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‘Duality’, ‘Life & Life’, ‘The Year Of The Dog’, ‘Wages Of Sin’, ‘Chapel’, ‘Addict Named Hal’, ‘Spread’, ‘Find Her,’ And ‘Wonderfully Made — LGBTQ+R(eligion)’ – Film Briefs



EXCLUSIVE: Buffalo 8 has announced the release of Duality to Amazon Video, AppleTV and iTunes, YouTube, Google Play and Vudu, on Friday, October 21. Director Ryan Dowling was granted unprecedented access to an all-star roster of graffiti and street artists including “Dual Streets,” “Sloke,” “Meres,” “Jaber/White Ninja,” and “Never.”


Once brushed aside – even deemed criminal – graffiti has since paved the way for many successful, credible artists today. With Duality, these street artists– some for the first time, some maintaining a strict code of anonymity – discuss their journeys from “tagging” to becoming respected icons in the cities they serve with pieces that are awe-inspiring in scope, size and complexity. They have collectively proven that their genre of art is something that can influence culture, evoke emotion, inspire, and cultivate community. Their rise has not been without challenges and criticism but today they are admired by throngs of fans and oftentimes the art they produce brings in revenue for household brands and worldwide corporations. No longer relegated to back alleys, their works can be found on main streets, on the faces of landmark buildings and in fine art galleries.

Artists appearing are “Dual Streets” (Houston); “Sloke,” a.k.a. Nate Nordstrom (Austin); “Meres,” a.k.a. Jonathen Cohen (New York), “Jaber/White Ninja” (West Coast); and “Never, a.k.a. Jonas Never (Los Anegels) as well as Marie Flaguel Cecil who co-founded iconic mural space 5Pointz in Queens.


In addition to directing, Dowling sereved as the cinematographer. Lucy Soja produced and the Executive Producers are Justin Miller, Brandon Miller, Nikki Stier Justice, Grady Justice, Luke Taylor and Matthew Helderman. Nikki Stier Justice of Buffalo 8 negotatied the deal for North American rights with Dowling on behalf of his team.


EXCLUSIVE: Indican has acquired the rights to the upcoming release of documentary Life & Life, the poignant film following Reggie Austin as he tries to redeem his life following a murder conviction 40 years ago. The film will have a limited theatrical run, starting in LA on 10/14, followed by a home entertainment release in February 2023.

Life & Life

Life & Life tracks the journey that musician Reggie Austin takes to redeem his life following a murder conviction 40 years ago. With surprising honesty and depth, the film looks at Austin’s effect on his fellow inmates and his efforts to reconnect with his family, as well as questioning parole and sentencing practices through his story. Ultimately, the film reveals the steep and dangerous hill ex-prisoners must climb upon release to free themselves and create a positive future. Life & Life is a story of the struggle for redemption and hope against near impossible odds, accompanied by a soundtrack that comes straight from Austin’s heart.

Jack Reacher author Lee Child and Emmy/Grammy nominated producer Nicole London are attached to the film as Executive Producers.


EXCLUSIVE: Nova Vento Entertainment has acquired theatrical distribution rights to award-winning, Bozeman-based writer, director, and actor Rob Grabow’s first feature film The Year of the Dog.

The Year Of The Dog

The film features a veteran cast of film and television actors including two prominent Indigenous actors: Jon Proudstar (veteran of 43 films and short-listed for Emmy consideration for his performance as Leon in Reservation Dogs); Lakota actor Michael Spears, a Bozeman local (Dances with Wolves, 1887, and Reservation Dogs, Season 2). Both actors have been submitted for Independent Spirit Award nominations for their work in the film.

“This is a dream come true,” said Grabow. “A leap of faith for sure. I sold my condo, basically my life savings, to finance this project, because I believed in it so much. And to sign a deal with Nova Vento, I don’t know… I may or may not have been jumping up around my place after we signed. It’s life changing.”

The Year of the Dog is a poignant movie about two strays: an alcoholic man struggling to maintain sobriety and a rescue dog with an unusual athletic gift. Grabow details, “It’s more than just a great dog film; it’s about repair and connection.” To him, the message is that “it’s never too late to repair damaged relationships. Sometimes the path forward through any type of suffering can be simple or as challenging as finding something for which a person wants to be … all wrapped up in a well-acted, interesting film with great music and an abundance of cool dog moments.”

