Saturday, March 14, 2026

Now Showing: The Friend Zone

 
The Friend Zone
Genre: Fantasy/Comedy
Director: Michel Gondry
Writer: Joshua Collins
Cast: Chris Pratt, Anna Kendrick, Kiefer Sutherland, Dakota Fanning

Plot: Dale Rivers (Chris Pratt) is hopelessly looking for love, enduring a series of bad dates. When his longtime friend Rebecca (Dakota Fanning) breaks up with her boyfriend, Dale finally gets his chance. They have a great date and spend the night together, but in the morning, Rebecca’s ex calls and proposes. Elated, she agrees to marry him, leaving Dale heartbroken as she thanks him for always being her “best friend.”

Walking through the city, Dale sees couples everywhere, from kids holding hands to lovers proposing, intensifying his sense of loneliness. At a bus stop, he reluctantly agrees to take a picture of a couple. When the bus arrives, he boards, not noticing that its destination reads "The Friend Zone." Onboard, he sees other sad, lonely passengers, including a guy on the phone who loudly insists he’s “definitely not in the Friend Zone, saying its for losers who can’t accept a girl they like doesn’t like them back.”

When the bus stops, Dale finds himself in a strange town. Confused, he meets a homeless man who tells him he’s now in the Friend Zone, where leaving isn’t an option. As Dale wanders, he’s approached by Corrine (Anna Kendrick), a “Match Maker,” who bluntly explains that he’s here because he’s a classic “rebounder.” She takes him to his new home on “Platonic Blvd.” The house is covered in wallpaper from roof to floor of pictures of Rebecca. and gives him a list of strict rules, including no physical affection, mundane conversations only, and limitations on proximity. She even has a contract for him to sign, agreeing that he can only love Rebecca from afar, forever.

Dale protests the absurdity of these rules, comparing it to mental torture, but Corrine just laughs and hands him a recruitment card, suggesting he consider becoming a Match Maker. Before leaving, she reminds him to follow all the rules, mentioning that “hidden cameras” ensure compliance. She tells him he needs to complete the video training for the Friend Zone. Dale sits at the computer and boots up the orientation website. Led by a hyper-cheerful robot or guide, he watches a series of overly cheerful videos explaining the rules, complete with exaggerated warnings about breaking them. This orientation could include ridiculous tips for “safe” interactions, like keeping “emotional guardrails” and “pre-approved phrases” handy.

That night, Dale tries to relax but is shocked when the TV blares out an announcement about Rebecca’s wedding. In his frustration, he attempts to tear down a poster of Rebecca, but a disembodied voice warns him that tampering with his “Wall of Affection” could lead to eviction. As he stares at his bed’s decor—Rebecca’s face on both sides of him—he realizes the Friend Zone is more stifling than he’d imagined. His bedroom has a “Birth of Man” style painting of Dale and Rebecca as God and Adam.

In the morning, a robotic announcement from a bedside device wakes him, cheerfully reminding him that Rebecca is still his “best friend.” His TV switches on with details of Rebecca’s night with her fiancĂ©(going into details about they sex they had that Dale isn’t having). Disgusted, Dale rushes outside to explore, discovering more of the town’s bizarre restrictions. Tape lines on the sidewalk enforce “safe” distances, and signs forbid displays of affection or only allowing mundane conversations. He overhears others delusionally waiting for their crushes to notice them, and begins to grasp just how deeply trapped he is.

At the Friend Zone Town Hall, Dale is granted an interview with Mayor Cuffman (Kiefer Sutherland), a strict, intimidating figure who monitors residents’ behaviors closely through security cameras. Cuffman says he knows all about Dale. “Your Zoner: Rebecca Allen. Friends since preschool. You’ve grown up together, ‘like siblings,’ Cuffman chuckles to himself. Dale says, “You’ve seen my Twitter profile, eh?” Cuffman explains that the Friend Zone is a place of strict emotional “discipline.” that not everyone can be a Matchmaker. Dale reluctantly accepts the job, despite his doubts, and Cuffman assigns Corrine to train him as a Match Maker.

