Sony Takes Legendary's ‘Street Fighter' Off the Calendar, Gives ‘Beneath the Storm' New Title, Release Date
The studio also shifted release of Tommy Wirkola's upcoming shark thriller 'Beneath the Storm,' moving it from August 2025 to July 3, 2026 to serve as a centerpiece of its blockbuster slate. That film also has a new name to go with the new release date, and is now called 'Shiver.'
Emmy nominee Kitao Sakurai was announced as director for 'Street Fighter' in February. The fate of that film is not known, but if it gets rescheduled, it will be co-developed and co-produced with Capcom, the video game developer and publisher behind the long-running franchise of fighting games.
'Street Figher' was last adapted for live-action in 1994, with a commercially successful and critically brutalized take starring Jean-Claude Van Damme, Ming Na Wen and Raul Julia, in what would be the celebrated actor's final role. And as it happens, his performance was singled out by critics and fans alike as excellent despite the film's flaws.
Wirkola's 'Shiver' (née 'Beneath the Storm') will star Phoebe Dynevor and though plot details remain under wraps, it's understood the story involves sharks. Whitney Peak and Djimon Hounsou also star in the film, which Wirkola wrote and directed with Adam McKay and Kevin Messick producing through their Hyperobject Industries banner.
Wirkola is best known for his instant classic 2022 Christmas action film 'Violent Night,' starring David Harbour as Santa Claus in what is essentially a 'Die Hard' plot with Old St. Nick as the action hero.
The post Sony Takes Legendary's 'Street Fighter' Off the Calendar, Gives 'Beneath the Storm' New Title, Release Date appeared first on TheWrap.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Yahoo
30 minutes ago
- Yahoo
Harrison Ford's Emmy chances for 'Shrinking,' by the numbers
Hollywood awards voters owe Harrison Ford a serious apology. A supporting Emmy for his performance as the gruff yet insightful therapist Paul Rhoades on Apple TV+'s comedy 'Shrinking' would be a good start. 1 Ford's Emmy nomination for 'Shrinking' Season 2 is his first ever. Granted, most of his small-screen work has come about recently. 1986 But Ford's prolific film career also has yielded just one Oscar nomination, for lead actor in 1986, for his soulful performance in 'Witness.' 10 Factoring in Screen Actors Guild (two), BAFTA (one) and Golden Globe nominations (five), Ford's major awards nominations barely reach double digits. 0 Ford has never won a major competitive film or television award. 20+ On the other hand, he has a trophy case worth of lifetime achievement awards (from AFI, César Awards, Cannes and more), which suggests that his contributions to the industry haven't gone unnoticed. 7 'The Fugitive,' a 1993 blockbuster led by an emotionally charged Ford, drew seven Oscar nominations, including for best picture and eventual supporting actor winner Tommy Lee Jones, but none for Ford. '42' Ford drew some critics groups' attention for his thoughtful performance in this 2013 film as baseball executive Branch Rickey, who brought Jackie Robinson (Chadwick Boseman) into the major leagues. 83 Forty years ago, no one envisioned a supporting actor TV award as a career highlight for Ford. But an Emmy at age 83 would be lovely — and he's the frontrunner. 2 'Shrinking' Season 3 has already wrapped, giving Emmy voters a clear path to justice for Ford: not just one but multiple Emmys. Get exclusive awards season news, in-depth interviews and columnist Glenn Whipp's must-read analysis straight to your inbox. This story originally appeared in Los Angeles Times. Solve the daily Crossword
Yahoo
an hour ago
- Yahoo
How ‘The Day of the Jackal' Team Brought a 'Semi-Derelict' Border Building Back to Life: 'This Was a Huge Undertaking'
