Rachel Weisz & Brendan Fraser Are Back as Fourth “Mummy” Movie Rises From the Crypt

In case you missed the news, Rachel Weisz and Brendan Fraser are reteaming for a fourth Mummy adventure, from Scream duo Matt Bettinelli-Olpin and Tyler Gillett (they go by the moniker Radio Silence).

Fraser and Weisz were the two biggest stars in the big reboot of The Mummy back in 1999 and went on to become a smash. The epic, directed by Stephen Sommers,

“Predator: Badlands” Set to Roar Into Theaters With Rave Reviews, Making the Villain a Hero With a Plucky Sidekick

Director Dan Trachtenberg is in a serious role. After wowing audiences with his tightly constrained 10 Cloverfield Lane (2016) and again with his nifty, beautifully shot Predator prequel Prey (2021), and now this year, his animated Predator: Killers of Killers, which enjoys a 95% fresh rating on Rotten Tomatoes. All this leads us to his current film, the live-action follow-up to Predator, 

Inside Camtec: The Boutique Camera House Behind Films From Damien Chazelle, Denis Villeneuve, Bradley Cooper & More

“We support everything from large-scale blockbusters to high-end commercials to intimate indie films. The scale may change, but our approach doesn’t: we give each production the same level of care, attention, and collaboration,” says Kavon Elhami, the CEO of Camtec, an equipment rental company located in Burbank, California.

For nearly four decades, the boutique shop has been servicing (and collaborating) on countless projects, including Denis Villeneuve’s Arrival,

Diego Luna: On Going From “Andor” to Argentina in “Kiss of the Spider Woman”

At one point during our discussion about his new film, Diego Luna likens the character he plays to a Matryoshka doll, the Russian wooden figures that nest within each other.

The reference is apropos for the film itself. Kiss of the Spider Woman began life as a 1976 novel by Manuel Puig, and as Luna points out, the haunting story of two vastly different men who form an unlikely bond when imprisoned together has spawned various iterations.

Editing in Secrecy: How Amir Etminan Cut Jafar Panahi’s Palme d’Or Winner “It Was Just an Accident”

“When Mr. Panahi called and invited me to meet him, I didn’t ask any questions because I knew the secrecy and the sensitivity of his projects,” picture editor Amir Etminan tells The Credits through an interpreter. “So I accepted the invitation and went to have a conversation in person.” What followed was a discussion of Iranian writer-director Jafar Panahi’s It Was Just an Accident, an unflinching portrait of trauma,