William Shatner Documentary ‘You Can Call Me Bill’ Boarded by Blue Finch Films (EXCLUSIVE)

Jean-Hugues Anglade became an arthouse cinema star of the ’80s and ’90s behind the potent one-two punch of international hits Betty Blue and La Femme Nikita. Playing men who loved hard and recklessly, the actor embodied onscreen a raw, alluring passion that he then upended, to powerful effect, portraying mad King Charles IX in writer-director Patrice Chéreau’s 1994 period epic Queen Margot.But a decade earlier, Anglade made his big-screen breakthrough embodying another raw, reckless lover in Chéreau’s gritty, gay, mean streets drama L’homme blessé, or The Wounded Man (★★★☆☆), earning a Most Promising Newcomer César Award nomination for his intense performance as Henri, a young man who comes of age cruising his local train station.The film — which premiered at Cannes in 1983, and had an extremely limited stateside release in 1985 — actually did win the César for its script, by Chéreau and author-activist Hervé Guibert, inspired by the street-savvy works of Jean Genet.Viewing the film now, as it arrives finally on digital home video via a brilliant, new 4K restoration courtesy of Altered Innocence and Studiocanal, other muses also spring to mind, from the slinky sailors of Rainer Fassbinder’s Querelle, released a year prior, to the pugnacious gay hustler of Wallace Potts’ sublimely sexy 1979 French erotica Le Beau Mec.Somewhere between Le Beau Mec and William Friedkin’s Cruising, we might meet Henri, looking like a sweaty, unstable young Al Pacino, as he prowls his economically depressed, French provincial town.

Marta Balaga Jonathan Glazer’s “The Zone of Interest” has scored a Fipresci award in Cannes.  The jury of the International Federation of Film Critics praised the film “for its formal radicality, the complexity of the sound and score, and its contrast between the invisible atrocities behind the wall and a supposed paradise,” Fipresci stated on Saturday.  “By presenting the horror as something usual, and using everyday-like dialogues, it’s a reflection on ignorance as a disease that connects the past with the present.” Glazer’s take on a Nazi family living next door to Auschwitz and enjoying it – loosely based on the novel by Martin Amis, who tragically passed away on May 19, just before the premiere – has been getting rave reviews at the French festival, becoming one of the frontrunners for this year’s Palme d’Or.

Manori Ravindran Executive Editor of International Jonathan Glazer’s Nazi drama “The Zone of Interest” has sold into major international territories following its buzzy Cannes world premiere. The film centers on the family of a high-ranking SS official that lives next door to Auschwitz concentration camp. The pic has sold into: Austria and Germany (Leonine), Benelux (Cineart), France (BAC), Greece (Spentzos), Italy (I Wonder), Japan (Happinet Phantom Studios), Scandinavia (SF Studios), Spain (Elastica) and Switzerland (Filmcoopi). In Poland — a significant sales market for the film given it is set there — Gutek has come on board as distributor. (A24 was selling worldwide rights for the film, but did not handle the Polish sale.)

Owen Gleiberman Chief Film Critic As much as any filmmaker alive, Wes Anderson has a canon of movies that look and feel all of a piece. The diorama design, which extends from his life-size-dollhouse sets to his graphic lettering; the acting so stylized it’s like postmodern jokey-music-video kabuki; the fable-within-a-fable structure that can seem the cinematic equivalent of nested Russian dolls; the heavy frosting of ironic whimsicality. Most of his movies share these elements, yet the truth is that not all Wes Anderson film are alike. A few, like “The Royal Tenenbaums” and “Fantastic Mr. Fox,” spin finely wrought tales beneath the filigree. One, “The Grand Budapest Hotel,” is an exhilarating caper — as well as (to me) his finest work, ironically because it isn’t pretending to be about anything.

Owen Gleiberman Chief Film Critic One of the grand paradoxes of Jean-Luc Godard is that he was a radical, an outlier, a filmmaker who guarded his purity and always looked askance at “the system,” yet because the nature of filmmaking is that it requires a lot of money, and is connected to fame, and produces images that can spread with iconic power, Godard was an outsider who was also an insider; a poet of cinema who made himself a celebrity; an artist who bridged the larger-than-life, old-school ethos of movies with the forbidding imperatives of the avant-garde. All of that contradiction is on full display, with a luscious kind of resonance, in “Godard par Godard,” an hour-long documentary, written by Frédéric Bonnaud and directed by Florence Platarets, that was presented at the Cannes Film Festival today as a tribute to Godard, eight months after his death on September 13, 2022. The documentary was shown along with Godard’s final film, the 20-minute-long “Trailer of the Film That Will Never Exist: ‘Phony Wars’.” All of which sounds like one of those Cannes–only special events, but au contraire: This is a program that was meant to be seen by the world at large, and with any luck it will be distributed that way. It’s an homage that invites us to look back, with fond fascination, on all the cinema Godard gave us, and on who he really was.