The Day of the Jackal cinematographer Christopher Ross started his work on the Peacock series about an assassin named the Jackal (Eddie Redmayne) with a bang — no pun intended. In episode one, which was nominated for an Emmy for cinematography, the Jackal wounds the son of far-right German politician Manfred Fest — but it's all a ploy to lure Fest to his son's hospital bedside so the Jackal can assassinate him with a record long-distance sniper shot. More from The Hollywood Reporter How 'The Upshaws' Editor Angel Gamboa Bryant Makes Sure the Comedy Lands Every Time 'Inside Edition' Anchor Deborah Norville to Receive Lifetime Achievement Award at 2025 Daytime Emmys What Is P(doom) and Why Is Jesse Armstrong Laughing About It? 'Trial by fire,' jokes Ross of the assassination scene — the first scene he shot. (Last year, he received an Emmy nomination for his work on Shogun.) The sequence was composed of four sections, filmed in Budapest, Hungary, and Vienna, Austria. On the same day, Ross and his team also captured a scene demonstrating how the Jackal turns his suitcase into a sniper rifle. 'Eddie and I bonded over a love of meticulous prep,' Ross says of his first day of work. 'We had two suitcases constructed that could be turned into the gun — Eddie had one in his hotel room for a couple of weeks before we shot, and he would repetitively rebuild this gun, taking out the wheels, finding the bullets, taking out the handles. In reality, the building of the gun took about 15 minutes from an empty suitcase, and the idea was to truncate that period into these elegant nuggets of precision.' While Redmayne prepped for his role by attending 'sniper school,' Ross had to learn the characteristics of each weapon so he would know how to lens them properly. 'We ended up using a number of different lenses,' he explains. 'The actual Fest killing in episode one was photographed from the roof of the Hungarian National Theatre. It was a building that was 1,640 feet away from the hospital that we were filming at for the assassination, and we placed a 1,200mm lens with a 1.4 extender, so that makes it sort of 1,600mm long, on a stabilized head. I operated the stabilized head remotely to try to smoothly track as a sniper would. It was channeling everything based on the character.' Ross took home a unique souvenir: 'There is a medical device known as a laparoscope, which is for looking down your throat at your larynx. It's the only optical device that's narrow enough to fit down the barrel of a gun,' he notes. 'I have one of the world's only motion picture laparoscopes because I bought one specifically for The Day of the Jackal to analyze the rifling of the gun, but we never ended up doing it. I have a memento.' There were challenging shots aplenty for Ross, and while he credits the opening scene as the most difficult in terms of camera moves, the border crossing, in which the Jackal is stopped while attempting to enter France after the assassination, was logistically difficult, he says. 'It was written as a fairly brief scene, where the Jackal goes to the border and there's a temporary arrangement, but [episode director] Brian Kirk wanted this scene to be sort of an indicator: Is this the first mistake the Jackal has made?' he says. 'It runs about three minutes, and the script was about a page, so it was elongated quite a bit for tension purposes. We filmed it at the Hungarian and Austrian border, both member states of the EU now, but they weren't previously, and we were at some semi-derelict building at the border crossing that we had to bring to life. It sits on the side of the motorway these days as a completely disused set of buildings.' The crew repowered the buildings and all of its traffic lights: 'Every red cross and green arrow has been designed by the art department and built by practical electricians,' Ross explains. 'All the vehicles are brought in. This was a huge, huge undertaking. There are only six lines of dialogue in the sequence, but the power of the sequence is entirely in the crafts department delivering big.' But while Ross had to capture big moments, he also had to lens smaller, intimate ones, including one where the Jackal takes off his disguise prosthetics in the mirror, requiring a very tight shot. The scene had to be carefully framed after the team built a mirror image of the bathroom with a body double for Redmayne. It was filmed over a six-hour period. 'There are a couple of Probe Lens shots in there for being able to get right up to his contact lens and see the color change in his irises,' Ross explains of the scene in which the Jackal, disguised as an elderly janitor in an office, takes off his prosthetics after completing his mission. 