Latest news with #TimurBekmambetov
Yahoo
05-08-2025
- Entertainment
- Yahoo
What's Up With Ice Cube and Amazon's 'War of the Worlds' Remake?
Did you know Ice Cube is starring in a new version of War of the Worlds? Neither did we, until we happened upon the bombastic trailer on Amazon Prime on Wednesday. Premiering on the streamer on July 30 with only the merest hint of pre-release publicity, the movie is so niche (and unexpected, in every way) that it didn't even have a Rotten Tomatoes page until two days after its debut. (At time of publishing, there is no critical consensus, as the reviews number only four. Nor is there any plot description, and the poster used belongs to the 1953 version.) So what's the story behind this surprise War of the Worlds reboot? More importantly, does it hold a candle to the other adaptations? Is there a new version of War of the Worlds? This new adaptation of War of the Worlds has very little in common with H.G. Wells' classic source material, or any other mainstream adaptation, for that matter. It's part of the 'screenlife' sub-subgenre, which is a variation on the found footage concept. Screenlife movies differ in that they take place entirely on computers, phones, or tablets; and unlike found footage, screenlife chronicles events as they happen rather than showing us edited video after the fact. This is produced by Timur Bekmambetov, the Russian director behind Nightwatch (2005) and Wanted (2008), who for the best part of 20 years has been experimenting with (essentially inventing) the screenlife genre. He's previously produced Unfriended (2015), Searching (2018), and Missing (2022), three of the genre's most well-done and well-remembered films; and he directed Profile (2018), a lesser-known but deeply unsettling thriller about a journalist wooed by a jihadist whom she's assigned to cover. Bekmambetov does not direct this new War of the Worlds, instead passing the baton to music video helmer and 3D visualist Rich Lee, making his feature debut. On the merits of this picture, it'll probably be his last. War of the Worlds is by far the worst screenlife movie to date, a depressing and ceaseless experience even for those with a fondness for the genre. It stars Ice Cube, but one could argue that the chair on which he sits for the film's entire length is both more pivotal to the plot and a more compelling performer. Cube, it seems, agreed to appear in the movie only if his part could be shot entirely at his breakfast table on a single morning during the time it took him to consume a is War of the Worlds (2025) about? The usually charismatic star plays Will, a bottom-rung government surveiler who has likely remained low on the totem pole due to how unabashedly corrupt he is. When we meet him, he's using his specialized skills to listen to the phone calls of teenage stoners and hack the security cameras of his local coffee shop, where he chastises his pregnant daughter for eating a muffin. A morning of actual work presents itself in the form of desperate entreaties from Dr. Sandra Salas (Eva Longoria), Will's NASA scientist friend, and FBI agent Sheila Jeffries (the brilliant Andrea Savage, unforgivably wasted). Strange things are coming from the sky, they tell him. Will's response? 'I don't watch the weather.' Seriously, it's the weirdest establishment of a lead character, perhaps in any film. Creepy towards his daughter? Check. Morally dubious? Check. Ambivalent about his job and the people whom he's supposed to protect? Checkedy check check check. The rest of the movie, which runs for an unending 89 minutes, consists of shaky handheld footage showing flashes of dismal CGI as the robots invade Earth, seen entirely through Will's computer. Through it all, Cube reacts from the confines of his office chair, adequately matching the sheer terror of a man realizing the last ice cream sandwich has been eaten. In too many ways, this War of the Worlds resembles one of those Z-grade monster invasion flicks that used to pop up on Mystery Science Theater 3000. There are no real characters or arcs, just faces to which the film cuts back amidst endless stock footage of military people doing military things, like firing missiles and flying jets. Those films would often trot out a vaguely respectable star of the day, like Peter Graves or Robert Stack. Here, the former NWA member is bequeathed that dubious honor. What's the story behind Ice Cube's War of the Worlds? So how did this low-rent version of War of the Worlds come to be? Deadline reported on Sept. 24, 2020, that Bekmambetov had impressed Universal with a pitch for 'a grounded sci-fi film in the vein of District 9 that touches on themes of privacy versus surveillance' that could be shot fully remotely amidst the pandemic. The studio reportedly loved the concept, which would allow for 'a production that had the look of [a] commercial event film but at the budget of a contained thriller' and was excited that the movie would be 'a first of its kind at this scope.' It was fast-tracked and went into production within the next month. Nowhere in any of the production notices—of which there are only two—is War of the Worlds mentioned. There was no public tie between the 'untitled Timur Bekmambetov project' and H.G. Wells' classic property until the trailer for this updated version dropped on July 24, along with an announcement that it would premiere on Prime Video in a week's time. In fact, there seems to be no news articles or even public mentions of the movie between an Oct. 19, 2020, article, also in Deadline, announcing Longoria's casting and the July 24, 2025, might indicate that 2025's War of the Worlds only