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Edge of Tomorrow

Where to watch.

Watch Edge of Tomorrow with a subscription on Apple TV+, rent on Fandango at Home, Prime Video, or buy on Fandango at Home, Prime Video.

What to Know

Gripping, well-acted, funny, and clever, Edge of Tomorrow offers entertaining proof that Tom Cruise is still more than capable of shouldering the weight of a blockbuster action thriller.

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Cast & crew.

Major William Cage

Emily Blunt

Rita Vrataski

Brendan Gleeson

General Brigham

Bill Paxton

Master Sergeant Farell

Jonas Armstrong

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"Edge of Tomorrow" is less of a time travel movie than an experience movie; that statement might not make sense now, but it probably will after you've seen it. Based on Hiroshi Sikurazaka's novel "All You Need is Kill", it's a true science fiction film, highly conceptual, set during the aftermath of an alien invasion. Maybe "extra-dimensional being invasion" is more accurate. The fierce, octopod-looking beasties known as Mimics are controlled hive-mind style by a creature that seems able to peer through time, or rupture it, or something. When the tale begins, we don't have exact answers about the enemy's powers (that's for our intrepid heroes to find out), but we have a solid hunch that it can see possible futures through the eyes of specific humans, then treat them as, essentially, video game characters, following their progress through the nasty "adventure" of the war, and making note of their tactical maneuvers, the better to ensure our collective extermination. 

Tom Cruise , who seems to be spending his fifties saving humanity, plays Major William Cage, an Army public relations officer. Cage is a surprising choice for the role of hero. He's never seen combat yet inexplicably finds himself thrown into the middle of a ferocious battle that will decide the outcome of the war. The film begins with Cage en route to European command headquarters in London, waking up in the belly of a transport chopper. The rest of the movie may not be his dream per se, but at various points it sure feels as though it is. The world is wracked by war. Millions have died. Whole cities have been reduced to ash heaps. The landscapes evoke color newsreel footage from World War II, and much of the combat seems lifted from that era as well. 

When Cage meets the general in charge of that part of the world's forces, he's told he's being sent right into this movie's version of D-Day and is to report for duty immediately. No amount of protest by Cage can halt this assignment, and soon after he joins his unit and learns the rudiments of wearing combat armor (this is one of those science fiction films in which soldiers wear clumping bionic suits festooned with machine guns and other weapons) he dies on the battlefield. Then he wakes up and starts all over. Then he dies again and starts over again. He always knows he's been here before, that he met this person, said that thing, did that thing, made a wrong choice and died. Nobody else does, though. They're oblivious to the way in which Cage, like "Slaughterhouse Five" hero Billy Pilgrim, has come unstuck in time. 

Cage's only allies are a scientist ( Noah Taylor ) who believes the creatures are beating humanity through their mastery of time, and Rita Vrataski ( Emily Blunt ), an Audie Murphy or Sgt. York type who's great for armed forces morale in addition to being an exceptionally gifted killer. Rita has experienced the same temporal dislocation that Cage is now experiencing, but at a certain point it stopped. She recognizes his maddening condition but can no longer share in it. She can, however, offer guidance (and a key bit of information that defines his predicament), and speed up the learning curve by shooting him in the head whenever it becomes obvious that they're going down a wrong road that'll lead to the same fatal outcome. 

Although the film's advertising would never dare suggest such a thing, for fear of driving off viewers who just want the bang bang-boom boom, Cage is a complex and demanding role for any actor. It is especially right for Cruise, in that Cage starts out as a Jerry Maguire-type who'll say or do anything to preserve his comfort, then learns through hard (lethal) experience how to be a good soldier and a good man. He changes as the story tells and retells and retells itself. By the end he's nearly unrecognizable from the man we met in the opening. 

Cruise is hugely appealing here, not just in the early scenes opposite Gleeson in which he's in Tony Curtis mode—he's always fantastic playing a smooth-talking manipulator who's sweating on the inside—but later, where he exhibits the sort of rock-solid super-competence and unforced decency that Randolph Scott brought to Budd Boetticher's westerns. He was always likable, sometimes perfect in the right role, but age has deepened him by bringing out his vulnerability. There's an existential terror in his eyes that's disturbing in a good way, and there are points in which "Edge of Tomorrow" seems to simultaneously be about what it's about while also being about the predicament of a real actor trying to stay relevant in a Hollywood universe that's addicted to computer generated monsters, robots and explosions. Cruise deserves some sort of acting award for the array of yelps and gasps he summons as he's killed by a Mimic or shot in the head by Blunt and then rebooted into another version of the story.