Zack Sharf Digital News Director Jonathan Glazer just delivered the first instant sensation of the 2023 Cannes Film Festival. “The Zone of Interest,” only the director’s fourth feature film after “Sexy Beast,” “Birth” and “Under the Skin,” earned a six-minute standing ovation following its world premiere. Glazer’s film is austere and challenging as it tells the story of the commandant of Auschwitz and his wife, who have created their dream home directly next to the concentration camp. The constant screams of prisoners, gun shots and smoke from the gas chambers haunt their paradise, but their indifference to such horrors creates a terrifying and sinister juxtaposition.

Owen Gleiberman Chief Film Critic Over the past 15 years, Steve McQueen has become one of my favorite filmmakers. He’s made only a handful of features, but in almost every case he takes a subject of extraordinary magnitude (the 1971 IRA prison hunger strike in “Hunger,” the complex horrors of slavery in “12 Years a Slave,” the collision of gritty city politics and feminine revolt in “Widows,” the epochal crackdown on West Indian immigrants in London in “Mangrove”) and uses it to box open your heart and mind. And he does it all with a storytelling vibrance that’s at once heady and populist. So when it was announced that McQueen would be directing his first documentary feature, and that it would tackle the subject of the Holocaust, dealing with the victims of the Nazi occupation of Amsterdam (the city where McQueen now lives), my anticipation took the form of thinking: How, with a director of McQueen’s skill and imagination and gravity, could this be less than fascinating?

Masters of the Universe: Revolution” in an all-new role, as the ancient sorceress of technology, Motherboard, Mattel announced Monday. Foster returns to the “He-Man” franchise after starring in the 1987 live-action film “Masters of the Universe” as Evil-Lyn. “Revolution” picks up after the 2021 animated series “Masters of the Universe: Revelation,” chronicling the epic battle between He-Man and Skeletor’s ongoing rivalry for Eternia. Foster’s Motherboard is a nefarious A.I. sent to conquer Eternia by Hordak, the classic villain from the 1980s “She-Ra” animated series. Foster joins Mark Hamill as Skeletor, Chris Wood as He-Man, Melissa Benoist as Teela and William Shatner in a still-to-be-announced role. Fred Soulie, Rob David, Christopher Keenan, Ted Biaselli and Kevin Smith serve as executive producers on the animated series.

Naman Ramachandran Signature Entertainment has snapped up U.K. and Ireland rights to Julia Louis-Dreyfus comedy “You Hurt My Feelings” from FilmNation Entertainment. Directed by Nicole Holofcener, the film stars Louis-Dreyfus and Tobias Menzies (“The Crown”) as a couple whose marriage is thrown into turmoil when she overhears his honest reaction to her latest book. The cast also includes Owen Teague, David Cross, Arian Moayed and Michaela Watkins. It premiered at the Sundance Film Festival earlier this year and will close Sundance London. Reviewing the film for Variety, critic Owen Gleiberman said: “The key to ‘You Hurt My Feelings’ is that the entire movie turns into a satire of what has become our fetishistically supportive and oversensitive therapeutic culture of positivity. All these things, in a way, are necessary. But maybe, the film suggests, we have tried to heal ourselves a little too much. Maybe we need a little more naked honesty mixed in with the wellness.”

“Masters of the Universe” alum Meg Foster will return to the franchise for Netflix’s upcoming animated series “Masters of the Universe: Revolution.”After voice acting as Evil-Lyn in the 1987 live-action film, Foster will assume a new role as Motherboard, an ancient sorceress of technology in the fight for the soul of Eternia, who stands as a formidable force against the Masters. Motherboard is a sentient AI force that serves as Hordak’s liasion on Eternia while she conspires against Skeletor and the people of Eternia.Foster joins the voice cast alongside Chris Wood as He-Man, Melissa Benoist as Teela, Mark Hamill as Skeletor and William Shatner, whose role has yet to be announced.

J. Kim Murphy The book club can’t topple comic books, as Marvel’s “Guardians of the Galaxy Vol. 3” will easily hold off the opening of “Book Club: The Next Chapter” to retain the top spot at the box office. “The Next Chapter” earned $2.14 million on its opening day, projecting a debut of $7 million from 3,508 locations for the three-day frame. That’s on the lower end of estimates heading into the weekend. While there’s hope that the Focus Features release will be able to earn a boost in ticket sales on the Mother’s Day holiday, the sequel won’t be able to match its predecessor. Released by Paramount in 2018, the first “Book Club” debuted to $13.5 million before legging out to a $68 million gross in North America — a solid result for an older-skewing comedy, especially before the COVID pandemic impacted the theatrical landscape.

