Friday, October 30, 2026

From the Desk of Alfie Ellison, VP of International Development: The Dailies

 

Positioned as a tense and immersive descent into the Golden Age studio system, The Dailies will explore the fragile boundary between truth and illusion in an era where image was everything—and the cost of protecting it was often unseen. Set against the backdrop of a rapidly industrializing film industry, The Dailies centers on a man whose job is to assemble stories, only to discover one that was never meant to be told.

At the center of the project is rising talent Toby Wallace, who will take on the role of Thomas Boyle, a meticulous and largely invisible editor working deep within the studio system. As Boyle begins to piece together fragments of unused footage he finds himself drawn into a quiet conspiracy that extends far beyond a single film. Wallace’s casting signals a bold and character-driven approach, with the role demanding a performance built on restraint, observation, and an escalating sense of unease.

Directing the film is Josh Safdie, one half of the acclaimed Safdie filmmaking duo, known for crafting intensely immersive and anxiety-driven cinema. With projects such as Good Time and Uncut Gems, Safdie has established a signature style defined by urgency, psychological pressure, and deeply human characters caught in systems they cannot control. His involvement suggests a version of The Dailies that will lean into immediacy and tension, transforming the quiet paranoia of the story into a relentless, suffocating experience.

Rather than presenting Hollywood as a place of glamour, The Dailies will focus on the unseen corners of the industry—the editing rooms, the vaults, the spaces where narratives are shaped and reshaped. The film will examine how stories are constructed not only on screen, but in reality, as studios wield their influence to control public perception at any cost.

Early development indicates a visually rich and tactile approach to the filmmaking process, with an emphasis on analog textures—film grain, physical reels, and the mechanical rhythms of editing—serving as both aesthetic and narrative devices. As Boyle’s investigation deepens, the very medium he works with begins to turn against him, with missing frames, altered cuts, and disappearing evidence reinforcing the sense that the truth itself is being rewritten.

For any inquiries please contact LRF VP for International Development Alfie Ellison.

Project Details: 
The Dailies
Original Story
In 1933 Hollywood, a low-level film editor uncovers footage suggesting a studio star’s death was no accident—only to find himself quietly erased by the very system that manufactured the illusion.
Attached Talent:
Star Toby Wallace
Director Josh Safdie

PREMIERE MAGAZINE #364

 

Thursday, October 29, 2026

The Roundup with Jeff Stockton (Season 37 Round 4)

 

Round 4 was weird. Not bad. Not great. Just weird. We got a PlayStation history lesson disguised as an animated adventure, an X-Men spin-off that somehow wandered into road comedy territory, and a horror movie that forgot the most important requirement of being a horror movie. At least the studio made money. Mostly.


ASTRO BOT
I’ll give Astro Bot this: It absolutely understands why people love PlayStation. The movie is basically a guided tour through decades of Sony history, pulling characters, worlds, and references from all across the brand and trying to turn that nostalgia into an actual story.

Does that story always make sense? Not exactly. In fact, it somehow manages to feel both too thin and too complicated at the same time, which is a pretty impressive contradiction. But I appreciated the intent. There’s something genuinely charming about watching filmmakers treat gaming history like mythology instead of disposable fan service. The references aren’t just there so people can point at the screen and yell, “I KNOW THAT GUY!” There’s a real attempt to celebrate what made PlayStation matter to multiple generations of players. Messy? Absolutely. But I’d rather watch an ambitious mess made with affection than another soulless brand exercise.


X-FORCE
This was not the X-Men spin-off I expected Dwight Gallo to write. At all. Instead of another grim sci-fi meditation about mutants being persecuted by society, X-Force plays almost like a deranged road movie. Honestly? It gave me Midnight Run vibes. Just with mutants, automatic weapons, exploding body parts, and Andy Samberg playing Deadpool. And somehow it works.

The tone is radically different from the main X-Men series, but that’s exactly why the movie feels refreshing. Jeffrey Dean Morgan gives Cable the necessary gruff center while everyone around him is allowed to be considerably more ridiculous. There’s violence. There’s gore. There’s dark humor. There are characters behaving like complete lunatics. That’s probably the correct recipe for X-Force. Not every corner of the X-Men universe needs to feel like the end of civilization. Sometimes mutants should just be allowed to shoot people.


PROFITS
Two out of three. I’ll take it. Bloodsong lost money. Astro Bot made enough to essentially cover that damage. Which leaves X-Force doing the actual work for Round 4. Not exactly the most diversified financial portfolio, but profit is profit. After spending portions of Season 36 watching one disastrous release erase multiple successful ones, there’s something comforting about a round where the math ends with a plus sign. Would I prefer three profitable movies? Obviously. But two out of three? Meat Loaf had a point.





