'A Minecraft Movie' Streaming on Max: Release Date and Time
If you caught some morsels from A Minecraft Movie on social media -- videos of Jack Black passionately singing about cooking chicken with lava or theater audiences going wild over a chicken jockey -- this week you can stream the flick that started it all.
The Max streaming service, which will soon take on the title of HBO Max again, previously announced that the video game movie would premiere in June. Now it's shared the exact release date for the PG-rated comedy. A Minecraft Movie stars Black, Jason Momoa, Emma Myers, Danielle Brooks, Sebastian Eugene Hansen and Jennifer Coolidge and follows protagonists as they try to get back to the real world after ending up in the unfamiliar, cubic Overworld.
There are mid- and post-credits scenes, themes of creativity and adventure, menacing piglins and, of course, zombies riding on chickens. A Minecraft Movie is directed by Jared Hess (Napoleon Dynamite, Nacho Libre) and has been a global and domestic box office success. If you're intrigued to see what a live-action Minecraft adaptation looks like, or you want to rewatch the chicken jockey scene at home, here's when you can stream A Minecraft Movie on Max.
How to watch A Minecraft Movie on Max
The live-action video game adaptation will hit Max on Friday, June 20 at 12:01 a.m. PT/3:01 a.m. ET.
There are three standalone Max plans to choose from, and you can also opt for a bundle of Max, Disney Plus and Hulu if you want all three. Just getting ad-supported Max on its own costs $10 per month or $100 per year. There are also $17 per month and $21 per month ad-free Max plans (live events on ad-free plans will still have commercials). Separately, A Minecraft Movie is available to rent at Amazon and Fandango at Home for $10.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Yahoo
36 minutes ago
- Yahoo
‘Pee-wee as Himself': Director Matt Wolf on exploring the duality of Paul Reubens and earning his trust — ‘It was a constant struggle'
When Matt Wolf took on the daunting task of creating a documentary about the enigmatic Paul Reubens, the man behind the flamboyant and charming Pee-wee Herman, the filmmaker never could have imagined just how deeply layered the story would be. Now, in Wolf's Pee-wee as Himself, audiences are given an unprecedented look at a fiercely private artist whose boundary-pushing creativity and resilience impacted an entire generation. The two-part HBO documentary introduces viewers to Reubens in an unexpected way: as an eccentric figure claiming to have been born in 1938 on the banks of the Mississippi River. It's humor that cuts straight to the core of who Reubens was, but also hints at the complicated man behind the bowtie. Wolf admits that the opening moments of a documentary often come together through trial and error: "Oh, I don't know. You just try stuff out and it sticks and we probably tried that immediately as the first thing and it stuck. I mean, it's funny." More from GoldDerby 'Gypsy' and 'Just in Time' producer Tom Kirdahy on serving a 'social and cultural need' through creative work TV Visual Effects supervisor roundtable: 'Black Mirror,' 'The Boys,' 'The Wheel of Time' 'The Wheel of Time' VFX supervisor Andy Scrase: 'I always think of visual effects as the magic of filmmaking' For Wolf, getting a chance to tell Reubens' story required more than just persistence — it required fate. 'People, when you make documentaries, ask who's your dream subject? And mine always was Paul,' Wolf tells Gold Derby. After several unsuccessful attempts to connect with the famously private Reubens, a serendipitous sequence of events involving the Safdie brothers [Benny and Josh], who were at one point rumored to be working on an autobiographical Pee-wee film, ultimately led to Reubens reaching out to Wolf through producer Emma Tillinger Koskoff. From the outset, however, trust was a challenge. Reubens, known for his intense control over his public image, was reluctant to relinquish that same control for the film. "It was hard. It was a constant struggle of trying to earn Paul's trust, but to also accept that there were limits to how much he was willing to trust somebody," Wolf explains. Reubens' fraught history with the media, where he felt his personal story was often misrepresented, left him wary. "I empathized with where he was coming from," Wolf continues, "but trust is a foundation of what we do as documentary filmmakers. ... And Paul was somebody incapable of taking a leap of faith." Over the course of hundreds of hours of conversations, the two worked to find a middle ground, even as Wolf recognized that Reubens would never completely let his guard down. Courtesy of HBO Unbeknownst to Wolf and the crew, Reubens was privately battling cancer while filming the documentary. "I was scheduled to complete a final interview with Paul the week after he died," Wolf shares. "I found out that Paul died on Instagram, the day he died, along with everybody else." The reveal added an even deeper emotional weight to the production. Despite this devastating blow, Wolf pressed on, knowing Reubens wanted the documentary to move forward, giving his blessing in their final conversations. 