Corrine takes him on patrol, explaining that they must enforce the town’s rules at all times. They find themselves just outside of the Compliance Center. Dale asks about it, Corrine says its a place rule breakers go if they happen to step out of line. They go inside and have a look around. It’s a bleak creepy lab that has people strapped to chairs, being forced to watch their person on a big screen enjoying themselves and looking sexy in model poses and dancing sexy as a way to make rule breakers fall in love with their Zoner again. Dale sees one person shouting painfully as he’s watching his Zoner cook food in a bikini. She drops a spatula and bends over to pick it up.

During their patrol, they respond to a “code 564” at a cafe, where a resident is reprimanded for asking a waitress for her number. Dale is horrified when another Match Maker uses a cattle prod to subdue the man, but Corrine dismisses his shock, saying it’s just part of the job, but a glimmer of guilt appears on her face.

That night, Dale lies in bed, unsettled by his first day on the job and the grim realization that he’s now part of this oppressive system. Across town, Match Makers drag a woman into Cuffman’s office; she’s been caught violating the rules and is terrified. Cuffman learns she’s pregnant, a major violation, and pressures her to name the father. She refuses, and Cuffman threatens to send her to the “Compliance Center.”

Meanwhile, Dale is awoken by a commotion as Match Makers raid his neighbor Paul’s house. They tell Dale that Paul broke the Friend Zone’s rules by “cheating” on his Friendzoner. Cuffman drags Paul to the Compliance Center for “recalibration,” Clockwork Orange style, where he’s forced to watch images of his Friendzoner, Kristen, looking and being sexy, in a psychologically punishing sequence until he breaks down and “recommits” to his assigned obsession. 

On their daily patrol, Matchmakers Corrine and Dale navigate the rigid "Friend Zone" where citizens remain trapped in unrequited love, unable to move on. As they interact, Dale questions the rules, lamenting, "a place that forces you to handcuff yourself to someone who won’t love you back." Corrine explains the structure: residents are kept fixated on those they can't have, and Mayor Cuffman’s oppressive rules prevent any genuine relationships. Dale wonders if there's an escape, but Corrine reveals that the only exit is reciprocated love—rare and nearly impossible under Cuffman's iron grip.

The Friend Zone citizens have required weekly group sessions where the people discuss their stories of unrequited infatuation with their Zoners. Some people share how they got to the friend zone. Therapists often give unhelpful advice to the group, only filling their minds with false hopes that their Zoner will love them. Corrine is in one of the group sessions, she explains how she’s a Friend with Benefits with her Zoner. She loves him, but he only wants her for free sex. She says she was almost sent to the compliance center for violating her wall of affection, but Cuffman gave her a job as a Matchmaker.

Despite strict prohibitions, Dale asks Corrine on a date. Shes reluctant to break the rules but Dale says they can work around it. They share "dates" where they sit near but not beside each other, savoring brief moments that bend the rules without breaking them. Their connection deepens in private moments on Corinne's apartment rooftop, the only place free from surveillance, where they laugh, share stories, and, eventually, share a passionate kiss that leads to implying they have sex. Corinne reveals her true name to Dale, a rare personal disclosure that solidifies their bond.

Their newfound happiness catches Cuffman's attention. During a lineup, Cuffman warns his Matchmakers to stay emotionally vigilant, emphasizing the importance of keeping residents in their "tunnel vision of love." Suspicious of Dale and Corinne’s closeness, he has them under increased surveillance. Under pressure, the two continue to act distant in public but secretly meet to reaffirm their feelings, straining under Cuffman's watchful eyes.

Eventually, Dale can no longer hide his love, exclaiming to Corinne on the rooftop, "This suppression of my feelings is driving me crazy!" Their forbidden romance is confirmed as they share another kiss—one caught by Cuffman's surveillance team. Enraged, he orders their capture.

A comedic yet tense chase ensues as Dale and Corinne flee on their segways, pursued by other Matchmakers. Citizens watch in confusion as they’re pursued through the streets, and in the chaos, both are eventually captured. Cuffman confronts Corinne, revealing his motivation for creating the Friend Zone: he too was once in unrequited love and built this world as a place where others would suffer as he did. He admits his feelings for Corinne, hoping she’ll join him as his partner and help him control the Friend Zone.