Owen Gleiberman Chief Film Critic Does chronic Lyme disease exist? That’s the question that haunts “The Quiet Epidemic,” Lindsay Keys and Winslow Crane-Murdoch’s worthy and provocative documentary about the highly controversial syndrome. (The movie premieres on VOD on May 16.) The filmmakers argue, with unflinching advocacy and some very good reporting, that chronic Lyme disease most definitely exists. Among other things, “The Quiet Epidemic” is a portrait of individuals whose lives have been ravaged by it. Yet the movie, in its doggedly opinionated way, does acknowledge the profundity of the debate. The medical establishment, led by the Centers for Disease Control and the National Institutes of Health, has long held the position — one it maintains to this day — that Lyme disease is a real thing, eminently curable with a two-to-four week regimen of antibiotics, but that chronic Lyme disease, with sometimes devastating symptoms stretching on for months, years, even decades, is not backed up by the science.

EXCLUSIVE: Republic Pictures has acquired the action thriller Air Force One Down from SP Media Group, slating it for worldwide release by Paramount Global Content Distribution next year. Katherine McNamara (Walker: Independence), Ian Bohen (Yellowstone), Anthony Michael Hall (Halloween Kills), Dascha Polanco (Orange Is the New Black) and Rade Serbedzija (Mission: Impossible II) star in the pic which wrapped production in March.

Owen Gleiberman Chief Film Critic It’s beyond obvious that women deserve a movie that portrays and celebrates them in their sixties and seventies reveling in the joys of romantic adventure and uninhibited sex. It’s not so obvious that they deserved “Book Club,” the 2018 comedy about four hale, hearty, and prosperous senior friends who read “Fifty Shades of Grey” in their monthly literary white-wine klatsch, only to discover that E.L. James’s S&M princess fantasy jump-starts their hibernating libidos and/or their desire to commit to the men who are courting them. You could use a whole Thesaurus paragraph of withering descriptives to evoke the sort of movie “Book Club” was. It was prefab, it was cookie-cutter, it was paint-by-numbers, it was broad enough to play to the peanut gallery, it was four glorified sitcoms jammed into one overly synthetic package.

Bill Saluga, whose trademark lines that began with “You can call me Ray” cracked up a generation of comedy fans, died in Los Angeles on March 28, according to his friend, Eric Brenner.

Owen Gleiberman Chief Film Critic Watching a police-procedural homicide drama, whether it’s the grungiest of VOD potboilers or the most visionary film of the genre, Michael Mann’s silvery, dread-drenched “Manhunter,” we more or less know one thing: At the end of two hours, the grisly mystery we’ve been dunked in will have its catharsis and its resolution. We will know who the killer is, and in knowing that a kind of order will have been restored. David Fincher’s “Zodiac,” with its tantalizing ambiguities, might stand as an exception to the form — a singular winding creep-out, without the closure we’re thirsting for — yet even there you feel, by the end, that you’ve glimpsed the face of evil. But “The Night of the 12th,” the French thriller that was nominated for 10 César Awards and won six of them, including best picture (it opens here on May 19), throws the audience a slow-motion curveball that’s intended to tinker with our dreams. And to a degree, it does. Based on a true-crime book by Pauline Guéna, the movie turns into one of the most casually authentic of investigative murder mysteries. Each time we think we’re seeing a classic suspense arc, it unravels into a dead end, and we think to ourselves: Of course. Crime in real life doesn’t necessarily happen so neatly. “The Night of the 12th” is a mostly compelling sit, though what lends the film its singular texture is that it keeps tricking us into thinking it’s a more conventional thriller than it is.

Stars on Mars is beaming in from outer space to a TV near you very soon.

Sophia Scorziello editor You’ve heard of elf on the shelf, but are you ready for “Stars on Mars?” This summer, Lance Armstrong, Marshawn Lynch, Ronda Rousey and Tinashe are among the 12 celebrities packing their bags for Fox’s “Stars on Mars,” an unscripted series originally ordered in April that takes put real world stars in competition to conquer the planet (via simulation of course) as they receive orders from mission control William Shatner, legendary “Star Trek” actor. The rest of the crewmates include comedian Natasha Leggero, comedic actor Christopher Mintz-Plasse, Olympic figure skater Adam Rippon, television personality Tom Schwartz, professional football player Richard Sherman, actor Porsha Williams Guobadia, artist Tallulah Willis and actor Ariel Winter. Together, they will leave the real world behind as they strategize their survival while sharing a simulated space station on the red planet.

“Dodgeball” is getting a sequel.

is getting a sequel. ET can confirm Vince Vaughn is returning to star in a sequel, which is in early development at 20th Century Studios. Plot details have not been revealed, but Jordan VanDina is set to pen the script, ET confirms. followed a group of misfits that enter a Las Vegas dodgeball tournament in order to save their cherished local gym from the onslaught of a corporate health fitness chain. It grossed $168 million worldwide.The original film featured stars including Ben Stiller, Christine Taylor, Justin Long, Jason Bateman and William Shatner, but it's unclear if any will return for the sequel.Rawson Marshall Thurber wrote and directed the original film in 2004, but it's unclear if he'll be involved in the sequel in any capacity, according to , who was first to report the news of the follow up film.However, Thurber did previously speak about the possibility of returning to the universe, telling the outlet «never say never» in 2021 interview.«I never thought about  as a series, but that actually might be fun,» he said.