became a War of the Worlds movie late in the day. Perhaps realizing they had on their hands a barely-releasable stinker of epic proportions, and desperate to recoup five years of financial output, those in charge decided to slap the War of the Worlds title on 'untitled Timur Bekmambetov project' to boost interest. How the movie made its way from Universal to Prime Video is unclear, but it's hard to imagine a film less fit for theatrical (or any) release. Certainly, the finished product bears no similarity to the subtle, satirical majesty of District 9. Nor does it possess anything approaching an incisive message, or even a clear thesis, about surveillance and privacy. It would seem, from an outsider's perspective, to be a complete duffer from all angles. And even Amazon is clearly embarrassed about the film. You'd think the streamer was trying to hide the movie entirely, were it not for the banner posters running rampant on the Prime Video homepage. It's certainly interesting that its release is timed around the 20th anniversary of the Steven Spielberg adaptation and coincides with a new 4K restoration of the superior 1953 version (still the most impressive of the adaptations), which is currently making its way through cinemas nationwide, but are either of those sufficient reasons to release this strained franchise continuation? Whether or not this began life as a War of the Worlds movie or not, this new version will go down in infamy as not only one of the worst Wells adaptations of all time but one of the worst movies ever made. The awfulness is so criminally cataclysmic that it almost begs to be seen, but it's probably more advisable to hold off and wait for the inevitable How Did This Get Made? episode. This is one of those instantly fascinating pop-culture curios that will become pet obsessions in certain corners of the internet. Certainly, it's a film about which you'd wish to read an entire book dissecting its creation. It's not worth watching, but it's definitely worth discussing. Where can I watch War of the Worlds (2025)?What's Up With Ice Cube and Amazon's 'War of the Worlds' Remake? first appeared on Men's Journal on Aug 1, 2025 Solve the daily Crossword
The National
08-05-2025
- Entertainment
- The National
Meet the Emiratis making movies that take place entirely on computer screens
From horror to drama, comedy to action, Emirati filmmakers have tackled many genres to expand the scope of UAE storytelling on screen. The latest genre to captivate the nation's creatives is at the cutting edge of visual storytelling: screenlife. What is screenlife? It is a format that take place entirely on computer or smartphone screens. The viewer follows the story, seeing what the character sees, such a WhatsApp chat, a Zoom call, or a Google search. Films such as Unfriended, Searching and Missing have popularised the genre. They were all produced by Russian filmmaker Timur Bekmambetov, a pioneer of screenlife. Teaming up with Image Nation Abu Dhabi, Bekmambetov created the Screenlife Accelerator Programme, a competition in which budding UAE directors and screenwriters sent their scripts and treatments for a chance to be selected. Once picked, these scripts will be polished by Bekmambetov and his team to be produced into major motion pictures. The first winners of the programme were announced at the Abu Dhabi International Book Fair. Among those selected were Abdulbaset Qayed and Afra Al Marar, two Emirati filmmakers. The pair told The National of their plans for their films, and discussed Emirati cinema. Al Marar, a screenwriter from Abu Dhabi, says she was encouraged by friends to apply to the programme. Having completed multiple courses with Image Nation, she recalled a script she had written for a found-footage film and decided it could be transformed into a screenlife script. Al Marar's film, Hidden Melodies, follows Abdullah, a music composer who receives a song project file from a famous singer. Just 15 minutes later, the singer dies. The file holds clues that lead Abdullah to uncover a human trafficking ring. Qayed, a filmmaker from Dubai, says he had been writing scripts from a young age. After studying a different field in the US, he drifted away from writing. During the Covid-19 pandemic, his mother encouraged him to write again. He says: 'I started writing fiction again, especially horror. I'm a big fan of the found-footage subgenre. Within two weeks, I had a 70-page script. I began entering competitions, and some people really responded well to my work. That motivated me to keep going.' Qayed's screenlife script is titled The Disappearance. Inspired by a trip he took to Oman with a friend, the film follows Omar, a popular Emirati influencer who investigates crimes on his YouTube channel. 'One day, Omar gets a call from Nada – a woman whose husband went missing on a trip to Oman. The police gave up the search. Omar starts investigating using videos from the trip and sees something abnormal – something supernatural,' Qayed says. He and Al Marar say making screenlife films presents an opportunity to tell stories differently. Aside from requiring smaller budgets than more traditional film formats, Al Marar says screenlife films offer a very personal and immersive experience. She adds: 'We spend so much time on our devices [that] we're used to seeing screens and interpreting subtle cues from them. During the pandemic, we got even more comfortable peeking into people's lives via Zoom, so the format feels very natural now, especially to younger audiences.' Being part of the accelerator programme, she says, opened her eyes to using screenlife in projects she was already working on. 