BLOODSONG
Here’s the frustrating thing about Bloodsong: The story itself is perfectly functional. Characters have motivations. Events progress logically. The structure works. All the basic pieces are there.

Unfortunately, someone forgot the horror. I wasn’t scared. I wasn’t unsettled. I wasn’t particularly disturbed. And if you’re making a horror movie, those are fairly significant problems. The Native American historical elements give the story a compelling foundation, and there are ideas here that could have produced something genuinely haunting. But horror can’t survive entirely on concept. Eventually the movie has to make the audience feel something other than admiration for its research. Bloodsong never did that for me.


ASTRO BOT
Yep. Both sections. Because Astro Bot is one of those movies where I enjoyed myself while simultaneously wondering what the hell the screenplay was doing. The concept is charming. The visual imagination is strong. The PlayStation nostalgia works. The storytelling? Not so much.

Characters appear because the movie needs another reference. Plot rules get introduced and discarded. The narrative keeps expanding even though the central story was never particularly complicated to begin with. At times, it feels less like a movie and more like someone trying to connect fifty different PlayStation Easter eggs with red string on a corkboard. I had fun. I also wanted somebody to grab the screenplay and say, “Okay, but what is the actual story?” Sometimes enthusiasm needs an editor.


STARS
This round was missing something. Star power. And I think the box office reflected it. Jeffrey Dean Morgan is excellent. Sophia Lillis is talented. Devery Jacobs is talented. Emma Corrin is talented. There are plenty of good actors scattered across these films. But there’s a difference between being a good actor and being the person whose face sells the movie. Nobody in Round 4 really brought that. There wasn’t a Tom Cruise. There wasn’t a Margot Robbie. There wasn’t even somebody who felt like they were clearly ascending into that territory. X-Force had the franchise. Astro Bot had PlayStation. Bloodsong had its concept. But none of them had a lead where I thought, “People are buying tickets because that person is on the poster.” That matters. Maybe less than it used to. But it still matters. And this round felt like proof.

ON LOCATION (SEASON 37 ROUND 4)



Bloodsong
- Baton Rouge, Louisiana, USA


X-Force
- Albuquerque, New Mexico, USA

Wednesday, October 28, 2026

BOX OFFICE BREAKDOWN (SEASON 37 ROUND 4)

 


BLOODSONG
Budget: $27,000,000
Total Box Office: $37,158,143
Total Profit: -$18,760,010


Bloodsong failed to generate enough theatrical interest to overcome its costs, resulting in another significant loss for a modestly budgeted genre film. The result also extends an increasingly difficult early-career trend for writer Holden Abbott.

BOX OFFICE FACT
Make it 0-for-6 at the box office for writer Holden Abbott early in his LRF career. Abbott will have one more opportunity to break through this season when Forbidden Planet arrives in Round 9.

GENRE RANKINGS
Horror: #130
Fantasy: #107




ASTRO BOT
Budget: $86,000,000
Total Box Office: $200,216,109
Total Profit: $20,100,400



Astro Bot crossed the $200 million mark worldwide and turned a healthy profit, giving LRF another commercially viable video game adaptation. 

BOX OFFICE FACT
Director Peter Ramsey has quietly built one of LRF's stronger animation resumes. Across just two films — Astro Bot and Season 24's Khumba the Flying Zebra — his projects have combined to gross more than $544 million worldwide.

GENRE RANKINGS
Animation: #17
Family: #6
Comedy: #26




X-FORCE
Budget: $125,000,000
Total Box Office: $310,807,346
Total Profit: $78,910,777



X-Force gave Round 4 its strongest financial performer, clearing the Hit threshold with nearly $79 million in profit. The result is especially notable given Robert Rodriguez's uneven LRF box office history, making this one of the more successful entries on his studio résumé.

BOX OFFICE FACT
X-Force is the fifth LRF film directed by Robert Rodriguez and becomes his third profitable release, joining RoboCop Versus The Terminator and Blue Beetle. His other two studio projects — Road Rash and Stray Dogs — both finished in the red.

GENRE RANKINGS
Action: #162
Superhero: #97



Season 37 Round 4 Total Box Office:
$548,181,598

Season 37 Round 4 Total Profit:
$80,251,167

Round 4 was carried primarily by X-Force, while Astro Bot provided an important secondary contribution. Together, those two profitable releases comfortably absorbed the loss from Bloodsong and gave Season 37 another strong overall round.