The rest of the cast has less to do because this is Tom Cruise's movie through-and-through, but they're all given moments of humor, terror or simple eccentricity. Taylor often gets cast as brilliant but haunted or ostracized geniuses, and he's effective in another of those roles here. Gleeson, as is so often the case, invests a rather stock character with such humanity that when the character's motivations and responses change, you get the sense that it's because the general is a good and smart man and not because he's just doing what the script needs him to do. Emily Blunt is unexpectedly convincing as a fearless and elegant super-soldier, and of course a magnificent camera subject as well. Director Doug Liman is so enamored with the introductory shot of her rising up off the floor of a combat training facility in a sort of downward facing dog yoga pose that he repeats it many times. The film's only egregious flaw is its attempt to superimpose a love story onto Cruse and Blunt's relationship, which seems more comfortable as a "Let's express our adoration for each other by killing the enemy" kind of thing. 

There's no end to the number of films and novels and other sources to which "Edge of Tomorrow" can be likened. " Groundhog Day " seems to be everyone's reflexive comparison point, but Liman's elaborately choreographed tracking shots and unglamorously visualized European hellscapes evoke " Children of Men ," the creatures themselves have a touch of the Sentinels from the "Matrix" films, and the monsters-vs.-infantry scenes will remind you of James Cameron's " Aliens " and its literary predecessor " Starship Troopers ." ( Bill Paxton , one of the stars of "Aliens," plays Cage's drill sergeant, a mustachioed Kentucky hard-ass with an amusingly sour sense of humor.)   It's also an exceptionally brutal film, so bone-and-skull-crushingly violent and fairy-tale frightening that its PG-13 rating is stupefying. Parents should avoid taking young children who'll be both confused by the fractured narrative and terrified of the Mimics, nightmare creatures that look like razor-tentacled squid and roll across the landscapes like tumbleweeds.

In all, though, "Edge of Tomorrow" is its own thing. One of its most fascinating qualities is its keen judgement of the audience's learning curve. The early sections of the film repeat scenes and dialogue until you get used to the idea of the story as a video game or movie script, but just when you start to think, "Yes, I get it, let's move on," the film has in fact moved on and is now leaving things out because they're not necessary. By the end of the movie the script—which is credited to Christopher McQuarrie and Jez and John Henry Butterworth—has gotten to the point where it's tactically withholding information and waiting for us to figure things out on our own. It repeats key images and lines near the end as well, but always for good reason. When you see the familiar material again you feel different about it, because its meaning has changed. The movie has an organic intelligence and a sense that it, too, exists outside of linear time. It seems to be creating itself as you watch it.  

Matt Zoller Seitz

Matt Zoller Seitz is the Editor at Large of RogerEbert.com, TV critic for New York Magazine and Vulture.com, and a finalist for the Pulitzer Prize in criticism.

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Edge of Tomorrow (2014)

Rated PG-13 for intense sequences of sci-fi action and violence, language and brief suggestive material

113 minutes

Tom Cruise as Lt. Col. Bill Cage

Emily Blunt as Rita Vrataski

Brendan Gleeson as General Brigham

Bill Paxton as Master Sergeant Farell

Jonas Armstrong as Skinner

Tony Way as Kimmel

Kick Gurry as Griff

Dragomir Mrsic as Kuntz

Charlotte Riley as Nance

Noah Taylor as Dr. Carter

• Hiroshi Sakurazaka
• Christopher McQuarrie
• Jez Butterworth
• John-Henry Butterworth
• Christophe Beck

Cinematography

• James Herbert

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'Edge Of Tomorrow' Review: Tom Cruise And Emily Blunt Do Time Travel Right

There is so much to like about Doug Liman 's Edge of Tomorrow . An adaptation of the Hiroshi Sakurazaka novel All You Need Is Kill , the film takes sci-fi elements from The Matrix, Aliens, Starship Troopers , manga and more, and wraps them all up in a rewarding time travel conceit right out of  Groundhog Day . Next, it builds upon that construct in a way we've never seen, managing to entertain with humor, action and suspense. Tom Cruise and Emily Blunt both bring a grounded, confident charisma to their roles. and Liman's direction mixes the biggest scope imaginable with beautiful, quiet, intimate moments. The film is almost amazing.

However, a few small but distracting issues – mostly derived from the script by Christopher McQuarrie, Jez and John-Henry Butterworth  - hold the film back from reaching its full potential. Still, even with those problems, Edge of Tomorrow delivers on its promise of a memorable, exciting and emotional sci-fi action film.

In Edge of Tomorrow , Tom Cruise plays William Cage. He's an untrained, talking head media relations officer who, through some pretty questionable storytelling, ends up on the front lines of Earth's last stand against a seemingly indestructible alien race. However, Cage soon finds out that each time he dies in battle, he's able (or forced) to relive that same last day. That's the Groundhog Day connection. As in that film, Cruise and company play out the repetition to a very satisfying and varied effect.