'As someone who directs commercials and corporate films for government projects, this experience shifted my mindset,' she says. 'Now, I even think about how to apply screenlife techniques to those projects. For example, instead of traditional filming, I might show a corporate announcement through a screen recording. It's opened up a new creative lens for me.' The pair believe there are many talented people in the UAE who need to find avenues to securing funding and screening for their films. Al Marar says she and Qayed are part of a generation that had the film festivals in Abu Dhabi and Dubai to look forward to, but newer generations do not have that space to screen their films any more. She adds: 'I post a black-and-white photo every October 1 from the old Abu Dhabi Film Festival. We miss it. That's where we watched new films, attended workshops and met international filmmakers like James Cameron, and Bollywood stars.' 'That's a key part of the ecosystem. We need champions to bring back strong festivals. Dubai International Film Festival was a powerful platform,' Qayed says. He also says filmmakers should not wait for festivals to happen again to put their films out. Films need to be written for new and different audiences around the world, he adds. 'We should aim to create content that resonates globally. When I write, I don't write only for Emiratis. I write with universal themes, so people from anywhere, even Brazil, can relate,' Qayed says. Al Marar says filmmakers should learn from the screenlife genre and be more nimble. Instead of waiting for grants to produce and market their films, they should find innovative ways to raise money so they can be active in an ever-shifting film landscape. 'We come from a culture where we've relied a lot on government grants, but we need to start shifting that mindset – towards private investors and self-sustaining projects,' says Al Marar.
Broadcast Pro
29-04-2025
- Entertainment
- Broadcast Pro
Image Nation AD and Timur Bekmambetov reveal winners of Screenlife Accelerator Programme
The winning projects reflect a diverse range of voices and genres, unified by a format that is redefining modern storytelling. Image Nation Abu Dhabi, in partnership with Hollywood filmmaker Timur Bekmambetov and his production company Bazelevs, has announced the winners of the UAE's first-ever Screenlife Accelerator Programme. The initiative, launched in June 2024, focused on training local and resident filmmakers in the screenlife storytelling format, where entire narratives unfold through digital interfaces like smartphones and computer screens. Over a rigorous 12-week period, participants were mentored in the craft of screenlife filmmaking, culminating in the selection of 13 finalists chosen to develop pilots of their concepts. From these, eight projects were awarded further support to advance their scripts and prepare for the next phase of production. Among the winners is Disappearance by Emirati director Abdulbaset Qayed, a supernatural thriller centred on two vloggers investigating a mysterious vanishing in the Omani mountains. Turkish filmmakers Gorkem Sifael and Ozgur Akyuz were recognised for Stalker, a psychological drama about a woman whose AI search tool, created to locate her missing mother, is hijacked by a sinister stalker. Other standout projects include Hidden Melody by Emirati filmmaker Afra Al Marar, a suspenseful tale about a composer haunted by a song and a singer's untimely death; and Maybe You Should Talk to Someone by French expat Julie Sanchez, which delves into the psychological complexities of an online therapist and her clients. Dana Ittani, an American-Lebanese filmmaker, presented Just My Type, a gripping cybercrime drama inspired by real-life romance scams. Dubai-based Ekta Saran and British writer Danielle Arden's Mother Scammer offers a darkly satirical look at high society and digital deception. Emirati Aisha Al Aqel was honoured for Closure, a sci-fi horror exploring grief and AI resurrection, while Yemeni director Tammam Assi's The Link examines the dangers of online manipulation and viral identity fraud. Ben Ross, CEO of Image Nation Abu Dhabi, said: 'As Abu Dhabi and the UAE continue to establish its position as a leader in the creative industries, our partnership on screenlife reflects our commitment to innovation in filmmaking, empowering emerging storytellers with the latest tools, and showcasing the UAE's unique identity through globally resonant stories. We were overwhelmed with the level of talent we saw during the programme – and look forward to bringing these projects to life.' Timur Bekmambetov, pioneer of the screenlife format, added: 'Screenlife isn't just a new storytelling language, it's a real tool for social impact. It democratises access to cinema through technology and changes the idea that cinema belongs only to those with big connections and big budgets. Instead, screenlife makes cinema a platform for new voices and untold stories coming from emerging regions and underserved communities. All our best screenlife films were made by first-time filmmakers. And we hope this accelerator's finalist will soon be next.' Bekmambetov is the pioneer of screenlife films in which the action is set from the point of view of smartphones and computer screens as characters utilise their devices that drive the narrative forward. His debut screenlife production – a teen horror pic Unfriended (2015) – was picked up by Universal and went on to gross more than $65m against a budget of $1m. His next screenlife production, Searching (2018) starring John Cho, became a sensation at the Sundance Film Festival, grossing over $7m.
