at the point that we were doing these flying sequences, and there was this discussion of the physics of it and how fast it is,” Craig Gillespie explains. “Rob Inch, our stunt coordinator, had a lot of input, which I liked. And it's like for him, it was this effortlessness. She didn't have to crouch down and jump. It was something that was very intuitive and easy to do, so he had a lot of input on that.”

That sense of the ease of flight can actually be traced all the way back to the first onscreen depiction of Kryptonian flying, the animated Fleischer Superman shorts from the early 1940s. Interestingly, while Superman was rotoscoped in that cartoon series – which is to say, much of the animation was traced over live-action shots – the actual flying of course could not be achieved this way. This gave the animators a free hand, in a sense, and the result was a sort of balletic dance through the sky that enabled them to chart some of the earliest movements of the Man of Steel. (Also, fun fact: This series marked the first time that Superman used flight as his regular mode of transportation as opposed to just jumping around Hulk-style.)

Leaping forward 40 years or so for a quick aside, the beloved by many/forgotten by even more TV series The Greatest American Hero tackled the question of how exactly flight would work. Like, do you just start levitating upwards, or is there some kind of forward thrust needed to get going? The show posited the opposite of the effortlessness that Gillespie wanted with Kara.

In the series’ pilot episode, William Katt’s hero of the title, Ralph Hinkley, is trying to figure out how to take off for his first flight. He’s approached by a young boy who’s been watching nearby and is obviously a comics fan. The kid points out what Ralph’s doing wrong: “You gotta run like three steps, and jump with your hands out in front of you,” he explains. And what do you know? It works!

You can see why the makers of the show introduced ideas like that. And really, it’s something that even the modern superhero movies continue to struggle with. Putting aside the fact that the Greatest American Hero never really mastered his powers over the course of the show’s three seasons, characters like this always run the risk of being too powerful. Says Alcock, “How would we make it harder for [Kara]?”

“My input was more like disabling the flying, like having her be poisoned,” Gillespie says of his attempts to de-power Kara in the new movie. “It's the tricky part of Superman or Supergirl – that they're so all-powerful. It's like how do you make them compromised?”

That said, the makers of the earliest attempt at a live-action Superman really didn’t have to worry about their version of Kal-El seeming too powerful…

You Will Believe a Man Can Fly… Sorta

In 1948, Kirk Alyn became the first live-action version of the Man of Steel in Columbia Pictures’ 15-part movie serial, titled simply Superman. Here, the filmmakers must’ve figured that the Fleischer cartoon worked well enough, and so they simply cut to an animated version of Superman for the flying scenes. It’s kind of cool, sure… but it’s also kind of jarring by today’s standards.

(Oddly enough, even Tim Burton resorted to this kind of trickery back in 1989’s Batman, though in that case it was just to show the Dark Knight standing on the balcony of a skyscraper. Kinda weird, eh, Tim?)

But let’s be fair here to Kirk Alyn and directors Spencer Gordon Bennet and Thomas Carr. They were working with what they had at the time, and hey, fans finally had their first real, live Superman on the big screen.

The resources at the disposal of Warner Bros. and DC Studios would probably boggle the minds of Bennet and Carr. For example, Alcock and Gillespie told me that the shot of Supergirl flying into a karate kick was achieved in-camera, as opposed to through CG or some other visual effect.

“That's in camera, and we had that massive fight sequence in the middle of the movie, and we started off in almost six weeks on that stage,” Gillespie tells me. “Robin, who was our stunt coordinator, came over at one point with all the ratcheting and the cabling of those flying sequences. There was eight miles of cable. And he said, ‘I've never used eight miles of cable.’ It's that one shot, which was the stunt double. Mickey, and from way up the top of the set, she flies down about 50 yards and kicks…. That was half our day.”

From Mole Men to Flying-Fu… and Beyond

By 1951, the first proper Superman movie was released with Superman and the Mole Men, which gave us George Reeves as the Man of Steel. Reeves would go on to play the character for another seven years on the TV series Adventures of Superman, and it was in this era that audiences finally got their first live-action flying sequences for the DC hero. In fact, this particular style of flight would become de rigueur for years to come as far as the rarefied field of super-flight went.

How it was achieved was relatively simple. A device called “the pan” was hidden under Reeves’ costume. Mounted to a pole, it allowed for limited movement such as pitching and rolling. And hey, laying on your belly with a wind machine blowing your cape never looked as cool as it does here!

20 years later, flying was taken to the next level with the Christopher Reeve incarnation of Superman. The whole “you will believe a man can fly” tagline originated here, and man, they weren’t kidding. As budgets increased and technology improved, a variety of new methods were implemented to make Superman soar, including a combination of wire-rigs, blue screen mattes, front projection, and more… But only after – according to producer Ilya Salkind – the production lost some $2 million on failed flying tests.

This was also the period where the first live-action Supergirl appeared, with Helen Slater starring in the 1984 spin-off to the Christopher Reeve series. Slater’s version of the character was given a few more feminine touches to her flying, but it was mostly the same approach as her cousin over in Metropolis.

Still, once we really believed a man – or girl, or woman – could fly, there was no going back. Modern films have continued to perfect the art of flight, even while looking for unique spins on it, like Alcock’s flying-fu, if we can call it that.

And yet, no matter how advanced or unique superhero flight becomes, there will always be one universal truth according to the actress.

