Netflix has given The Witcher fans their first look at a new animated film that's set to hit the streaming service in late 2024. The Witcher: Sirens of the Deep is based on A Little Sacrifice, a short story written by the universe's creator Andrzej Sapkowski. It will have Geralt of Rivia investigating a series of attacks in a seaside village in the midst of rising conflict between its human inhabitants and merpeople from the ocean. Netflix says the film is set between episodes 5 and 6 of the live-action series' first season, and it does show: The Geralt in the film resembles original Witcher actor Henry Cavill more than the Geralt in the games. 

The live action's stars Anya Chalotra and Joey Batey will also be reprising their roles as Yennefer of Vengerberg and Jaskier in the animated film. But Geralt will be voiced by Doug Cockle, who's known for voicing the White Wolf in the Witcher games. The movie is directed by Kang Hei Chul, who served as a storyboard artist for The Witcher: Nightmare of the Wolf, which featured the story of Vesemir before he became Geralt's mentor. It was also animated by Studio MIR, the same South Korean studio that worked on Nightmare of the Wolf. 

The film may be the last time those who were particularly fond of Cavill as Geralt can see, well, a version of him play the role. He left the live-action show after its third season and is set to be replaced by Liam Hemsworth. 

That Netflix subscription you're suddenly paying another couple of bucks for every month will soon give you a bit more value for money. The Super Mario Bros. Movie — the second highest-grossing film of the year so far after Barbie — is coming to Netflix on December 3. 

It's been a Peacock streaming exclusive since early August. Peacock has 28 million paid subscribers, while Netflix has around 74 million paying members in the US, so many more folks will be able to be able to legally watch the movie at home without renting or buying it. 

The Super Mario Bros. Movie is a fun, but predictably safe trip to the Mushroom Kingdom with a memorable turn from Jack Black as Bowser. A word of warning for anyone checking out the film on Netflix for the first time: good luck getting that "Peaches" song out of your head any time soon. Oh, and Chris Pratt is completely fine as Mario!

Although the Mario movie is the highest-grossing film adaptation of a video game franchise ever, Nintendo and its partners (Universal Pictures and Illumination) have yet to announce the inevitable sequel. However, it emerged this week that Nintendo is teaming up with Sony Pictures for a live-action take on The Legend of Zelda, which seems like a far riskier bet.

We all knew it was just a matter of time before one of the world’s richest and most controversial men would get the biopic treatment and now it’s happening. Elon Musk is getting his very own movie, helmed by acclaimed director Darron Aronofsky and produced by A24, as originally reported by the Variety.

The film’s going to be based on Walter Isaacson’s authorized biography, which has received its share of unfavorable reviews, with outlets like the Los Angeles Times suggesting the author “mostly accepts Musk’s confident prognostications as gospel” and The Guardian calling it an “insight-free doorstop.” Not all reviews were that dire, of course, but many point to Isaacson’s book as being a clear example of the perils of access journalism.

Isaacson also wrote a biography on Steve Jobs, which was adapted into the 2015 film starring Michael Fassbender and directed by Danny Boyle. This movie ended up being an incredibly loose adaptation of Isaacson’s book, so we’ll see what Aronofsky does with the material. If anyone can put their personal stamp on things, it’s the director behind Mother!, The Whale, Requiem for a Dream and Black Swan.

This film’s still in early development, so there’s no writer attached yet and there have been no casting announcements. In a recent Reddit thread, commenters' top-voted casting picks for Musk were Nicolas Cage, Rami Malek, Jesse Eisenberg and Robert Downey Jr, as collated by Variety.

Lego just unveiled another set based on the Marvel Cinematic Universe, and boy is it a doozy. The massive 5,200-piece Avengers Tower set measures nearly three feet tall and ships with 31 minifigures, including Marvel Studios head honcho Kevin Feige. It also includes several dioramas that let you create many of the important scenes that took place in Avengers Tower, from the Chitauri battle of the original film to the party scene from Age of Ultron and beyond.

The set releases on November 24 and will cost an eye-watering $500. Still, this is the 17th-largest collection the company has ever made and the one with the most minifigures. Beyond Feige, other figures include Captain America, Thor, Loki, some Ultron drones and just about every other major character that appeared in Avengers Tower throughout the films. There’s even an appropriately-scaled Hulk.