'I read the 1,500-page transcript of our interview right after [he passed],' Wolf recounts. 'I wanted to rise to the occasion and do justice under these extraordinary circumstances.' The film explores the duality that defined Reubens' career: Pee-wee Herman, the irrepressible, childlike alter ego, and Paul Reubens, the man behind the magic. It's a balancing act few have undertaken successfully, as Wolf points out: 'Somebody else who's in the film that's done that a bit is Elvira, Cassandra Peterson. But it's a small club of people who live as their alter ego. And Paul was kind of the most visible member of that club.' Reubens made a conscious choice to keep Pee-wee a separate entity, a concept born out of both creative and personal motivations. "He wanted people to believe that Pee-wee Herman was a real person,' Wolf explains, 'but on a deeper level, Paul was very protective of his privacy and anonymity." HBO/Pee-wee Herman Productions, Inc. As the documentary delves into Reubens' life before Pee-wee, it reveals the formative influences that shaped not only the character but the artist himself. From his art school days at CalArts to performing as an openly gay man before retreating into the closet for his career, Reubens' trajectory captures the struggles and compromises of a queer artist in the entertainment industry of the 1980s. "He chose to go into the closet to focus on his career,' Wolf notes. 'It was a personal but also pragmatic decision, knowing that in the early 1980s, an openly gay man would not be able to rise in the entertainment industry." Reubens' rejection from Saturday Night Live became the catalyst for Pee-wee Herman's creation. "I think that rejection really kind of emboldened Paul to take matters into his own hands," Wolf observes. From a midnight play at the Groundlings to the cult success of Pee-wee's Big Adventure, Reubens carved out a path that was quintessentially his own. HBO/Pee-wee Herman Productions, Inc. Collaborating with now-iconic director Tim Burton on his feature debut, Reubens enjoyed a type of creative freedom and naïveté in Pee-wee's Big Adventure. Wolf reflects on Burton's experience making the film: 'You're just kind of putting it all out there. And I think there was something very naive about the making of Pee-wee's Big Adventure that allowed it to be very pure." His subsequent Saturday morning show, Pee-wee's Playhouse, broke barriers with its artistic vision and diverse cast. 'In some ways, people recognize that the show was revolutionary,' Wolf says. 'But to watch in more specific detail the types of things that they accomplished and the ambition of it, it will be undeniable how singular it was as a cultural phenomenon.' The documentary doesn't shy away from the controversy that derailed Reubens' career. The incident in an adult movie theater — and subsequent false allegations of child pornography — forever altered public perception. Wolf describes the impacts of that time: "Paul was in a state of shock for a number of years and it had a profound impact on his life... But thankfully we were able to see him in his full breadth of talents as a character actor." Reubens' ability to persevere and work through those challenges is a testament to his resilience. "[He] was a resilient person," Wolf emphasizes. "I didn't see him as a victim. I think he proved over and over again that he could overcome hardship and kind of put his work first." For decades, Pee-wee and Paul existed as two separate beings, a distinction even immortalized on the Hollywood Walk of Fame, where Pee-wee Herman has a star — Paul Reubens does not. Wolf hopes that his documentary helps fuse these two sides of the same coin. "Paul Reubens created Pee-wee Herman," Wolf reminded us. 'Now that Paul has passed away ... I hope people can respect and appreciate the artist that was always there within, behind, and alongside his creation.' Pee-wee as Himself is currently streaming on Max. Best of GoldDerby TV Visual Effects supervisor roundtable: 'Black Mirror,' 'The Boys,' 'The Wheel of Time' 'The Wheel of Time' VFX supervisor Andy Scrase: 'I always think of visual effects as the magic of filmmaking' 'The Boys' VFX supervisor Stephan Fleet explains why a one-minute shot 'took about 17 hours' to make Click here to read the full article.