Eventually, war hero Rita Vrataski (Blunt) is made aware of the situation and the two begin a repetitive cycle trying to figure out how to defeat the aliens. Those aliens are called Mimics; they're a blend of the Sentinels from The Matrix and the critters from Critters , but with super fast, messy, erratic movement (think X2 's Nightcrawler). And they have fish faces. They're weird, but really scary and cool.

As Vrataski and Cage go through one day over and over again, each time getting a little bit further towards victory, Edge of Tomorrow purrs like a well-tuned machine. The laughs, the action, the performances, and the editing, are all on point. Goals are constantly provided, achieved, then expanded upon, giving the whole film a very satisfying forward momentum and pace. The script even has a few red herrings and other surprises.

( Minor, but necessary, spoilers begin. )

In particular, there's an expositional thread explaining how the time travel works and why it's so important. In this way, Edge of Tomorrow begins to both distinguish itself from other films, but also loses its way. Giving us an explanation of the time travel is a huge gamble. Normally, a film like Groundhog Da y ignores the mechanics of the device, and therefore avoids the pitfalls of having to define a rationale behind the concept. The rationale in this movie works, and is frankly kind of brilliant, but it also starts to raise lots of other narrative questions. Plot holes are expected in a time travel movie, and Edge of Tomorrow does its very best to avoid them. But they exist, and are kind of glaring.

Noah Taylor's character is one good example. He's a conveniently-placed scientist who just so happens to know everything about the Mimics. Now what he knows and says is captivating and propels the movie, but it raises too many questions. The film offers fleeting explanations of his backstory, but they don't quite cover all bases.

Then there's the ending. I won't give any specifics but after the film dials up the stakes going into the final act, and delivers upon those stakes with a certain gusto, the ending is a confusing oddity. It doesn't quite fit with the rest of the movie. I can totally understand why Liman ends the story in the way he did, but the movie is so good before that point, it deserved something less conventional.

Edge of Tomorrow is a Gold Medal performance that stumbles on landing and gets the Silver. A valiant effort that's well worth your time, but it ever so slightly, and disappointingly, misses top level status.

/Film rating: 8 out of 10

Edge of Tomorrow opens in the U.S. June 6.

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Killed in Action by Aliens, Over and Over Again

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By Manohla Dargis

• June 5, 2014

Tell me if you’ve heard this one before. A man wakes up and quickly realizes that he’s repeating yesterday, down to the last meal, salutation and conversation. He’s trapped in a kind of time loop. He can’t escape, but, he realizes, he can change. That may not make sense, given the logic of the space-time continuum , but it works just fine in fiction because, well, it’s fiction. To put it another way, “There are no paradoxes in time travel, there can’t be.” Or so says a character in Robert A. Heinlein’s 1964 novel, “Farnham’s Freehold,” about space, time and the apocalypse.

This time around, as it were, the hero isn’t trapped in the maddeningly cute town of Punxsutawney , Pa., as Bill Murray was in “Groundhog Day,” Harold Ramis’s mind- and clock-bending 1993 comedy masterwork. The guy caught in the loop here is played by Tom Cruise, a star who doesn’t do ordinary well. He plays Maj. William Cage, a sensationally adaptable individual who, when confronted with Armageddon, courtesy of scuttling extraterrestrials, would prefer to avoid the fight. But this is a Tom Cruise movie, and so stuff happens, and then it happens all over again and again and again, initially with an engagingly light, comic touch and then with escalating seriousness as Cage’s insouciance turns into gravitas in a war that has united the human world against the alien.

The plot for “Edge of Tomorrow,” which was directed by Doug Liman, has largely been gleaned from “All You Need Is Kill,” a splatter-heavy combat novel by the Japanese writer Hiroshi Sakurazaka. Mr. Sakurazaka doesn’t acknowledge “Groundhog Day,” but he names his heroine Rita — the name of the romantic foil played by Andie MacDowell in that film — suggesting that he is obliquely paying a debt. The debt is more pronounced in the movie, in which Mr. Liman leavens Mr. Sakurazaka’s mordant, too-cool-for-school humor with some wit and a touch of romance with another lovely Rita, this one played by Emily Blunt. Mr. Liman ’s track record with strong female characters, like Angelina Jolie’s in his bullet-ridden comedy of remarriage , “Mr. & Mrs. Smith,” bodes well for Rita.

“Edge of Tomorrow,” which has a script credited to Christopher McQuarrie and Jez and John-Henry Butterworth, opens with lock-jawed earnestness and news reports of a global calamity. Extraterrestrials, kinetic creatures called Mimics that look like somersaulting metal octopuses, have conquered most of Europe with their lashing tentacles and are poised to take over the rest of the world. On the eve of a coordinated human assault on the aliens, Cage, a flack for the American military, is called into the office of a general, Brigham (Brendan Gleeson), and told that he’ll be covering D-Day from the front. Cage demurs, raising his brow and breaking out a small, disbelieving smile before beginning a soft-shoe shuffle toward the door.