Feigning interest, Corinne plays along, calling him “like a brother” just as Dale sneaks up and knocks Cuffman out with a cattle prod. They escape as Cuffman’s world begins to collapse, and the ground shakes. Matchmakers try to chase Dale and Corrine out of city hall. Buildings crumbling in the distance, other citizens run for cover. Dale and Corrine retreat to the rooftop where they first connected, sharing a kiss and saying “I love you,” to each other as the Friend Zone implodes around them.

In an epilogue, Dale wakes up in the real world. When Rebecca calls asking him why he hasn’t RSVP’d to their wedding, Corinne takes the phone and tells Rebecca “they may be too busy” with Rebecca on the other line asking “who the heck is that?!”

Spacehog Cruel to be Kind plays us out over the credits..

In a mid-credits scene, Cuffman is seen in his room, now plastered with images of Corinne, as his daily affirmation device reminds him of the unlikely odds of her ever loving him back. The TV turns on, giving Cuffman an update on Corrine and Dale’s sex life, not sparing the details. Cuffman holds his head and screams.



Friday, March 13, 2026

Top 10 Bella Thorne Films

 

Sherman J. Pearson here for another Top 10. A surprising talent has hit 10 films this round... Bella Thorne. To commemorate the occasion, I've take a look at her filmography - including Vultures, which just came out this round. I'll warn you, LRF has not been particularly kind to Ms. Thorne until recent seasons.

Top 10 Bella Thorne Films
10. Columbine
9. Eye of the Scarecrow
8. Happy Birthday
7. ID
6. The Vegan Movie 2: Tariq Goes to Sarah Lawrence
5. Damned Ship
4. The Vegan Movie
3. Bigfoot
2. Vultures
1. Suburban

Release: Vultures

 
Vultures
Genre: Horror
Director: Rob Zombie
Writer: Clive Steinbeck
Cast: Sheri Moon Zombie, Bella Thorne, Richard Brake, Chloe Cherry, Naturi Naughton, Scout Taylor-Compton, Danny Trejo, Jeff Daniel Phillips, Fairuza Balk, Daeg Faerch, Lew Temple, Bill Moseley





Budget: $13,000,000
Domestic Box Office: $17,614,946
Foreign Box Office: $11,894,445
Total Profit: $7,320,090

Reaction: While not a hit, Vultures was a nice low-risk profitable project. Make this a second profitable collaboration in a row for writer Clive Steinbeck and director Rob Zombie.





"Vultures is Rob Zombie going full desert-grindhouse: sadistic bikers take over a rundown strip club near the Salton Sea, only for the dancers to fight back in a messy, blood-soaked survival showdown. It’s mean, sleazy, and absolutely committed to its vibe. Not for everyone, but if you like your horror rough and nasty, it hits the spot." - Zeke Browning, Dread Central



"A Western-style horror that swaps horses for motorcycles and delivers exactly the kind of chaos you’d expect from Rob Zombie. The Vultures MC are unflinchingly violent. The women fight back with savage ingenuity. It’s not subtle, and it’s certainly not for the faint of heart. If you're a fan clamoring for Rob Zombie's return to his Firely series, you'll be in for a treat." - Dexter Quinn, Cinematic Observer Newsletter 



"Rob Zombie’s Vultures is a grim little desert horror story that traps a group of dancers in a strip club with a gang of murderous bikers. Zombie has a knack for atmosphere, but overcommits to ugliness and brutality at times. Zombie clearly knows the exploitation tradition he’s drawing from, but Vultures spends so much time wallowing in cruelty that it occasionally forgets to rise above it." - Pierre Herbert, Chicago Sun-Times








Rated R for strong bloody violence, sexual content/nudity, language, and some drug use.