'Then, on top of that,' he adds, 'we built a mirror image of the room on the far side of the bathroom and removed the mirror so that the final shot is the camera passing through the mirror and out into the room with him as he returns into the kitchen, as a subliminal trick to fool the audience. It's a technique that was brilliantly used by Robert Zemeckis in [1997's] Contact and Mathieu Kassovitz in [1995's] La Haine, and Brian and I thought it would be a fun little trick to play on the audience.' The scene was meant to be 'unsettlingly playful,' mirroring the show's main character. 'Brian's idea with the show was that it's about liars that lie about everything all the time, and so the idea was that we as storytellers would also be lying to the audience — that even the camera was an unreliable narrator,' Ross explains. 'You are never quite sure whether what you were seeing was the truth.' This story first appeared in an August stand-alone issue of The Hollywood Reporter magazine. To receive the magazine, click here to subscribe. Best of The Hollywood Reporter 'The Studio': 30 Famous Faces Who Play (a Version of) Themselves in the Hollywood-Based Series 22 of the Most Shocking Character Deaths in Television History A 'Star Wars' Timeline: All the Movies and TV Shows in the Franchise Solve the daily Crossword
Yahoo
an hour ago
- Yahoo
How Costumes From Shows Like ‘Emily in Paris' and ‘Sirens' Illustrate That Fashion, Like Friendships, Is Complementary and Competitive
Whether dressing in opposition or mirroring each other, wardrobes speak volumes about the complexities of kinship this Emmy season. At a client launch party in Emily in Paris, the titular marketing maven (Lily Collins) confidently works the crowd in a structured PVC dress, with exaggerated floral appliqués, by Balmain. Her roommate and BFF Mindy (Ashley Park), conveniently a showstopping singer, also commands the room in a sparkly pink Germanier minidress with a contoured-plunge neckline and architectural ruffles. Their dresses convey their complementary personalities: Emily the restrained and controlled yin to Mindy's vivacious and adventurous yang. More from The Hollywood Reporter How 'The Upshaws' Editor Angel Gamboa Bryant Makes Sure the Comedy Lands Every Time 'Inside Edition' Anchor Deborah Norville to Receive Lifetime Achievement Award at 2025 Daytime Emmys What Is P(doom) and Why Is Jesse Armstrong Laughing About It? 'Both are joyful characters but are eclectic, unique and risky in their own ways,' says costume designer Marylin Fitoussi. 'Opposites attract.' But, at closer look, the lustrous, sculptural aspects of Emily's and Mindy's dresses compose a perfect harmony. The two-time Emmy nominee always coordinates the duo's costumes in shared scenes through color palette and/or eye-catching details. 'It's a question of avoiding trends and finding the most eccentric, precise and funniest details or accessories to make them both interesting and bold, to create their own styles,' says Fitoussi. 'That expresses their friendship.' Fitoussi made an exception when Mindy supported a heartbroken Emily by lending her best friend one of her most outrageous outfits to match for a girls night out. 'They were both sad and depressed, so Mindy gave Emily a makeover with the red leather [Jitrois] catsuit and high boots,' explains Fitoussi. Twinning can be weaponized, though. In The White Lotus, three childhood best friends reunite for a luxurious jaunt to Koh Samui, Thailand: TV actress Jaclyn (Michelle Monaghan), New York City attorney Laurie (Carrie Coon) and Austin socialite Kate (Leslie Bibb). They arrive seemingly in sync — dressed in a sunny yellow palette with tropical motifs. But, in trios, the math often adds up to two against one. In their shared villa, Jaclyn immediately lends Kate a fuchsia V-neck maillot and a fringed panther sarong from a Valentino swag box — an imagined celebrity gift conceptualized by costume designer Alex Bovaird. 'They're sharing in wanting to be each other and morphing into each other,' says the four-time Emmy nominee, who dressed a preening Jaclyn in a vintage blocked Chanel caftan over an asymmetric Eres swimsuit. 'They're just like butterflies. Showing off their flashy colors. They're trying to outshine each other, but very passively at the moment.' Jaclyn and Kate proceed to shower each other with backhanded compliments. Amid a divorce and career stagnation, Laurie looks on and interjects with tentative laughter. 