This song-and-dance rapidly shifts your understanding of whom Mr. Cruise is playing and how. He’s funny! And watching him glide through the opening of “Edge of Tomorrow” — a suggestion of “Jerry Maguire” edging his smile — it’s hard not to think, Where has this guy been? It’s been years since Mr. Cruise felt this light on screen. His smile might have helped make him a star but, like Julia Roberts’s megawatt grin, it rarely beams as brightly as it once did. Part of this is due to his status as an action star. Yet it’s also traceable to a dearth of decent male-female romances and the ascension of mostly male yuk-fests like the gross-out burlesque “Tropic Thunder,” in which he dances in a fat suit.

In “Edge of Tomorrow,” Mr. Liman brings Mr. Cruise’s smile out of semiretirement and also gives him the kind of physical challenges at which he so brilliantly excels. Mr. Cruise’s great talent has always been body-based; he doesn’t put across complex emotional shadings, tunneling so deep into a character’s psychology that it can feel like a transmogrification. Much like old-school, pre-Method movie stars, he takes possession of his characters from the outside in, expressing their qualities and kinks through his extraordinarily controlled physicality. This kind of performance can be easy to overlook, shrugged off as little more than stunt work, as if acting through the whole body were somehow inferior to emoting with a big, TV-friendly face.

As expected, there are wow-worthy stunts and high-flying bodies in “Edge of Tomorrow,” which finds its groove after Cage discovers that he’s on seemingly endless repeat. In time, he figures out what’s going on and sets out to change fate, which leads him to Rita, a legendary warrior with the cutesy moniker Full Metal Bitch. Any thought that the diminutive-looking Ms. Blunt may not be up to that nickname is put to rest with Rita’s introduction, which shows her holding a fiercely beautiful yoga pose in a combat-training area while whirring blades circle her. It’s a perfect encapsulation of the yin and yang quality that enriches her character and the story, as when she and Cage, like a cloak-and-dagger Fred and Ginger, dart and dodge through a mission with perfect synchronicity.

Eventually, Mr. Liman’s eccentricities and the morbidly funny neo-screwball vibe that he establishes are swamped by generic pyrotechnics and noise. That’s predictable, given the high studio stakes and the industry’s faith in spectacles of destruction, but it doesn’t obliterate the movie’s pleasures. In his afterword to “All You Need Is Kill,” Mr. Sakurazaka explains that he was thinking about video games while writing the novel. “I reset the game hundreds of times,” he writes, “until my special attack finally went off perfectly.” In other words, video games are a type of time machine that allows players, if they put in the hours, to achieve victory. Hence the movie’s clever tagline, “Live, Die, Repeat,” which, of course, echoes the faith that every film genre fan embraces: live, watch, repeat.

“Edge of Tomorrow” is rated PG-13 (Parents strongly cautioned). Intense violence.

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Emily blunt says she is “so ready” for an ‘edge of tomorrow’ sequel with tom cruise.

During a recent interview, the actress also explains why she doesn't consider herself a movie star.

By Carly Thomas

Carly Thomas

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Emily Blunt is all for teaming with Tom Cruise again for an Edge of Tomorrow sequel.

While appearing on a recent episode of the Happy Sad Confused podcast, the actress said she wishes there could be another film and revealed that she has actually read a script for one before.

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The actress added that she is “so ready” for a sequel and clarified that she is “not the impediment, I promise.”

Earlier during the interview, Blunt also opened up about why she doesn’t consider herself a movie star, even though she has starred in dozens of films throughout her career.

When asked about the difference between being called an actor or a movie star, the actress said, “I think most people would want to consider themselves an actor [first].”

As for herself, when Horowitz asked if she thinks she could be both, Blunt quickly responded, “No, gross. I don’t.”

“I just think, to me, a movie star sounds sort of too separate of what we kind of started out doing and why we love it and why I love it,” she added.

The Oppenheimer star went on to explain how she feels there can’t be a movie star without recognizing one’s talents as an actor first, using “one of the first actors who made such an impact on” her growing up as an example.

“ Julia Roberts , who is, you know, was defined as a movie star,” Blunt said. “But you can’t forget her incalculable abilities as an actor and how incredible she was in Pretty Woman , that the reason she’s a movie star is because she kidnaps you and pulls you in o this movie because of her phenomenal talents and her charm and her charisma.”

As for her most recent co-stars in Christopher Nolan’s latest film, which is currently playing in theaters, Blunt quipped that Cillian Murphy “would be sort of horrified to be called the movie star.”