Yahoo
37 minutes ago
- Yahoo
Dolly Parton adds honorary Oscar to her trophy shelf: A look back at her legendary awards history
Dolly Parton, whose iconic career has spanned over six decades, will receive the Jean Hersholt Humanitarian Award at the 2025 Governors Awards this November. While this marks her first Oscar, the music icon has earned hundreds of accolades. Since debuting on the Grand Ole Opry stage at just 13, Parton has become a trailblazer, writing herself into the canon of American songwriting with hits like 'Jolene' and 'I Will Always Love You.' Over the years, she has extended her influence into Grammy, Emmy, Oscar, and even Tony territory. More from GoldDerby 'It was wonderful to be on that ride': Christian Slater talks his beloved roles, from cult classics ('Heathers,' 'True Romance') to TV hits ('Mr. Robot,' 'Dexter: Original Sin') 'Elio' reviews knock Pixar for 'repeating itself' with 'forgettable' space adventure 'F1: The Movie' reviews: Brad Pitt burns rubber with 'macho panache' in a high-octane thrill ride Parton's relationship with the Grammys is nothing short of historic. She has earned 11 Grammy Awards from 54 nominations, placing her among the most nominated female artists in the show's history. She won her first Grammy in 1978 for Best Female Country Vocal Performance for her Here You Come Again album. In 2011, she received the Grammy Lifetime Achievement Award, and two of her most beloved songs — 'Jolene' and 'I Will Always Love You' — have been inducted into the Grammy Hall of Fame. Her 1971 classic "Coat of Many Colors" was selected for the Library of Congress' National Recording Registry. SEEDolly Parton: 15 best songs ranked In 2017, she returned to the Grammy spotlight with a win for Best Country Duo/Group Performance, joining forces with Pentatonix on an a cappella rendition of 'Jolene.' Though she has never won a competitive Oscar, Parton has been nominated for Best Original Song twice: for '9 to 5' (1981), the feminist anthem from the workplace comedy in which she also starred, and 'Travelin' Thru' (2006), written for the LGBTQ-themed drama Transamerica. On the television front, Parton has also made a significant mark. Her first Emmy nomination came in 1978 for The Cher... Special. Decades later, in 2021, she won an Emmy Award for Outstanding Television Movie as executive producer of the Netflix holiday special Dolly Parton's Christmas on the Square. She's also been recognized for other TV projects she produced and starred in, including Dolly Parton's Heartstrings: These Old Bones (2020), Dolly Parton's Christmas of Many Colors: Circle of Love (2017), and Dolly Parton's Mountain Magic Christmas (2023). On stage, she received a Tony nomination for Best Original Score for the musical 9 to 5, which premiered on Broadway in 2009. In the world of country music, few artists rival Parton's impact. She has won 13 Academy of Country Music Awards (from 44 nominations) and 10 Country Music Association Awards (from 45 nominations), including Entertainer of the Year in 1978 — making her the first woman to win the honor solo. Her accolades also include 13 CMT Music Awards, 48 BMI Awards, three American Music Awards, a GLAAD Media Award, and one Billboard Music Award, despite her many appearances across Billboard charts. Most recently, in 2024, Billboard named her the No. 1 Greatest Country Artist of All Time. She is a member of the Grammy Hall of Fame, the Country Music Hall of Fame, the Gospel Music Association Hall of Fame, and the Songwriters Hall of Fame. Her reach extends beyond Nashville. In 2022, Parton was inducted in the Rock and Roll Hall of Fame. She has also received the National Medal of the Arts from the U.S. Congress and was a 2006 Kennedy Center Honoree. But not everything Dolly has done is golden: She received a Razzie Award for Worst Original Song for the track "Drinkin'stein" from Rhinestone. But we think she's recovered. "Now, when I was a little girl, I would sit around the radio, listening to the Grand Ole Opry and hearing all those great big stars like Hank Williams and Kitty Wells and Johnny Cash and I dreamed of what my life could actually become as well," she said when learning about her Billboard honor. "I take none of this for granted." Best of GoldDerby 'It was wonderful to be on that ride': Christian Slater talks his beloved roles, from cult classics ('Heathers,' 'True Romance') to TV hits ('Mr. Robot,' 'Dexter: Original Sin') 'It almost killed me': Horror maestro Mike Flanagan looks back at career-making hits from 'Gerald's Game' to 'Hill House' to 'Life of Chuck' Stephen King movies: 14 greatest films ranked worst to best Click here to read the full article.