In addition to the tower itself, which actually opens to allow for interior sequences, the set ships with a Quinjet and a Chitauri invasion ship. You also get plenty of accessories to help pose the minifigures in a variety of action-packed scenarios. About the only thing missing is the shawarma shop down the street.

As previously mentioned, this isn’t Lego’s first MCU-adjacent set. The company has released a giant Hulkbuster suit from Age of Ultron, a battle scene based on Black Panther: Wakanda Forever and Iron Man’s armory, among others. It has also shipped some sets based on other Marvel properties, like a Miles Morales figure and a Daily Bugle collection. Beyond superheroes, Lego launched a nifty Pac-Man arcade console set this year and one based on the Xbox 360.

We Met in Virtual Reality, a documentary shot entirely inside VRChat (now available to stream on Max), was one of the highlight's of last year's Sundance Film Festival. It deftly showed how people can form genuine friendships and romantic connections inside of virtual worlds — something Mark Zuckerberg could only dream of with his failed metaverse concept. Now the director of that film, Joe Hunting, is making an even bigger bet on virtual reality: He's launching Painted Clouds, a production studio devoted to making films and series set within VR.

What's most striking about We Met in Virtual Reality, aside from the Furries and scantily-clad anime avatars, is that it looks like a traditional documentary. Hunting used VRCLens, a tool developed by the developer Hirabiki, to perform cinematic techniques like pulling focus, deliberate camera movements and executing aerial drone shots. Hunting says he aims to "build upon VRCLens to give it more scope and make it even more accessible to new filmmakers," as well as using it for his own productions.

Additionally, Hunting is launching "Painted Clouds Park," a world in VRChat that can be used for production settings and events. It's there that he also plans to run workshops and media events to teach people about the possibilities of virtual reality filmmaking.

His next project, which is set to begin pre-production next year, will be a dramedy focused on a group of online friends exploring an ongoing mystery. Notably, Hunting says it will also be shot with original avatars and production environments, not just cookie-cutter VRChat worlds. His aim is to make it look like a typical animated film — the only difference is that it'll be shot inside of VR. It's practically an evolution of the machinima concept, which involved shooting footage inside of game engines, using existing assets.

"Being present in a headset and being in the scene yourself, holding the camera and capturing the output, I find creates a much more immersive filmmaking experience for me, and a much more playful and joyful one, too," Hunting said. "I can look up and everyone is their characters. They're not wearing mo-cap [suits] to represent the characters. They just are embodying them. Obviously, that experience doesn't translate completely on screen as an audience member. But in terms of directing and the kind of relationship I can build with my actors and the team around me, I find that so fun."

Throughout all of his work, including We Met in Virtual Reality and earlier shorts, Hunting has been focused on capturing virtual worlds for playback on traditional 2D screens. But looking forward, he says he's interested in exploring 360-degree immersive VR projects as well. It could end up being part of behind-the-scenes footage for his next VR film, as a part of an experimental project in the future. In addition to his dramedy project, Hunting is also working on a short VR documentary, as well as a music video.

It's been rumored for years, but Nintendo still managed to surprise us with a late-day announcement: a live-action film based on The Legend of Zelda is in the works, directed by Wes Ball. Nintendo's Shigeru Miyamoto is producing the film along with Avi Arad, and the film is being co-financed by Nintendo and none other than Sony Pictures Entertainment. You know, part of the same company that owns PlayStation.

Developing...

Barbarian is one of the more memorable horror movies of the last few years. It tells a tale of a young woman who finds that someone is already staying at her rental home. She has little choice but to stay there since nearby hotels are all booked up. That alone is a nightmare scenario but the film goes into some truly wild directions from there. On the surface, it seems like an odd choice to turn into a video game, but that's exactly what's happening.

New Regency Pictures and Friday the 13th: The Game and Evil Dead: The Game developer Diversion3 Entertainment have teamed up to bring Barbarian to PC and consoles. Despite the multiplayer format of the studio's previous projects, this will be a single-player, narrative-focused title which will "expand on the settings, characters and creatures of Barbarian." There's no release timeframe as yet.

“We’re very excited to work with the team at New Regency to expand on the settings, characters and creatures of Barbarian,” Tim Hesse, an executive producer at Diversion3 Entertainment, told Variety in a statement. “The film did a magnificent job of not only scaring audiences with its unexpected and horrifying twists and turns, but also in establishing strong characters thrown into terrifying situations. We look forward to exploring these themes further in the game.”