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Emily Blunt says Tom Cruise told her to 'stop being such a p---y' while filming Edge of Tomorrow

"I did laugh and we got through it but the training was intense," the actress said.

Jessica is a staff writer at Entertainment Weekly, where she covers TV, movies, and pop culture. Her work has appeared in Bustle, NYLON, Cosmopolitan, InStyle, and more. She lives in California with her dog.

Emily Blunt is opening up about the grueling production of the 2014 sci-fi action film Edge of Tomorrow and a very direct comment offered to her by costar Tom Cruise .

The actress recalled the taxing stunts and costumes required of her while on Jason Bateman, Sean Hayes, and Will Arnett's Wondery podcast SmartLess , set to premiere to a wider audience on Monday, revealing that Cruise told her to "stop being such a p---y" after she expressed some concerns about a shoot.

The two played soldiers fighting a war against aliens in the film that also starred Bill Paxton and Brendan Gleeson, which required the wear of enormous robotic suits. The costume "would've been great if we had CGI'd them, but we wanted to do it practically and in a tactile way," Blunt said. "When you hear the word 'tactile,' you think that sounds nice and cozy. There was nothing cozy about wearing these suits."

Blunt's suit weighed about 85 pounds. "It was so heavy," she said. "The first time I put it on I just started to cry in front of Tom and he didn't know what to do. He just stared at me. I was like, 'Tom, I'm not sure how I'm going to get through this shoot,' and just started to cry. I said, 'I'm just feeling a bit panicky about the whole shoot.' He just stared at me for a long time, not knowing what to do, and he goes, 'Come on, stop being such a p---y, okay?'"

Blunt laughed off the comment and the two were able to get through the shoot, she said, but "the training was intense." The actress said she injured herself during a stunt. "I did this aerial stunt on wires and I was supposed to land on my shoulder, and I landed on my face," she recalled.

A sequel to the film was announced in 2019 with Blunt and Cruise reported to reprise their roles, but Blunt told EW last year that she wasn't quite sure where it stood — but said she did read a script for it at some point. "That was an amazing script, but I just don't know what the future holds for it," she said. "I did read a script that was in really great shape, but it's just a matter of if that can even happen now. I don't have the straight answer on that one."

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• Emily Blunt talks producing for the first time and shooting action scenes in a corset for The English
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Emily Blunt Recalls The Bold Words Tom Cruise Used After She Cried Due To Heavy ‘Edge Of Tomorrow’ Costume

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Emily Blunt is recalling her time with Tom Cruise on the set of Edge of Tomorrow in 2014 and the bold words he used after she cried over the heavy costume she had to use.

Blunt recently opened up about filming the sci-fi film and having to wear an 85-pound costume that not only caused her frustration on the set but also permanently injured her ribs and collarbone.

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The Devil Wears Prada star continued, “When you hear the word ‘tactile,’ you think that sounds nice and cozy. There was nothing cozy about these suits. It was like 85 pounds. It was so heavy. The first time I put it on I started to cry, and [Cruise] didn’t know what to do.”

Blunt explained to Cruise that she didn’t know how she was going to get through the shoot and started to cry and that’s when her costar gave her the blunt advice.

“I said, ‘I’m feeling a bit panicky about the whole shoot.’ He just stared at me for a long time, not knowing what to do, and he goes, ‘Come on, stop being such a pussy, OK?'” Blunt said.

Cruise’s words caught Blunt off guard but soon they began laughing about the situation.

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Emily Blunt Says Tom Cruise Told Her to ‘Stop Being Such a P—y’ When She Cried Over ‘Edge of Tomorrow’ Suits: ‘I Did Laugh’

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Emily Blunt revealed on the “SmartLess” podcast that she started crying after trying on her 85-pound “ Edge of Tomorrow ” suit for the first time, which led co-star Tom Cruise to tell her: “Come on, stop being such a pussy, ok?” It was all in good fun, however, as Blunt added, “I did laugh, and then we got through it.”

Cruise and Blunt headlined the Doug Liman-directed 2014 action movie, in which they play soldiers in the future fighting against an alien race. Cruise’s character finds himself stuck in a time loop and forced to relive the climactic day in which the aliens win, unless he can reverse the outcome.

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Blunt said Cruise “stared at her,” adding, “I was like, ‘Tom, I’m not sure how I’m going to get through this shoot,’ and just started to cry. I said, ‘I’m feeling a bit panicky about the whole shoot.’ He just stared at me for a long time, not knowing what to do, and he goes, ‘Come on, stop being such a pussy, ok?’”

“I did laugh, and then we got through it, but the training was intense,” Blunt concluded.