Season 37 Total Box Office:
$2,468,185,752

Season 37 Total Profit:
$487,405,201

Through four rounds, Season 37 has generated nearly $2.47 billion worldwide and just under $487.5 million in profit. The season remains in a healthy position, though its financial strength is still concentrated near the top of the slate, with Pokémon accounting for a substantial share of the overall gains. The supporting lineup has improved, however, with Nightwing: Bloodhunt and now X-Force adding meaningful depth behind the season's runaway leader.


SEASON 37 BOX OFFICE STANDINGS
1. Pokémon — $776,788,299 👑
2. Metroid Prime — $338,796,929 💰
3. Nightwing: Bloodhunt — $336,402,669 🔥
4. X-Force — $310,807,346 🔥
5. Grand Theft Auto IV — $202,571,839 💰
6. Astro Bot — $200,216,109 💰
7. Deadline — $112,721,449 ⚖️
8. Hay Day — $59,532,823 💣
9. The Passageway — $47,062,055 💣
10. Bloodsong — $37,158,143 💣
11. The Silver Swan — $28,002,086 💣
12. Below the Surface — $18,126,005 💣


LRF TRIVIA TIDBITS (SEASON 37 ROUND 4)



Round 4 of Season 37 is all about creative control and interpretation—one filmmaker drawing a firm line around outside influence, another project deliberately pushing past its source material’s comfort zone, and a major comic-book role coming down to two very different comedic approaches.


BLOODSONG
Native American artist, writer, and producer Steven Paul Judd was initially offered a producer/consultant role by writer Holden Abbott, but director Issa López ultimately rejected the proposal. López wanted to keep the producing circle tight and was reluctant to bring in another outside voice who might have creative influence over the finished film.


ASTRO BOT
The Sweet Tooth Bot is the only character in the film who had never previously appeared in an Astro Bot PlayStation game. The game developers had intentionally avoided the Twisted Metal character, reasoning that “a homicidal clown driving a combat ice cream truck” might be a tough fit for a family-friendly title—or lead to some awkward questions from younger players. Writer Joshua Collins decided to ignore those concerns and bring him in anyway.


X-FORCE
The role of Deadpool ultimately came down to Andy Samberg and Bill Hader, with both actors bringing very different comic sensibilities to the part. The studio chose Samberg after preferring his more overtly zany interpretation of Wade Wilson over Hader’s comparatively drier approach, setting the tone for this version of the character going forward.

Tuesday, October 27, 2026

Release: X-Force

 

X-Force
Genre: Action/Superhero/Sci-Fi
Director: Robert Rodriguez
Writer: Dwight Gallo
Based on Marvel Comics characters
Cast: Jeffrey Dean Morgan, Sophia Lillis, Andy Samberg, Rowan Blanchard, D’Pharaoh Woon-A-Tai, Rudy Pankow, Richard Dreyfuss, Judd Nelson, Zach McGowan (cameo)

Budget: $125,000,000
Domestic Box Office: $142,726,496
Foreign Box Office: $168,080,850
Total Profit: $78,910,777

Reaction: This spinoff only managed to gross 1/3 of what the most recent main X-Men film grossed, but given the more adult rating and different tone, we're happy with the profits X-Force managed.




"X-Force is a gritty, chaotic ride that leans into Robert Rodriguez’s strengths—stylized violence, scrappy team dynamics, and offbeat humor. Jeffrey Dean Morgan brings a weathered intensity to Cable, grounding the film’s emotional core, while the younger cast adds energy and unpredictability. The desert set pieces and clone battles are inventive, even when messy, and Andy Samberg’s Deadpool injects a wild-card presence throughout. It’s rough around the edges, but undeniably fun." - Marcus Heller, The Dispatch


"The strongest elements are Cable and Hope's relationship, the introduction of the younger mutant team, and the surprisingly effective balance between post-apocalyptic sci-fi and superhero adventure. A few missing narrative beats early on prevent it from reaching its full potential, but it's still an entertaining and emotionally grounded X-Men spin-off." - Lionel Krankst, Fresh Apples Entertainment



"While X-Force delivers bursts of energy and strong character ideas, it often feels overstuffed and uneven. The tone swings wildly between grim future stakes and Deadpool-style comedy, never fully settling into a cohesive rhythm. The young supporting cast shows promise, but several arcs feel rushed or underdeveloped. The Stryfe reveal is intriguing, but comes late and lacks the buildup needed to land with full impact. It’s entertaining in pieces, but inconsistent overall." - Dave Manning, Ridgefield Press






Rated R for strong violence, language throughout, and some disturbing images.