While this is Grabow’s first feature, his multi-award-winning short film Method, was awarded Best Original Screenplay at the Chelsea Film Festival and was nominated for Best Actor and Best Director at the Beaufort International Film Festival. Grabow is also a lead actor in The Year of the Dog. His additional recent credits include the SYFY Network TV series Z-Nation and feature film Mickey and the Bear, which premiered at the South by Southwest and Cannes Film Festivals.


EXCLUSIVE: Wages of Sin, a new original action thriller written by actor Stephen Cyrus Sepher (Heist), has commenced principal photography in Los Angeles. The film is Victor Rios’ directorial debut, and is produced by Nazo Bravo (Dead On Arrival; BET’s The Family Business) and Sepher.


Wages of Sin

The action thriller stars Paul Sloan (Green Book), a mob enforcer fighting for his life as he’s betrayed by an expansive criminal enterprise. The cast also includes Danny Trejo (Machete) S. Cyrus Sepher, and Jeremy Luke (The Irishman).

The film is produced by 333 Pictures, and Boatyard Productions.

Sloan is repped by Kimberly Hines at Framework Entertainment. Trejo is repped by AEFH. Sepher is repped by Metropolitan Talent Agency. Luke is repped by Luber Roklin.


EXCLUSIVE: Jeremy Sumpter (Peter Pan, Friday Night Lights) stars in Chapel, a country crime thriller written and directed by Courtney Paige of Yeehaw Films.

Sumpter plays Cohen Black, a man who becomes a suspect in a serial murder case after waking from a coma with no recollection of who he is. The film also stars Lochlyn Munro (Riverdale), Taryn Manning (Orange is the New Black), Kyler Fisher, Nick de Graffenreid, Matt Fahey, Pardis Saremi, and Madison Bontempo.



Produced by Nicholas Adam Clark, Courtney Paige, Kyler Fisher and Madison Bontempo of Yeehaw Films. Chris Harding and Nick de Graffenreid of 2111 Pictures. In association with Joanna Clark and Kevin Forrest Clark at Take a Bow Film, Carol Anne Watts at Wildfire Pictures, Mike Bundlie of Poets Road and Jordan Wagner, CEO of Wagner Entertainment and Brandon Menchen.

Executive producers include: Gil Demeter, Kenn Henman, Chelsea Knipp, Rick Licht, Steven Stavro, Gabe Shapiro, Shalom Aerobach and Jessica Skube. Ryan Hamilton, Kelly Hamilton, Ying Ye and Oscar nominated Gary Hamilton of Arclight International.

Co-producers Matt Oliveira, Michael Mammoliti and Rob Diamond. Associate producers Brian Calle from LA weekly, Rylan Oleksyn, Steven Richmond, James Wilson, Aaron Millar, Laura Jacobs and Kathy Sue Holtorf.

Cinematography by Mélisse Riahi with additional photography by nine time recognized cinematographer Stirling Bancroft, csc. Buffalo 8 is currently underway with post production. Editor Jonas Thorhallsson and composer Sacha Chaban.


EXCLUSIVE: Freestyle Digital Media, the digital film distribution division of Byron Allen’s Allen Media Group, has acquired North American VOD rights to the drug recovery-themed dramatic ensemble Addict Named Hal. The film will be available to rent and own on North American digital HD internet and satellite platforms on October 11, 2022 through Freestyle Digital Media.


Addict Named Hal tells the story of a young woman named Amy who is furious at her mother for sending her to a halfway house for doing what she thinks every college kid does – get drunk at parties. But after totaling two cars and endangering her friend’s life, something has to change. In spite of her apprehension, Amy quickly bonds with the other residents – especially Hal, a heroin addict returning to the house from jail. Amy decides to give recovery a try and enjoys her new sense of community – from silly fights to heartfelt reconciliations, along with overdoses and visits from the police. But soon enough, Amy must face the reality that her drinking won’t just disappear, and she may have a bigger problem than she thought. But now, her addiction doesn’t just jeopardize her – it puts everyone in the house in danger. A film exploring the everyday struggles, joys, and horrors of getting clean.

Written and directed by Lane Michael Stanley, Addict Named Hal was produced by Lowell Blank, Thane Swigart, and Lane Michael Stanley. The ensemble cast of Addict Named Hal features Ray A. Roberts II , Natalie L’Amoreaux, Donato De Luca, and Daniela Vidaurre.