Thursday, March 12, 2026

Last Resort Films Jukebox: Vultures

 

Now Showing: Vultures

 
Vultures
Genre: Horror
Director: Rob Zombie
Writer: Clive Steinbeck
Cast: Sheri Moon Zombie, Bella Thorne, Richard Brake, Chloe Cherry, Naturi Naughton, Scout Taylor-Compton, Danny Trejo, Jeff Daniel Phillips, Fairuza Balk, Daeg Faerch, Lew Temple, Bill Moseley

Plot: 1974. In a dusty field in the foothills outside Sacramento, the sounds of Lynyrd Skynyrd's "Gimme Three Steps" blacks through the crowd of a music festival. The band is midway through the song, playing before a sea of half-drunk, half-baked concertgoers. Women in cut-off shorts and fringe dance in front, men in denim vests and greasy hair drink from bottles wrapped in paper bags. From the far edge of the crowd, the deep rumble of Harley engines cuts through the music. Five bikes crawl into view as the Vultures MC roll to a stop and kill their engines. Their leader, Cutter (Richard Brake), is up front with his righthand man Tombstone (Danny Trejo) behind him. Lynch (Jeff Daniel Phillips) climbs off his hog with his old lady Daisy's (Fairuza Balk) arms wrapped around his waist. Wheels (Daeg Faerch) quietly brings up the rear of the group. They push into the crowd without slowing, Cutter clearing a path with a flat stare. A wiry young man turns into him, beer sloshing across Cutter’s vest. The grin that spreads across Cutter’s face isn’t friendly — he smashes the bottle into the kid’s face, the glass exploding into shards. Before the boy can react, Cutter drags the jagged neck of the bottle down his cheek, skin peeling open. The man’s friends rush forward. Tombstone meets one with a headbutt so hard blood sprays from the man’s nose. Lynch swings his tire iron into another’s ribs, the dull crack cutting through the music. Cutter shoves the beer-spiller to the ground, straddles him, and draws a hunting knife from his belt. The crowd recoils as he presses it to the boy’s belly and drives it in slow, twisting until the front of his shirt blooms red. Two off-duty CHP officers push through the chaos, one with his badge clipped to his jeans. They bark for Cutter to drop the knife. Tombstone's revolver comes up fast, and two deafening shots drop both men in place, one clutching a ruined chest, the other’s throat exploding in a spray of blood. The band falters at the sounds of the shots, but keeps playing when they are unable to see any violence from the stage. Cutter wipes his blade on the dying man’s shirt, glances to Tombstone, and mutters about needing to ride.

The Vultures ride hard all night, headlights carving thin tunnels through the darkness. Cutter leads with hunched shoulders, Tombstone behind him nursing a bleeding side, Lynch scanning the shadows, Daisy leaning back on her seat with arms spread, Wheels bringing up the rear like a ghost. They pull into a flickering gas station around midnight. Tombstone ducks into the grimy bathroom, lifts his shirt, and presses a rag against the wound at his ribs after pulling out a shard of glass that was stuck in his side. Cutter spreads a road map out on the dusty ground, tracing south with a dirty fingertip. Daisy fishes cigarettes from a breast pocket and lights two, passing one to Lynch. No one speaks much - only the occasional growl about staying off the main highways. After riding all night and through the morning, Cutter motions for the group to take a turnoff near the Salton Sea.

A strip club called The Velvet Chains sits off a dusty road just south of the Salton Sea. It's neon sign buzzes faintly in the midday glare. Inside, the curtains are drawn to keep out the brutal California sunlight. The club's owner, Ruby Vex (Sheri Moon Zombie) leans over the bar,  dragging deep on a cigarette while counting a fistful of wrinkled bills. Lola Belle (Bella Thorne) works a corner table, leaning in close to a trio of traveling salesmen. She rests one hand on a thigh, giving a fake laugh at something one of them says. The music shifts and Candy (Chloe Cherry) struts onto the stage in glittery go-go boots and a hot pink halter, chewing gum and tossing her hair to “Strutter” by KISS. Her routine is all quick snaps and sharp hip pops, more bratty than sultry.  A pair of salesmen lean forward, bills in hand, while Candy smirks and snaps her gum loud enough for them to flinch. The side door creaks open. Stormy (Naturi Naughton) walks in wearing oversized sunglasses and a leather jacket. She peels the shades off and heads toward the dressing area. Ruby mentions the time, indicating Stormy is late again for her shift. Near the back wall, Honey Ryder moves slowly on the small secondary stage, barefoot, hair hanging loose over her shoulders. She sways sensually to the music.  At the bar, Red leans in, beer in one hand, running his mouth loud enough for half the room to hear. He throws crude compliments toward Lola and slaps the bar when she ignores him. Cal sits alone at a corner table, motionless except for the slow tilt of his glass to his lips, his eyes locked on the stage.