“I was like, ‘I can fall. I can actually fall. I can actually hurt myself,’” laughs Alcock . “I have the bruises to prove it!”

Talk to Scott Collura @scottcollura.bsky.social, or listen to his Star Trek podcast, Transporter Room 3. Or do both!

In the Hand of Dante is streaming on Netflix now.

Star-studded yet defiantly dull, Julian Schnabel’s In the Hand of Dante crosscuts a turn-of-the-century mob saga with a Late Middle Ages tale of how Dante Alighieri came to write The Divine Comedy. The movie, which made its debut at the Venice Film Festival and is now on Netflix, is ambitious in concept, but squanders its artistic potential thanks to its languid unfurling, courtesy of a rote, observational aesthetic approach. It feels like studying poetry purely by reading someone’s academic notes rather than experiencing the verses themselves.

Adapted from the 2002 novel by the late Nick Tosches, Schnabel’s movie recreates the book’s narrative conceit by positioning Tosches as its protagonist. This fictionalized version of the author, played by Oscar Isaac, is roped into a harebrained New York mob scheme to steal a literary treasure: recently-unearthed writing penned by Dante himself in the early 14th century, the only artifact of its kind. But before the lost manuscript is revealed, the story begins with Tosches regaling his friend Lefty (Louis Cancelmi) about how much he identifies with Dante and sees himself in the poet’s work. The movie literalizes this by having Isaac play Dante too.

It’s a commendable flourish and creates the kind of connections that could only exist in a visual medium. However, the movie immediately over-extends itself by granting pretty much its entire ensemble similar double roles. Nearly every actor from the movie’s widescreen black-and-white present cross-pollinates in the vivid 4:3 period segments, but in a manner that seldom creates thematic resonance. While it makes perfect sense to have Gal Gadot play Tosches’ love interest in one timeline and Dante’s wife in the other, Cancelmi plays both the author’s low-level mob hoodlum pal and an Italian noble lording over Dante, while Gerard Butler is cast as violent mob enforcer Louie as well as the austere Pope Boniface VIII. This might lead one to assume the film contains some commentary on social or religious structures, but the actors’ reappearances feel largely incidental.

The main plot is set in the early 2000s and sees Tosches hired by mafia head honcho Joe Black (John Malkovich) to travel to Italy to retrieve and authenticate what could be Dante’s only surviving handwriting, which the mob hopes to sell for a hefty sum. With Butler’s Louie as his trigger-happy cleanup crew, Tosches’ scheme goes gradually off the rails across the movie’s oppressive 153 minutes. However, some initial flashbacks to major events in the author’s life lay the groundwork for a confrontation of religion that never truly materializes. Al Pacino makes an impact in his single scene as Tosches’ uncle, advising a younger version of the writer on how to reckon with his violent actions in a Catholic context, while a fleeting beat of personal tragedy leads to Tosches’ pivot away from religion altogether. These hints of meaningful personal drama are far more interesting than the sluggish heist saga that follows, which ends up bogged down by the kind of florid, repetitive conversations that are emblematic of a film student making their first mob picture.

If the movie’s surface-level struggle between religion and violence sounds a tad Scorsesean — down to the Rolling Stones needle drops ripped right from Mean Streets — this inspiration becomes even more overt when Martin Scorsese himself appears in the movie as Dante’s elderly teacher. It’s a worthwhile role that verges on engaging with the kind of soul-searching that led Dante to write his masterpiece in the first place, but it’s also a tiny piece of a much larger puzzle that fails to stir the soul. By the time the movie tries to combine its reflective elements with some semblance of propulsion, courtesy of Jason Momoa as a gruff Italian hatchet man on Tosches’ tail, the film has wandered off in too many different directions to meaningfully cohere.

Like the novel, its setting runs on either side of September 11th 2001, but the incident is mere background noise. Meanwhile, all the initial hubbub about Tosches seeing himself in Dante — the very reason for its casting conceit! — yields only nominal connections between the movie’s dueling timelines despite hints of something more esoteric connecting past and present. At the very least, the actual details of how one might verify an ancient document are a subject of intrigue, but they don’t take up nearly enough of the runtime.

As both stories lurch forward, Schnabel and cinematographer Roman Vasyanov employ a noncommittal approach wherein their handheld camera floats listlessly between close-ups, a visual trick (or perhaps visual tic) that recurs with no meaningful evolution or variation, making for a nagging irony (intentional or otherwise) given an early scene in which Tosches discusses Dante as having been trapped by his poetic form. Schnabel ends up similarly stifled by this mere sliver of style, part of a larger whole left on the table if his previous films about artists — Basquiat, Before Night Falls, The Diving Bell and the Butterfly, At Eternity’s Gate — are any indication. Where he once made magic, he now pens a dry instruction manual that tries to explain the trick.

Either you're a Kpop Demon Hunter fan, or you're a Kpop Demon Hunter fan in denial. In any case, check out this golden deal that just popped up for Prime Day. Amazon is hosting a BOGO 50% promotion on Squishmallows, including two fan-favorite Kpop Demon Hunter themed plushes, Derpy and Sussie.

Here's how it's done: you simply add both Sussie and Derpie to your cart and the discount will be automatically applied at the last step of checkout. You'll be charged full price for the more expensive one, so your order total will come out to $28.01. No it's not BOGO free, but this is what a good deal sounds like.

Buy One Get One Half Off

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.