“Edge of Tomorrow,” based on the 2004 Japanese novel “All You Need Is Kill” by Hiroshi Sakurazaka, grossed $370 million at the worldwide box office. Liman, Cruise and Blunt have long discussed wanting to return for a sequel, but the project has never officially gotten off the ground at Warner Bros.

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Iconic Roles: The Best Emily Blunt Movies

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Making a list of the best Emily Blunt movies is damn near impossible. Since her breakout role in The Devil Wears Prada, the Academy Award-nominated actress has only appeared in some of the best motion pictures of the modern era. Comedy, drama, action, musicals, horror — she does it all. Blunt even played Mary Poppins!

In her latest flick, The Fall Guy , Blunt shows off her comedic chops alongside Ryan Gosling. By all accounts, the movie rocks. Considering the talent involved, that’s not a surprise. Still, is it good enough to sneak into the upper tier of Blunt’s fantastic career? We’ll have to wait until this weekend to make that decision. In the meantime, check out this list featuring our favorite Emily Blunt movies, ranked in no particular order.

Runner-Up: The Adjustment Bureau (2011)

I have to give a shout-out to The Adjustment Bureau, a fanciful love story based on a short story by Philip K. Dick and directed by George Nolfi. While the film doesn’t live up to its lofty premise, Blunt and co-star Matt Damon are damn near irresistible as a pair of star-crossed lovers brought together by fate.

Unfortunately, the titular “Adjustment Bureau,” a mysterious organization that controls the fate of every human on Earth, doesn’t share the same romantic view of their courtship and tries to separate them for the good of mankind. Again, it’s not the best film, but Blunt’s natural charisma is on full display.

Edge of Tomorrow (2014)

Doug Liman’s trippy sci-fi actioner repeatedly sees Tom Cruise reliving the same day. The problem is that day contains an alien invasion that wipes out humanity. Cruise must team up with Blunt’s no-nonsense Sergeant Rita Vrataski to figure out how to utilize his newfound gift to claim victory over their extraterrestrial foes. 

Here’s a tip: if you haven’t seen Edge of Tomorrow, stop reading this article immediately and do so right now. This modern classic didn’t generate big bucks at the box office but has since found acclaim on home video. Cruise and Blunt are terrific in their respective roles, displaying impeccable onscreen chemistry that lifts the picture to extraordinary heights. Now, about that sequel …   

Looper (2012)

A word of caution: Looper is a weird movie. As directed by Rian Johnson, this sci-fi thriller mixes familiar ingredients from past films — notably Terminator — into a unique motion picture that dazzles as much as it puzzles. Joseph Gordon-Levitt stars as Joe, a hitman whose job involves killing criminals sent back in time from the future. Things take a turn for the worse when Joe’s future self (played by Bruce Willis) appears and begins offing young children he believes to be responsible for a crime committed several years later. Confused?

Blunt co-stars as Sara, an isolated single mother of a potentially dangerous child who tries to help young Joe on his mission to kill his older self. It’s all a bit bonkers, but somehow, Johnson keeps the flick moving along and manages to tie up the various plot threads satisfactorily. 

Violent, edgy, and bleak as hell, Looper is a fascinating pic and well worth a look. Blunt’s emotional performance is critical to its success, and the actress demonstrates her incredible versatility in a complex and challenging role , which is why it makes the list of our best Emily Blunt movies.

A Quiet Place (2018)

Blunt and real-life husband John Krasinski (who also directed) deliver top-notch performances in A Quiet Place as parents struggling to survive an alien invasion. The twist? The aliens can’t see and rely on super hearing to notch their kills. This gimmick supplies a few well-executed scares and plenty of intensity.

Still, far too much meat is left on the bone, and  too many  questions  are left unanswered  to label A Quiet Place as anything more than a solid Saturday night thriller.  People legitimately love the franchise, though, so it would be foolhardy not to list it here. 

Sicario (2015)

A personal favorite, Sicario explores the war on drugs through Denis Villeneuve’s artful eye, resulting in one of the last decade’s best films. Blunt stars as Kate Macer, an idealistic FBI agent recruited into a mysterious operation led by a government task force. Co-starring Josh Brolin and Benicio del Toro (in his best role), Sicario goes for the jugular and explores the gray line between good and evil. 

Seriously, I love this film. Everything from Blunt’s performance to Roger Deakins’ astonishing cinematography leaves a powerful impression.  Here is a film you  won’t ever forget .

Oppenheimer (2023)

Yeah, I had to include Christopher Nolan’s Oppenheimer. Not only was it the best film of 2023, but it might be the most impressive picture of Nolan’s storied career.

The biopic, Starring Cillian Murphy, explores the life of J. Robert Oppenheimer and the events that led to the creation of the  atomic  bomb. Blunt co-stars as his beleaguered wife and delivers a solid performance that stands out amidst the all-star cast. In fact, she gets one of the film’s best scenes and matches Murphy beat-for-beat. 