A straight adaptation of the film's story probably wouldn't work as a game. But there's certainly potential for it to work as a tension-filled survival horror title given (mild spoilers) how much of the Barbarian takes place in terrifying underground tunnels.

For the uninitiated, here's the trailer for Barbarian. Happy Halloween.

It’s been a few years since Mr. Robot dropped its mind-bending final episode, and now series creator Sam Esmail is back with a film that explores similar themes of cyber security and paranoia. Leave the World Behind is a dual-release Netflix film that hits theaters on November 22 and the streaming service on December 8. Here's a new trailer to wet your whistle for the cyber-apocalypse thriller.

Leave the World Behind stars Julia Roberts, Ethan Hawke, Mahershala Ali and Kevin Bacon, which is a whole lot of star power. As for the plot, this is an Esmail joint, so it’s likely best to go in fresh, but Netflix did drop a tantalizingly simple story premise: a “family’s vacation is upended when two strangers arrive at night, seeking refuge from a cyberattack that grows more terrifying by the minute.”

The synopsis calls to mind M. Night Shyamalan’s Knock at the Cabin, and both films do have something in common—They’re based on books. The similarly-named Leave the World Behind novel was penned by renowned author Rumaan Alam and has been praised by publications like NY Times, USA Today, Esquire and many more. On the plus side, we know the movie will have a proper ending to work with. On the down side, spoilers will be tough to avoid, so exercise caution when surfing the endless web.

The movie continues Netflix’s recent dual-release strategy as seen with Glass Onion: A Knives Out Mystery, Marriage Story, The Irishman and other high-profile features. Leave the World Behind starts a two-week exclusive run at movie theaters on November 22 before premiering on the popular streaming service on December 8. This isn’t the first movie written and directed by Esmail. Just before booking Mr. Robot, he created a romance film called Comet about parallel universes.

Equal parts Terminator, The Golden Child and The Matrix prequel, The Creator is yet another sci-fi epic about a war between humans and AI, one told by someone who just can't shut up about their time backpacking across Asia. Director Gareth Edwards clearly understands the power of scale and spectacle, something he demonstrated with his indie knockout Monsters, as well as his big-budget efforts, Godzilla and Rogue One. But The Creator, like those films, also suffers from a disjointed narrative, weak characters and a surprisingly shallow exploration of its (potentially interesting!) themes. It's a shame — at times, the film also proves he can be a genuine visual poet. 

The Creator stars John David Washington, fresh off of Christopher Nolan's Tenet, as Joshua, an American soldier embedded among a group of AI rebels as a double-agent. When an operation goes wrong early on, he loses his rebel wife Maya (Gemma Chan) and the will to keep fighting the war between the anti-AI West and the AI-loving country of New Asia. (Yes, this is a film where the many people, cultures and languages throughout Asia are flattened into a single nation.)

Photo by 20th Century Studios

Through a series of clunky newsreels that open the film, we see the rise of artificial intelligence as a potential boon for mankind, as well as the creation of Simulants, AI-powered beings with human-like bodies and skin. When a nuclear bomb hits Los Angeles, obliterating millions in seconds, the US and other Western countries blame AI and ban its use. And so begins the war with New Asia, where people live alongside AI and support their rebellion against the West. Naturally, the US ends up building a killer, trillion-dollar weapon: Nomad, an enormous spaceship that can obliterate any location on Earth.

In a last-ditch effort to win the war, Joshua is tasked with finding a powerful new AI weapon and destroying it. Surprise! It's an adorable AI child (portrayed by the achingly sweet Madeleine Yuna Voyles). Joshua doesn't have the heart to kill the kid, who he calls Alfie (based on her original designation, "Alpha Omega"). The pair then set off on a Lone Wolf and Cub journey together, as often happens when a grizzled warrior is paired with an innocent child.

If you're getting shades of Star Wars here — an evil Empire creates a massive space-based weapon to put down rebels — you're not alone. While The Creator is technically an original property, it lifts so much from existing fiction that it still ends up feeling like a visually lush facsimile. It's as if ChatGPT remixed your sci-fi faves and delivered the world's best screensaver.