Freestyle Digital Media negotiated the deal to acquire Addict Named Hal through producer Lowell Blank of Secretly Famous Productions and Glen Reynolds of Circus Road Films.

Addict Named Hal is a love letter to the community of recovery that saved my life when I first got sober after my fiancé died suddenly from a heart attack,” said filmmaker Lane Michael Stanley. “I now have six years sober, and can’t wait to share this urgent story with audiences through our wonderful partner, Freestyle Digital Media.”

“I first read Lane Michael Stanley’s play Addict Named Hal, and knew it was well-suited for adaptation to film,” said producer Lowell Blank.  “Making the movie has been a labor of love and having Freestyle Digital Media behind its release is a dream come true.”



EXCLUSIVE: Kaczmarek Digital Media Group, Inc’s (KDMG, Inc.) noir thriller Find Her has dropped an exclusive clip. Directed and written by Nick McCallum, the film releases on VOD & digital outlets next Saturday, October 1. The DVD release will follow in fall of 2022. McCallum also produces along with Stelio Savante, and Kelly Knox, with G. Andrews Ahrens serving as executive producer.

Find Her stars Nick McCallum (The Staircase, Messiah, 2 Broke Girls), SAG Award Nominee Stelio Savante (Infidel, The Chosen, Running For Grace), Anais Lilit (The Walking Dead: Red Machete, The Hyperions, Endings, Beginnings), with Richard Gunn (Clemency, Hemlock Grove, Granite Flats), and John James (My Son Hunter, Axcellerator, Dynasty). The cast is rounded out by G. Andrew Ahrens, Rebecca Lines, Sydney Bullock, Brandon Stacy, Randal Gonzalez, Mary Drew Ahrens, and John Daniel Gates, with cinematography by Emmy award-winning director of photography Evan Zissimopulos.

Best described as Brick meets Gone Baby Gone, Find Her follows an ex-cop who arrives in a small town searching for answers to a murdered ranch owner and his missing daughter. It slowly becomes clear he has his own personal agenda to finding the truth.

“Finding a good noir film is rare, and what is extremely rare, is finding one that delivers the intrigue, mystery, production esthetic and classic acting we’ve grown to expect, said Kyle Kaczmarek, CEO and managing director of KDMG, Inc.


“This film delivers and is a perfect fit for KDMG’s family of titles. We are excited about its release and bringing it to audiences.” “Nick’s film is a classic neo-noir that we’re very proud of,” stated filmmaker Stelio Savante. “We’re excited that KDMG is bringing ‘Find Her’ to fans of thrillers and to film audiences all over the world.”


EXCLUSIVE: An exclusive clip is available for the documentary Wonderfully Made — LGBTQ+R(eligion). The film strikes at the root of anti-LGBTQ attitudes by exploring the challenges and aspirations of LGBTQ+ Catholics.

Wonderfully Made — focuses on the Catholic Church, as one of the largest religious organizations in the world with its anti-LGBTQ+ stance, has been a source of pain for so many of its followers. The film shines a penetrating light on the Churches ostracizing teaching, while remaining respectful of those of faith. It features interviews with leading advocates of LGBTQ+ Catholics, including a pioneering nun, two prominent priests (one of whom is openly gay), and a former U.S. Ambassador to the Vatican. The narrative of the film is shaped by the process of a fine art project creating unprecedented, photographic iconography depicting Jesus as a member/ally of the LGBTQ+ community, portrayed by multiple LGBTQ+ models of diverse ethnicities, genders, races, sexualities, and identities.

Wonderfully Made — LGBTQ+R(eligion), was shaped and crafted by husbands, director and Emmy® winner Yuval David and executive producer Mark McDermott (who’s story as a person of faith opened the door to this bigger conversation). Advocate Producers include a number of notables including: Lance Bass, Bishop Gene Robinson, Reverend Mel White, former Ireland President Mary McAleese, Andrew Tobias, Mitchell Gold, and Jane Clementi.  The film features Cinematography by Nicco Quinto, editing by Hugo Perez, with original music composed by Ariel Blumenthal.


Wonderfully Made — LGBTQ+R(eligion), offers eye-opening interviews with  Father James Martin, S.J., Father Bryan Massingale, Sister Jeannine Grammick, SL, Stanley JR Zerkowski, Marianne Duddy-Burke, Cathy Renna, Natalia Imperatori-Lee, fmr. Ambassador Miguel Diaz, Xorje Olivares, and Jason Steidl.