Yahoo
37 minutes ago
- Yahoo
Marc Maron's ‘Are We Good?': What happens when stars clash with their documentary filmmakers
In Steven Feinartz's documentary Are We Good? about comedian and podcast pioneer Marc Maron, the director and subject grapple over who is in control of the narrative. When Feinartz suggests animating still photographs to help chronicle both Maron's career and his life after the unexpected death of his partner, filmmaker Lynn Shelton, the comedian is against it. Yet Feinartz, who had full creative control over the project, used the animation anyway. More from GoldDerby Debbie Allen, Tom Cruise, Dolly Parton, and Wynn Thomas to receive honorary Oscars TV's double threats: 10 actors eyeing nominations for both comedy and drama at the 2025 Emmys Beyond Alexis Bledel: 7 other times actors withdrew themselves from Emmy consideration "The moment I mentioned animation, I could already hear [Marc] recoiling," says Feinartz. "If the film didn't have that back and forth, it wouldn't feel like a Maron doc. He's not someone who just sits back and lets you tell his story. There was trust, but also a kind of tension." Are We Good?, which debuted at the Tribeca Film Festival on June 14, is the latest celebrity documentary that incorporates a star subject visibly and verbally struggling with their decision to surrender creative authority to a director. Matt Wolf's HBO documentary series Pee-wee as Himself and Bess Kargman's Diane Warren: Relentless, about the Oscar-nominated songwriter, also feature on-camera, often uncomfortable, banter between the subject and the director about who should have control over a story that each wants to tell differently. (In both cases, the director had complete control over the project and its final cut.) In the opening sequence of Wolf's Pee-wee as Himself, the late artist and performer Paul Reubens tells the camera, "You are not supposed to control your own documentary. You are supposed to [make] people, many people, alright, everyone but me, feel that as the subject of a documentary that you really don't have a handle. Have a take. What's the word I'm looking for? What is everyone telling me that I don't have on myself?' "Perspective,' Wolf can be heard saying off-camera, to which Reubens responds, 'You and I are going to be arguing [about that] for a long, long time. Until this documentary is finished. You mark my words.' Wolf and Reubens' contentious verbal relationship is captured throughout the two-part series, which premiered on HBO in May. "Paul and I were involved in a power struggle," says Wolf. "He didn't like the answer 'no,' and as a director, I'm accustomed to getting my way. We had similar ideas about his story and how it should be told. I just needed Paul to let go, so that I could do what I needed to do to reappraise him as an artist. I think at the end of the day, Paul and I wanted the same thing. However, to achieve those goals, I needed to be tough about maintaining my editorial autonomy." SEE'Pee-wee as Himself': Director Matt Wolf on exploring the duality of Paul Reubens and earning his trust — 'It was a constant struggle' In Kargman's Relentless, which debuted at SXSW in 2024, Warren's prolific songwriting career is examined. So is Warren's innate desire not to discuss her creative process or show up for certain interviews. At one point in the documentary, Warren tells Kargman that a camera is placed at a bad angle before grabbing it and repositioning it. At several points in the film, Kargman confronts Warren about her production power plays. Kargman says that while she didn't want the audience to hear her voice in Relentless, she also wanted them to know what it was like to be in her shoes and "experience what I was experiencing." "As I say in the film Diane had a wall up, and I was trying to break through it," she says. "I wanted the audience to experience the occasional deep frustration I had, so you hear me challenge her. In a perfect world, I would not have put myself in the film." To hear Feinartz, Wolf, and Kargman verbally debate with their respective subjects about style, storytelling, or final cut gives each film tension and an air of authenticity. "If anything, the banter between me and Marc just made things more transparent," says Feinartz. "You see me trying to make a film, you see him pushing back. It's less about control and more about letting the mess be part of the film." The power struggle unfolding in all three documentaries is, at times, jarring but also entertaining. Arguably, the breaking of the fourth wall is more captivating than the profile being told, which could, in part, be due to the fact that most celebrity-driven documentaries are boring self-produced infomercials that offer little in the way of new, unusual, or engrossing information about the subject. Practically any doc featuring a musician — Halftime about Jennifer Lopez, Miss Americana about Taylor Swift, and Homecoming about Beyoncé — is a carefully constructed commercial produced by the star or their record label. While recent celebrity documentaries like Elton John: Never Too Late, Martha, Beckham, and The Last Dance were all insightful, there is the issue of subjects being paid to participate, which raises questions about creative control and merit. "I definitely wanted the audience to be clear that this is not a puff piece, or a vanity project," says Wolf. "However, more importantly, control was an important theme in the film. Paul separated himself from Pee-wee Herman as an artistic and professional choice, but also as a way to protect his anonymity. When that precise separation crumbled after Paul's arrest, it was devastating for him. Paul lost control of his personal narrative in the media, so it was very relevant that he struggled with issues of control in the documentary. I was less interested in making a meta-commentary on celebrity documentaries, and more interested in understanding Paul's experiences both in the past and in the present while making the documentary." The recent trend toward push-pull celeb-docs docs is a welcome diversion from the puff pieces that soft-pedal around their A-list subjects. But it's anyone's guess at this point if distributors will get behind raw docs about celebrities or stick with what works — fake docs about celebrities. Are We Good? is seeking distribution. Best of GoldDerby 'It was wonderful to be on that ride': Christian Slater talks his beloved roles, from cult classics ('Heathers,' 'True Romance') to TV hits ('Mr. Robot,' 'Dexter: Original Sin') 'It almost killed me': Horror maestro Mike Flanagan looks back at career-making hits from 'Gerald's Game' to 'Hill House' to 'Life of Chuck' Stephen King movies: 14 greatest films ranked worst to best Click here to read the full article.