Now, some find Oppenheimer’s three-hour runtime a chore to sit through. To each their own, I found the Best Picture winner riveting from start to finish, a haunting look at one of history’s most complex figures and one of the best Emily Blunt movies.

The post Iconic Roles: The Best Emily Blunt Movies appeared first on ComingSoon.net - Movie Trailers, TV & Streaming News, and More .

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Emily Blunt Clarifies Story About Tom Cruise Giving Her Advice: 'Still Something We Laugh About'

In an exclusive statement shared with PEOPLE, Emily Blunt says her remarks were, "taken literally and absurdly out of context" by some outlets

Emily Blunt is setting the record straight about her story about Tom Cruise .

In an interview with the SmartLess podcast Monday, Blunt shared a conversation she had with Cruise when they were filming 2014's Edge of Tomorrow. She said she had difficulty getting through a shoot and Cruise told her, "' 'Come on, stop being such a pussy, OK?' "

"And I did laugh, and then we got through it," Blunt said of Cruise's comment.

Now, in an exclusive statement shared with PEOPLE Monday, Blunt says her remarks were, "taken literally and absurdly out of context" by some media outlets and fans.

Speaking about her relationship with her Cruise, Blunt adds, "I absolutely adore Tom, he's a dear friend and he was a total gem to me. It was said as a joke to make me laugh, which it did in a big way."

For more on Emily Blunt, listen below to our daily podcast PEOPLE Every Day.

"It's ludicrous that it's being spun as something that offended me. It didn't," says Blunt. "I shared the story as lightheartedly as it was meant by Tom. And it's still something we laugh about to this day."

During her appearance on the podcast, Blunt detailed the stress of filming the Doug Liman-directed action film and Cruise's advice for her.

"We had to wear these enormous suits, which I think would've been great if we had CGI'd them, but we wanted to do it in a tactile way," Blunt said, noting "there was nothing cozy about these suits."

"It was like 85 pounds. It was so heavy," she said. "The first time I put it on I just started to cry, just started to cry in front of Tom, and he didn't know what to do."

Blunt shared that Cruise's straightforward advice for her approach to the movie came after she confessed her nerves over the production to him.

RELATED VIDEO: Will Ferrell Shuts Down Heckler at Octavia Spencer's Walk of Fame Ceremony: 'Not on Octavia's Day!'

"I was like, 'Tom, I'm not sure how I'm going to get through this shoot,' and just started to cry," Blunt said. "I was like, 'I'm feeling a bit panicky about the whole shoot,' and he literally goes — he just stared at me for a long time, not knowing what to do, and he goes, 'Come on, stop being such a pussy, OK?' "

Never miss a story — sign up for PEOPLE's free daily newsletter to stay up-to-date on the best of what PEOPLE has to offer, from juicy celebrity news to compelling human interest stories.

"And I did laugh, and then we got through it," Blunt added, though she noted that she ultimately did injure her ribs and collarbone during the shoot. "But the training was intense. It was like twice a day we trained for it."

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Region Free UK Import. UV digital codes will not work in the USA. An alien race, undefeatable by any existing military unit, has launched a relentless attack on Earth, and Major William Cage finds himself dropped into a suicide mission. Killed within minutes, Cage is thrown into a time loop, forced to live out the same brutal combat over and over, fighting and dying again and again. Training alongside warrior Rita Vrataski, his skills slowly evolve, and each battle moves them one step closer to defeating the enemy in this intense action thriller.

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Review: In ‘The Fall Guy’ with Ryan Gosling and Emily Blunt, what’s a stuntman to do? Shake it off

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I must confess that before seeing the crowd-pleasing “The Fall Guy,” I had no idea that the movie takes its title from the niche of stunt performers who specialize in leaping from great heights and was only dimly aware that it was based on an ’80s TV series that I didn’t see because I was in college and spent most of my free time sipping watery beer in the left-field pavilion of Dodger Stadium, wondering why Tommy Lasorda would let Tom Niedenfuer pitch to Jack Clark with an open base.

“The Fall Guy” has a much happier outcome than that 1985 playoff series, but not for the reasons you might imagine. Being that director David Leitch is a former stuntman, doubling for A-listers like Matt Damon and Brad Pitt , you expect that the film will boast exceptional stuntwork — and it does. At its best, though, it’s a romantic comedy that coasts on the charisma of its two appealing leads, Ryan Gosling and Emily Blunt. You may come for the cannon rolls . But afterward, you’ll remember Blunt‘s character calling out Gosling‘s for crying to Taylor Swift .