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Oscar-Contending Documentary ‘Nothing Compares’ Reexamines Sinéad O’Connor, Singer Who “Booted The Door Down” And Paid The Price



When filmmaker Kathryn Ferguson was growing up in Northern Ireland in the late 1980s, she says the whole of the island – the North and the Republic – desperately needed transformation.

“The Troubles were still rumbling on, and the Catholic Church was still very much in power in the South,” she notes. “It was pretty gray and miserable and you just felt like you didn’t have many options and you didn’t have a voice, and abortion was banned everywhere.”

An unexpected voice for those voiceless would emerge in the form of a Dublin singer with an uncompromising presence — Sinéad O’Connor. She appeared on the scene not just to entertain but to challenge.

“She then arrived as like this alien and booted the door down. And we were all just like, ‘Whoa! Hello, who’s this?’” Ferguson recalls. “Just everything about her — the music was so phenomenal. The way she looked was so brilliant and her boldness was just so exciting. And I just think as a country, we needed her. Like, the young ones really needed her.”

Director Kathryn Ferguson attends a screening of ‘Nothing Compares’ September 20, 2022 in Los Angeles
Photo by Amanda Edwards/Getty Images

Ferguson’s award-winning new film Nothing Compares documents O’Connor’s huge impact not only on Irish but on world culture, and the tremendous backlash she faced for defying norms in the record business and in society. The film hit theaters Friday in New York and L.A. for an Oscar-qualifying run, and becomes available to stream for Showtime subscribers next Friday. It premieres on Showtime’s linear service on Sunday, October 2 and releases theatrically in Ireland the U.K. on Friday, October 7.

The film’s title alludes to the biggest single of O’Connor’s career – the Prince-written “Nothing Compares 2 U.” That song was off her second album, but Sinéad had already become a worldwide phenomenon with her debut record, The Lion and the Cobra, released when she was 21. It contained music she authored in her teens.

“So many of the songs,” the director says, “were written before she was 17. I think the first couple of songs were [written] when she was 14. They’re like diary entries, really.”

The vocals could penetrate ethereally at first, then streak into a yowl.

Young Sinead O'Connor
A young Sinéad O’Connor
Courtesy of Colm Henry/Showtime

“The voice is so powerful,” Ferguson tells Deadline. “And the length of the notes and the fury and the ferocity behind the notes was — I just had never heard it before… It was like a battle cry or something, such a guttural sound that I still haven’t heard from anybody I can think of, really.”

Ferguson sees O’Connor’s voice as deeply rooted in Irish tradition and myth.

“So many of the songs are this cathartic, explosive sound that comes out of her,” she says. “There was something ancient in it that I really recognized, even the banshee; I don’t mean it in like a spooky, ghost-y way, I mean in a folkloric Irish way that’s so embroiled in our history… It made me think about keening as well,” a traditional vocal lament for the dead embedded in Gaelic-Celtic culture.

Perhaps unfortunately for O’Connor, she also happened to be strikingly beautiful, and record industry handlers tried to shove her into a normative feminine mold. F-that, O’Connor effectively responded, and kept her chevelure pared to a short bristle.

Sinéad O'Connor
Sinéad O’Connor
Courtesy of Sheila Rock Photography/Showtime

“She very quickly rubs up against the record label who wants her to grow her hair and dress up pretty,” Ferguson points out. The film includes multiple clips of TV interviewers on both sides of the Atlantic (including Charlie Rose in New York) who appear flustered over O’Connor’s decision to dispense with long hair.

“It caused such a ruckus for so long and for so many years,” Ferguson notes. “She just felt to be taken seriously, she needed to almost strip everything back. I also don’t even think it was nearly as big a deal to her as it was for everybody else. I think she was like, I want to shave my head. It was a look that she liked.”

That “controversy” was nothing compared to what awaited O’Connor when she started openly condemning the influence of the Catholic Church in Ireland. As the film explores, she had grown up physically and emotionally abused by her mother, and attributed her mother’s dysfunction to the distorting effect of Catholic teachings. A priest describes the atmosphere suffocating Ireland at that time, when Church and state were inextricably tied.

“The Church influenced everything. If it was a sin then it was against the law of the state,” Fr. Brian D’Arcy notes in Nothing Compares. “So, divorce, contraception, and anything that didn’t agree entirely with a very narrow view of the Catholic Church, it was simply not allowed.”