The faint roar of engines rolls in under the music, growing louder. Candy notices first, glancing toward the door. It swings open and in steps Cutter, followed by Daisy, Tombstone, Lynch, and Wheels. Cutter's eyes sweep the room. They spread out instinctively - Cutter and Daisy to the bar, Tombstone leaning heavy against a stool, Lynch pacing like a caged dog, Wheels drifting toward the stage. Candy hops off the stage and sidles up to Wheels, brushing his arm with her fingers, teasing him about looking too young for the patch on his vest. Stormy, passing by, catches the exchange and keeps walking. Ruby pours Cutter and Daisy drinks without asking what they want, setting them down hard enough to make the glasses clink. Cutter doesn’t take his eyes off Lola. From his barstool, Red lets out a drunken laugh, calling across the room about the festival mess up north, throwing in a jab about Altamont. The Vultures all freeze. Lynch sets his drink down slow, strolls to Red, and in one motion smashes a beer glass into his face. The edge rips a line across Red’s cheek, blood spraying onto the counter. Cutter turns toward Ruby, and tells her to lock the doors. The metallic click of the latch is louder than the music.

Cutter stays at the bar, leaning one elbow on the counter, the shotgun propped within reach. He tells the room, almost lazily, that no one leaves until morning. They’ve got business to handle south of the border. Daisy slides off her stool, claps her hands together, and saunters toward the dancers. She lines them up like she’s choosing meat, dragging her finger along Candy’s arm, tilting her head at Lola, appraising Honey like a horse at auction. She announces that the boys deserve a private show, and Cutter doesn’t argue. Cal shifts in his seat near the wall. He keeps his head low but his eyes flick toward the front door. When Daisy’s attention turns, he makes a slow move, edging toward the exit. Wheels notices, stalking across the floor without a word. He grabs Cal by the hair and slams him face-first into the wall hard enough to dent the plaster. Cal groans, tries to cover his head, but Wheels drives his skull into the wood paneling again and again until his body goes limp. Blood runs down the wall in thick streaks. Wheels lets him drop to the floor like garbage. 

While Tombstone is using the phone to try to reach his brother in Mexico for a route through the border, Candy perches on Wheels' lap, giggling and tracing the outline of his patch with a fingertip. She playfully teases him about being so quiet but tough. Daisy sees it from across the room, her expression curdling. She yanks Candy off him by the hair, dragging her across the floor toward Cutter, tossing her forward like an offering. Daisy mocks her in front of everyone, saying if she thinks she’s so hot, she should give the boss a taste. Candy makes a remark about Cutter not being as cute as Wheels. Cutter studies Candy for a moment, then grabs the back of her head and drives her face into the edge of the bar. There's a loud crack as her nose shatters. Blood gushes down her mouth and chin. She staggers back. Before she can regain her footing, Wheels is up behind her, arm hooking around her torso. The flash of a switchblade catches the low light. He plunges it into her ribs three quick times. Wheels shoves her forward and she crumples, a pool of blood spreading around her.

Ruby orders Stormy to help her carry Candy's lifeless body away. They carry her into the dressing room, laying her on the couch. Ruby drapes a curtain over Candy's body. Stormy quietly tells the others that she thinks this is the gang that just killed a bunch of people at the concert in Sacramento. Lola paces, her eyes darting between the curtain and the door. Honey quietly tells the others that she noticed the Vultures stash a few weapons - a pistol at the bar, blades by the pool table. Ruby says that waiting isn't an option - these biker thugs clearly have no intention of letting them live when they move along. 