Yahoo
29-04-2025
- Entertainment
- Yahoo
Image Nation Abu Dhabi & Timur Bekmambetov Unveil Winners Of First UAE-Based Screenlife Accelerator Program
EXCLUSIVE: Image Nation Abu Dhabi and director Timur Bekmambetov have announced the winners of the first edition of the UAE Screenlife Accelerator Program. The eight projects range from a supernatural thriller about a vlogger investigating a disappearance in the mountains of Oman; a sci-fi horror about a woman who resurrects a dead twin through an AI self-care App, and a digital scam caper set against the world of Dubai's high society. (scroll down for full list) More from Deadline 'LifeHack' Review: Latest Movie In Computer Screenlife Genre Is Best Yet, A Rocking And Riveting Cryptocurrency Heist Film - SXSW Timur Bekmambetov Launches The Black List-Style Platform Screenlifer With 'Howdy, Neighbor!' & 'CRTL' Timur Bekmambetov Signs With Artist International Group The joint initiative between the Emirati studio and L.A.-based Russian-Kazakh director and producer Bekmambetov, and his production company Bazelevs, introduced UAE nationals and residents to his innovative digital filmmaking format where stories unfold entirely on computer or smartphone screens. Following an intensive 12-week course, 13 filmmakers have been selected to produce a pilot of their concept. 'As Abu Dhabi and the UAE continue to establish its position as a leader in the creative industries, our partnership on Screenlife reflects our commitment to innovation in filmmaking, empowering emerging storytellers with the latest tools, and showcasing the UAE's unique identity through globally resonant stories,' said Image Nation Abu Dhabi CEO Ben Ross. 'We were overwhelmed with the level of talent we saw in the during the program – and look forward to bringing these projects to life.' Bekmambetov pioneered the Screenlife filmmaking technique to produce hits such as Unfriended (2015), Searching (2018), Missing (2023) and most recently the positively-reviewed Lifehack (2025). 'Screenlife isn't just a new storytelling language, it's a real tool for social impact. It democratizes access to cinema through technology and changes the idea that cinema belongs only to those with big connections and big budgets,' he said. 'Instead, screenlife makes cinema a platform for new voices and untold stories coming from emerging regions and underserved communities. All our best screenlife films were made by first-time filmmakers. And we hope this accelerator's finalist will soon be next.' The selected projects: Dir. Abdulbaset Qayed (UAE)A supernatural thriller that follows popular vlogger Omar and his partner Nixon as they investigate the vanishing of a young man in the mountains of Oman only to uncover the presence of a dark, otherworldly force. Dirs. Gorkem Sifael & Ozgur Akyuz (Turkey)A gripping psychological drama about a tech-savvy young woman who creates a powerful search software to find her missing mother only to have it turned against her by a manipulative stalker. Dir. Afra Al Marar (UAE)A junior music composer receives a mysterious unfinished song from a singer who dies just ten minutes later unraveling a trail of clues that lead to a shocking secret hidden within the music industry. Dir. Julie Sanchez (France)A psychological thriller set in unsettling digital world of an online psychologist, blurring the line between helper and the helped. Dir. Dana Ittani (U.S.-Lebanese)A sharp and timely take on cybercrime, inspired by real cases following the story of online romance scams and the digital systems that ultimately bring justice to the victims. Dirs. Ekta Saran (India), Danielle Arden (UK)A satirical psychological thriller set against the polished backdrop of Dubai's high society, where a struggling single mother and designer falls prey to a digital scam that upends her carefully curated life. Dir. Aisha Al Aqel (UAE)A blend of science fiction and horror following Josephine as she resurrects her twin brother via an AI self-care app after his death on a spiritual trip, only to find that faith, grief and artificial intelligence create a dangerous and unstable mix. Finally, Yemeni Tammam Assi's Dir. Tammam Assi (Yemen)A digital thriller slate, where in the era of viral fame and digital deception, a woman's online entanglement with a dangerous imposter forces her to confront her deepest fears and fight for her family. Best of Deadline Everything We Know About 'The Phoenician Scheme' So Far Everything We Know About 'Another Simple Favor' So Far 'The Last Of Us': Differences Between HBO Series & Video Game Across Seasons 1 And 2