Sinéad O'Connor performs in 1998
Sinéad O’Connor performs at the Rose Bowl in Pasadena, Calif., June 27, 1998
Photo by SGranitz/WireImage

O’Connor rebelled against that and didn’t hesitate to use her platform to call out wrongs.

“There’s a tradition among Irish artists of being agitators and activists – whether they’re playwrights or poets,” O’Connor says in a contemporary interview played as voiceover in the film. “An artist’s job is to create the difficult conversations that need to be had.”

As anyone around at the time will remember, O’Connor was booked as a musical guest on Saturday Night Live on October 3, 1992. She performed an a capella version of the Bob Marley song “War,” intending it to send a message against racism and to highlight the sexual abuse of children by Catholic priests. At the end she took out a photo of Pope John Paul II – an image her mother had posted onto her wall — tore it into pieces and urged, “Fight the real enemy.”

The provocative gesture triggered an immediate and angry response. The Catholic League attacked her. Someone hired a steamroller to crush her CDs in New York. The context is important. O’Connor’s denunciation of pedophilia in the Catholic Church came almost a decade before the sexual abuse scandal broke into public discourse. She was, therefore, well ahead of her time. Small comfort, given the vitriol she faced.

'Nothing Compares' poster detail

“You can actually hear audible gasps in the [documentary] audience when you get to that backlash because it feels so violent and so absurd. The ferocity of it is unbelievable,” Ferguson says. “You just think, what was it that was causing such a reaction? Like, a 24-year-old girl from Dublin that is just causing such reaction. Steamrollers in Times Square. I mean, it’s just ridiculous is what it is.”

Even fellow pop star Madonna condemned O’Connor. She faced further recriminations after criticizing the U.S. invasion of Iraq in 2003 and on an earlier occasion for refusing to perform at a concert in the U.S. if the event was preceded by the playing of the National Anthem. By then, she had all but disappeared as a pop icon. And that was okay with her.

“They all thought I should be made a mockery of for throwing my career down the drain,” O’Connor says. “I never set out to be a pop star. It didn’t suit me being a pop star, so I didn’t throw away any fucking career that I wanted… I wasn’t sorry, I didn’t regret it.”

Sinéad O'Connor performs in 2020
Sinead O’Connor performs in Italy in 2020
Mega Agency

If O’Connor seeks any vindication, she can look to a radically changed Ireland, one she helped bring about. Marriage equality became part of the constitution in 2015. In 2018, the Irish public voted overwhelmingly to overturn a ban on abortion. That same year, Pope Francis visited Dublin and apologized for what he called “crimes” committed by Ireland’s Catholic Church.

The documentary is part of a reevaluation of O’Connor, now 55. She’s at last being celebrated for fearlessness that, decades ago, led to her public repudiation. As singer and feminist activist Kathleen Hanna puts it in the film, “Sinéad O’Connor as an artist forged her own path in a world that just was not ready for her… She did not deserve what she got.”

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‘Marlowe’ Review: Liam Neeson Is The Old-School Gumshoe In Neil Jordan’s Frisky Noir Pastiche



World-weary gumshoe Philip Marlowe has been played most famously by Humphrey Bogart but also by James Garner, Elliott Gould, Robert Mitchum and sundry others. Enter Liam Neeson, 70 this year but still apparently capable of disabling five assailants at once with the right small arms and some smashable furniture in Marlowe, Neil Jordan’s frisky film noir pastiche. He’s in tough company. He also has a tough crowd – film noir purists, who are legion – to please.

The year is 1939; the setting is old Hollywood, though the film actually shot as an Irish-Spanish co-production in Barcelona. Marlowe is commissioned by Clare Cavendish (Diane Kruger), a dame who could cut diamonds with her teeth, to find her missing lover. Nico Petersen (François Arnaud) is – or was – a prop master at a film studio, making regular trips to Mexico to buy cheap ornaments that are a literal cover for the drugs he deals in the bowels of an ostensibly classy casino. The police say Petersen has been murdered. Mrs. Cavendish thinks not. Not so far, anyway.

Everybody wants something on somebody else, says Marlowe at one point. There are a lot of everyones here, swapping Mickey Finns and barbed one-liners; just try to keep up. Mrs. Cavendish’s mother Dorothy (Jessica Lange), a former movie star, may or may not be her daughter’s love rival – not just for the missing man but for her own business partner and for Marlowe too, if either of these gals can swing a date. In the meantime, she tries to commission him as well. And she isn’t the only schemer trying to get Marlowe on the payroll; there’s a lot of money in this town, most of it filthy.