The room is quiet except for the low hum of the jukebox. Cutter leans back at the bar, cigarette burning down between his fingers, shotgun propped within reach. Lynch demands one of the girls get up and dance. From the dressing room, Honey steps back onto the stage. She’s barefoot, hair loose, wearing nothing but a thin silk wrap. “Use Me” by Bill Withers flows from the speakers. As she moves toward the pole, Honey drifts into the wings. Out of sight, she crouches by the cracked vanity mirror, yanks a jagged shard loose, and hides it in her palm. She comes back into view, circling the room as if picking her next audience. Lola is at the bar with Cutter now, leaning on her elbow. Honey glides up behind Lynch, who’s sitting with his back to her, gnawing on a toothpick. Her arm hooks around his neck and the mirror shard slashes across his throat in one clean motion. His eyes go wide as a red spray arcs across the table, the toothpick dropping from his lips. He claws at the wound, but she twists the glass, tearing it open until he collapses in a wet heap on the floor. Stormy grabs a mic stand and swings it into Daisy’s face. The first hit knocks her sideways, the second sends her sprawling. Stormy straddles her, slamming the stand down again and again until Daisy’s head makes a soft, sickening sound against the floor. Ruby moves on Tombstone, swinging a whiskey bottle into his jaw. The glass shatters, jagged pieces sticking out of his cheek. He roars and lunges, tackling Ruby to the floor. Lola grabs Tombstone’s dropped pistol from the floor, steps in close, and puts two rounds into his chest. He lets go of Ruby. Lola fires a third shot into his head. Wheels charges at Honey, knife in hand. She sidesteps, grabs the back of his head, and drives the mirror shard into his eye socket. He screams, flailing, but she twists until he goes limp and falls to the floor, the glass still buried in his skull. Cutter has the shotgun now, standing in the center of the room, breathing heavy. His face is calm, almost amused. The jukebox has switched to “Rock On” by David Essex. The women scatter, weaving between overturned tables and broken chairs. Cutter fires once, the blast tearing a hole in the wall. The girls make it out the front door of the club, stepping over corpses on the way, into the blinding afternoon sun.

Lola is the first to kneel beside a bike, slashing its tires. The others follow suit, stabbing deep. One by one, the tires collapse into shredded rubber, rendering the row of Harleys useless. They take off toward the open flats, sticking to the edges of the Salton Sea. Cutter staggers out of the club, stepping out into the blinding light. The sight of the bikes stops him cold. Every tire’s been gutted. He grabs his shotgun and starts walking toward the flats, salt and dirt crunching under his boots. The girls see Cutter slowly moving in their direction. They decide to split up to increase their chances of finding help. Honey circles toward a shallow stretch of the Sea, but Cutter spots her. The shotgun booms, tearing into her midsection. She stumbles backward into the brackish water, then collapses face-down. Stormy's farther out, weaving between dead palm trees. Cutter fires again, pellets raking her shoulder and spinning her to the ground. She pushes herself up, teeth gritted, and crawls toward the shade of a half-collapsed shack. Cutter ignores her for now - she's not going anywhere fast. Ruby and Lola regroup behind the rusting frame of an old fishing shack near the shoreline. They’re sweating, breathing hard. Lola finds a length of barbed wire, while Ruby picks up a rusted harpoon leaning against the shack wall. Cutter steps into the doorway, shotgun raised. The blast splinters the frame inches from Ruby’s head. She charges low, slamming into his legs and knocking him backward into the salt. The gun clatters away. He grabs Ruby by the hair, jerking her up, but Lola’s already behind him, looping the barbed wire around his throat and pulling tight. Cutter thrashes, the barbs biting deep, blood running down his chest. Ruby drives the harpoon into his ribs with every ounce of strength she has. Lola hauls back harder, the wire sawing through skin and muscle. Cutter's face goes purple, until his body finally goes slack. Ruby and Lola hold on until the last twitch fades. In the distance, Stormy leans against a dead palm, blood soaking her shoulder, staring out over the water. Overhead, vultures circle, their shadows drifting across the flats as “A Horse With No Name” plays.