'Jaclyn does not share her designer swag with Laurie,' says Bovaird, who peppered Valentino resortwear into Kate's wardrobe. 'That's a little signal of Laurie being on the outs.' Within a beachfront compound on a tiny East Coast island in Sirens, Simone (Milly Alcock) emulates her boss — dressing for the role she wants, both personally and professionally. As an eager assistant to society doyenne Michaela (Julianne Moore), Simone tackles responsibilities beyond office hours, joining morning workouts in matching gear and presenting herself in her boss' image to an absurd degree, like chewing a piece of gum straight out of Michaela's mouth to freshen her breath. 'Simone is always working in mimicry of Michaela,' says costume designer Caroline Duncan, who custom designed Simone's iridescent lilac sports bra and running pants and Michaela's taupe-hued ballet-wrap top and leggings. 'It feels hallucinatory and leads to questions of appropriateness of their relationship.' Simone's devotion blurs boundaries, leading her estranged sister Devon (Meghann Fahy) to believe that Michaela is a cult leader. That's understandable, as the enigmatic, baton-wielding grande dame presides over her high society acolytes in an alabaster white silk halter tunic over wide-leg trousers, custom-designed by Duncan, at a party that Simone flawlessly orchestrates in a highlighter pink and white shift dress by Goop x Lilly Pulitzer. Only Simone enjoys the privilege of incorporating white into her wardrobe, as Duncan intentionally dressed the rest of island society in Easter egg colors only. An aspirational Simone also borrows pieces from Michaela's glamorous, otherworldly wardrobe. At one point, Michaela's billionaire husband, Peter (Kevin Bacon), accuses her of dressing Simone 'up like a doll.' But Michaela sees herself in her protégé. 'She really does tenderly love Simone,' says Duncan. 'So she's trying to polish Simone — crossing every 'T' and dotting every 'I' — and helping her have this outward perfectionism, so that she quickly learns how to climb the ladder herself.' In Dying for Sex, aligning styles symbolize the deepest commitment of friendship as actress Nikki (Jenny Slate) becomes the caregiver to bestie of nearly 20 years, Molly (Michelle Williams), during her final days battling Stage 4 cancer. Tending to her time-sensitive bucket list, Molly leaves her performatively caring husband, Steve (Jay Duplass), to explore her sexual boundaries. Since Molly jumped into Nikki's car, getaway style, she needs to borrow her best friend's comforting sweaters and easy shirts. 'Twinning is just a natural occurrence, especially if they're spending a lot of time together,' says costume designer Melissa Toth, who needed to emphasize realistic New York City wardrobes of a 40-something struggling actress and her terminally ill friend who's finally grasping independence. After a brief stay with Nikki and liquidating her 401(k), Molly moves into her own modest apartment, but the sartorial connection with Nikki remains. 'Maybe they're not trading clothes anymore, but they're becoming a symbiotic creature,' says two-time Emmy-nominated Toth. 'Molly is becoming, essentially, Nikki's partner.' Adjusting to their new daily obligations, the duo convene on a park bench for an intimate, heartfelt and revealing conversation. Nikki self-soothes in layers of an oatmeal sweater, a Uniqlo down puffer and a dark-denim shacket by Frame while Molly swaddles herself in her trusty navy APC overcoat and an ombré earth-toned scarf knitted by Toth's niece. The theme of companionship runs deep, as Williams and Toth also collaborated on Williams' Emmy- and Oscar-nominated turns in Fosse/Verdon and Manchester by the Sea. 'We have a really special working relationship that's actually evolved into a friendship,' says Toth. '[Dying for Sex] is a love story between two friends.' This story first appeared in an August stand-alone issue of The Hollywood Reporter magazine. To receive the magazine, click here to subscribe. Best of The Hollywood Reporter 'The Studio': 30 Famous Faces Who Play (a Version of) Themselves in the Hollywood-Based Series 22 of the Most Shocking Character Deaths in Television History A 'Star Wars' Timeline: All the Movies and TV Shows in the Franchise Solve the daily Crossword