So what about this Marlowe? Lines like “I’m too old for this,” panted in the middle of a fight, draw an appreciative chuckle from audiences, but Neeson is wearing pretty well. He can still run convincingly and has a neat way of bashing in a pane of glass with his elbow that tells you he’s done this kind of thing before. Obviously, Neeson is also his own genre. Inevitably, he brings the trappings of that genre with him, right into the heart of film noir: even in Bogie’s raincoat, he is recognizably the action guy from Taken, impassive of face and firm of fist.


So he isn’t Raymond Chandler’s Marlowe, to the chagrin of some viewers, but Jordan’s film isn’t Chandler either; it is based on The Black-Eyed Blonde by Benjamin Black, the thriller writer who in real life is the Irish literary author John Banville. Read it as a commentary on the genre – a kind of meta-text studded with references most film-goers will pick up easily – and it all falls into place. The pacing, the use of light and the characters are illustrative: this is a film about film noir rather than the thing in itself.

It isn’t the first Marlowe film in color, but Jordan takes his color to the max, saturating it in golden light – sunshine outside and the glow of lamps inside – and then playing with that light, reflecting it from multiple mirrors, patterning entire scenes with stripes of shadow cast by Venetian blinds and sometimes peering through the refractions created by two windows in alignment. Similarly, the costumes could come from a “noir” dressing-up box. Neeson has the raincoat; Kruger has crimped bleached hair that, if nothing else, marked her out as a Bad Egg; Arnaud wears a matinee idol’s louche pencil moustache.

A good deal of writing about film noir of the ‘30s and ‘40s delves into its resonances in a world wracked by economic depression and the threat – followed by the horrible reality – of war; it is seen as a theater of anxiety. The modern parallels to those saber-rattling times are easy enough to draw, but nobody should take Marlowe too seriously. Any film featuring Alan Cumming as a gangster, so decadently and fabulously camp he seems destined to die in a frosting of pink bullets, is hardly aiming at streetwise realism.

Nor does it bear too much comparison with classic cinema, but does that matter? Marlowe isn’t perfectly hard-boiled, but it isn’t scrambled either. It’s fun and it’s fast: Information and wisecracks are packed into every minute of every scene to the point of giddiness. Casting is inspired across the board, including those actors whose accents veer dangerously towards Dublin – because what could be more redolent of old Hollywood than the echoes of exile? The sunshine is glorious, the palm trees reach the sky, ice cubes clink in crystal glasses and anyone – actually, in this story, pretty much everyone – can get away with murder. You might as well enjoy it.

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‘Glass Onion: A Knives Out Mystery’ Clip: Meet The Suspects In Daniel Craig-Led Rian Johnson Sequel



Daniel Craig’s super sleuth Benoit Blanc is back on the case in Glass Onion: A Knives Out Mystery, Writer-director Rian Johnson also returns for more finger-pointing fun as the suspects are revealed in a new Johnson-intro’d clip — watch it above.

As the Star Wars: The Last Jedi filmmaker describes, the mystery begins when a group of old friends all receive an unexpected invitation in the form of an intricate puzzle box. But what starts as a game turns into something much more nefarious.

Tudum 2022: Deadline’s Full Coverage Of Netflix Fan Event

Here’s the message they receive from Miles (Edward Norton) upon opening said box: “My dear friends, my beautiful disruptors, my closest inner circle: We could all use a moment of normalcy, and so you are cordially invited for a long weekend on my private island where we will celebrate the bonds that connect us, and I hope you puzzle solving skills are whetted.


“Because you’ll also be competing to solve the mystery of my murder,” it adds.

Toronto Review: Rian Johnson’s ‘Glass Onion: A Knives Out Mystery’

Inspector Blanc admonishes, “Ladies and gentlemen, this invitation is not to be trifled with.”

Janelle Monáe, Dave Bautista, Kathryn Hahn, Leslie Odom Jr., Kate Hudson, Jessica Henwick and Madelyn Cline also star.

The film premiered at Toronto this month and will hit Netflix later this year.

‘Glass Onion’ Cast Played Murder Mystery Games Off Set, But Daniel Craig Is No Benoit Blanc — Toronto Studio


Netflix paid more some $450 million in March 2021 for two-sequel rights to the 2019 hit whodunit Knives Out. It remains among the biggest streamer movie deals ever,

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