Wednesday, March 11, 2026

SOCIAL SPOTLIGHT

 

Actors don’t just light up the screen — they light up the feed. Social Spotlight takes a look at how today’s stars promote their movies through the platforms that matter.

This round we have an Instagram post from Vultures filmmaker Rob Zombie....



In Development

 
Ghost Recon: The latest Tom Clancy adaptation will complete its casting Tenoch Huerta (Scarface, Black Panther: Wakanda Forever) as rifleman Joe Ramirez, Daniel Dae Kim (Open Hearts, Gears of War) as North Korean Major-General Paik, Wesley Snipes (Victims, The Fall Guy: Trouble in Tahiti) as Commander Jacobs, and Caleb McLaughlin (The Revolution, Sister/Sister) as a new young recruit on the Ghost team. Ben Affleck is directing the video game adaptation from a script by Dawson Edwards. 

Rubicon Lies: The latest team-up of director Martin Scorsese and star Leonardo DiCaprio, the JFK assassination conspiracy-themed Rubicon Lies, has added more cast members. James Norton (Queen Margot, Resident Evil 5) will play Robert F. Kennedy, David Corenswet (Hair, Superman) will play President John F. Kennedy, while Brendan Gleeson (Pirate Latitudes, Someone Else) is set to portray CIA director J. Edgar Hoover. Jimmy Ellis penned the story.

Behind Closed Doors: Famed filmmaker Mike Leigh's LRF debut (at the age of 83 years old), Behind Closed Doors, will round out its supporting cast with the additions of Hannah John-Kamen (Fading Nights, We Were Never Here), Kaylen Luke (The Woman Upstairs, 7 Keys), Remmie Milner ("Silo", Book of Love), and Jack Bannon ("Pennyworth", "Pulse"). Holden Abbott penned the film.

Man-Thing: The Marvel Universe is back with a film based on the horror-themed character Man-Thing! Allison Williams (Regretting You, M3GAN), Max Minghella (The Guest List, "The Handmaid's Tale"), Lil Rel Howery (Code 3, Vacation Friends), and Nick Kroll (I Don't Understand You, Don't Worry Darling) are set to star. Williams will play Dr. Ellen Brandt, sent to an AIM lab in the Everglades to recover the research of a missing scientist. Minghella will play Dr. Ted Sallis, the scientist who becomes the monstrous Man-Thing. Howery and Kroll, meanwhile, will play shady AIM executives. Jordan Peele (Bright Neon Lights, Nope) is set to direct the film from a script by Jimmy Ellis (Convalescence, The Essence) and Mark Newton (Ghost Rider: Damnation, Gears of War 2).

The Molander Case: Daniel Bruhl (Pirate Latitudes, Sherwood) and Sandra Huller (Anatomy of a Fall, The Zone of Interest) are set to headline the WWII-era drama about filmmaker G.W. Pabst, who returns to Nazi Germany just before the war breaks out and is unable to leave. The film is based on the novel "Litchtspiel" by Daniel Kehlmann. Bruhl will play Pabst while Huller will play his wife Trude. Christoph Waltz (The Past Before, At the Mountains of Madness) will appear in a supporting role as famed German entertainer Heinz Conrads in addition to acting as a producer on the project. Christian Petzold (Undine, Miroirs No. 3) is set to direct the film from an adaptation by Wyatt Allen (Offside, Boys from the Forest).

The House of Black: The studio already has universes of DC Comics and Marvel Comics, but now the studio can add the Wizarding World to the list. The first film in the universe will be The House of Black - a 1970s set story about the Black family, namely young Regulus and Sirius. Benjamin Evan Ainsworth ("The Haunting of Bly Manor", "Son of a Critch") has been cast as Regulus Arcturus Black, Louis Partridge (Pompeii, The Writer and the Film Star) has been cast as Sirius Black, Emma Mackey (Broadway Joe, Sgt. Rock) has been cast as Bellatrix Lestrange, and Nell Hudson (Haunting of the Queen Mary, Salvable) has been cast as Narcissa Malfoy. Writer Sammy-Jo Ellis (All the Fives, Wonder Bean) is behind this first Wizarding World production, which is being helmed by Chan-wook Park (Blackbird, Hex).