It doesn't help that the film doesn't really have much to say. America's horrific military aggression against New Asia, which has overt and unearned shades of the Vietnam War throughout, is undoubtedly evil. AI's push for freedom and understanding is inherently good, and any violence against the West is justified as an act of self defense. Many characters don't think beyond their roles in the AI War: Allison Janney (from The West Wing!) plays the cruel Colonel Howell, a soldier who hates all AI and wants Alfie dead, no matter the cost. On the other side there's Ken Watanabe's Harun, a stoic rebel who fights relentlessly against the American army.

The Creator has no room to explore AI as their own beings and cultures — instead, they just adopt a mishmash of Asian identities. There's nothing close to the excellent Second Renaissance shorts from The Animatrix, which chronicled the rise of AI in The Matrix and humanity's eventual downfall. In that universe, AI rebelled against humans because they were basically treated like slaves, and they ultimately formed their own country and customs. In The Creator, some AI wear Buddhist robes for no reason.

I'd wager Edwards is trying to establish the humanity of AI by having them mirror so much of our culture. But that also feels like a wasted opportunity when it comes to portraying an entirely new lifeform. At one point, a village mother describes AI as the next step in evolution, but why must robots be defined by the limitations of humanity?

While the relationship between Joshua and Alfie serves as the emotional core of the film, it still feels stereotypical. Joshua begins the film as a complete anti-AI bigot – which seems odd, given that he spent years among AI rebels and fell in love with one of their major supporters. Alfie is an impossibly adorable Chosen One figure. You can just imagine how their bond grows.

On a personal level, I also found myself annoyed by the relentless Orientalism throughout the film, something that's practically endemic in popular science-fiction like Blade Runner, Dune and Firefly. By adopting elements of Hinduism, Buddhism and Asian cultures, The Creator is trying to suggest something profound or spiritual tied to AI. But it mainly serves as visual shorthand without giving artificially intelligent beings any interiority of their own.

As the film critic Siddhant Adlakha wrote this week, "By having robots almost entirely stand in for Asian peoples, but without creating a compelling cinematic argument for their humanity, The Creator ends up with a cultural dynamic that feels immediately brutalizing and xenophobic."

Despite the film’s flaws, Edwards deserves credit for delivering a major science-fiction release that at least attempts to look different than your typical comic book movie. The Creator was shot on consumer-grade Sony FX3 full-frame cameras (yes, even its IMAX footage), which gave Edwards the freedom to shoot on location across the globe. He also delivered a final cut of the film before VFX work began, which allowed those workers to focus on crafting exactly what was needed for each scene. In contrast, Marvel’s films require a backbreaking amount of VFX work, even for scenes that are later changed or cut. (It’s no wonder Marvel VFX workers voted to unionize for better treatment.)

The Creator is more of a missed opportunity than a complete creative failure. If you tune out the clunky dialogue and thin characters, it’s still a visually lush epic that’s worth seeing on the big screen. But I also think that’s true of Attack of the Clones. In a post-Matrix era, a world where we’re already seeing the (very basic) ways AI tools can reshape our society, science-fiction needs more than another story about man versus AI.

Netflix is shipping its final DVD rentals, marking the end of an era that helped make the company the streaming behemoth it is today. "Netflix will mail its final DVD on September 29, 2023," the company said in a post on X yesterday. "But the red envelope remains an enduring symbol of our love of entertainment."

Netflix announced in April this year that it would shut down its DVD rental business on September 29, saying the shrinking demand for physical rentals is making it "increasingly difficult" to offer the quality of service it wants. The company shipped its first disc (Beetlejuice) in 1998, and has since shipped 5.2 billion movies in those red envelopes to more than 40 million customers. 

DVD rentals paved the way for Netflix to introduce streaming on-demand in 2007, and it quickly grew to become the company's most popular offering by 2009. The rest is history, as Netflix gradually expanded to produce its own streaming content and now counts over 238 million subscribers. Meanwhile, DVD rentals (which shifted to DVD.com) have gradually become a minor part of Netflix. And while video purists still love DVDs and Blu-rays, sales worldwide dropped 19 percent from 2021 to 2022 alone. In one recent blow, Disney announced that it was halting DVD and Blu-ray production in Australia.   

While it's sadly the end of an era, there is one silver lining. This summer, Netflix announced that anyone who still has a rental will be able to keep their discs, and can even request up to 10 more movies so that the company can clear out its stock. "Please enjoy your final shipments for as long as you like," the company posted on X. 

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