Why is Gosling sobbing? He’s playing a stuntman. They don’t usually get up in their feelings. But Gosling’s Colt Seavers has good reason for shedding some tears. For years, he worked as a stunt double for prima donna action star Tom Ryder (Aaron Taylor-Johnson, offering an amusing amalgam of Tom Cruise and Matthew McConaughey), until a high fall went horribly wrong. Embarrassed, he turns his back on Hollywood and the woman he loves, camera operator Jody Moreno (Blunt).

Eighteen months later, Colt gets a call from Ryder’s meddling producing partner, Gail (“Ted Lasso’s” Hannah Waddingham), begging him to come to the Sydney set of the star’s latest movie, a silly sci-fi epic called “Metalstorm,” which just happens to be Jody’s directorial debut. Ryder has gone missing. Gail needs Cole’s help to find him and, as long as he’s there, maybe execute a few stunts and, who knows, win back Jody’s love.

The movie’s screenwriter, Drew Pearce, knows a thing or two about action flicks (and, quite likely, action divas and studio interference), with credits that include “Iron Man 3” and Leitch’s “Hobbs & Shaw”). He fills the breezy first hour of “The Fall Guy” with clever, self-referential riffs on big-budget filmmaking, the proper use of split screens and the curious lack of an Oscar category for stuntwork . (If there was one — and there should be — this movie’s stunt designer, Chris O’Hara, would win it in a walk.)

In one of the movie’s most inspired sequences, Jody makes Colt explain why he ghosted her, through the guise of explaining “Metalstorm’s” love story, all while putting him through take after take of a stunt where he’s set afire and slammed against a boulder. Who needs a revenge song when you can just repeatedly call out “Action”?

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It’s one of several scenes where the film smartly uses stunts to reveal character, advance the story and make good use of Gosling’s gift for physical comedy. If Colt can’t signal thumbs-up at the end of a stunt, it’s not just a blow to his ego. He’s working his way through a bewildering cloud of confusion — not to mention being a suspect in a murder investigation — that even a pitcher of spicy margaritas (nobody says “spicy margarita” better than Emily Blunt) with his lovely lady won’t be able to solve.

The two leads enjoy such an easygoing groove that you’re soon dreaming about the time when their characters can once again go looking for that lost shaker of salt. But then the movie sidelines Blunt and completely focuses on the action, employing boats, helicopters and trash-bin trucks in an undeniably impressive series of stunts — all to diminishing effect. One of the running jokes in “The Fall Guy” has Jody trying to solve “Metalstorm’s” third-act issues. You sense that Leitch and Pearce ran into the same wall. But unlike Colt and his stunt brethren, they didn’t quite manage to dust themselves off.

Or, more likely, in their minds, they did and made precisely the movie they intended. Given Leitch’s background, it’s not surprising that “The Fall Guy” ends up landing as a big old bear hug to stunt performers, a way to shine a spotlight on a profession that, by definition, requires anonymity. The closing credits feature behind-the-scenes footage of the movie’s stunts being performed, showing that a good (and safe) time was had by all. Its fraternal spirit reminded me of the blooper reels you’d see at the end of the Burt Reynolds movies made by director Hal Needham who, yes, began his career as a stunt double.

'The Fall Guy'

Rating: PG-13, for action and violence, drug content and some strong language Running time: 2 hours, 6 minutes Playing: In wide release May 3

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Why am I watching The Fall Guy , you may ask yourself while doing so. The likely answer comes in three parts. 1) Co-producer and star Ryan Gosling lent his professional clout to winning a green light for this affable action comedy, vaguely based on the mostly forgotten 1980s TV show of the same name. 2) Gosling stars alongside Emily Blunt, the roles of the pair in Barbie and Oppenheimer respectively having convinced Universal Pictures to deploy a serious marketing budget. 3) Many months may have passed since you read this review, and you are now catching up with the film during a long-haul flight. It’s the perfect setting for this high-altitude fluff, made to distract you from turbulence.

Just don’t dwell on the mid-air fate of Gosling’s stuntman hero Colt Seavers, who begins the story with a fall from grace that breaks his back and ruins his relationship with camera-operator girlfriend Jody (Blunt). Prepare too for déjà vu. Back in 2011, neon-lit thriller Drive already saw Gosling take a signature role as a brooding stunt driver. Other memories are more recent. While the star has spoken of moving on from Barbie , we soon find him on another white sand beach, once more craving the attention of a blonde high-achiever. 

This time his lovesickness is trained on Jody, his ex now enjoying a career breakthrough in Sydney, directing her debut movie with stunts by Seavers. For Gosling, the role is a relaxed spin on an old persona, teasing his own line in wistful machismo. Blunt has more grunt work to get through, having to make at least a little plausible a character the story insists has risen near-instantly from film crew obscurity to helm a lavish blockbuster. 

You’re right: I am over-thinking a movie designed to get Gosling from one madcap bit to another. Longing gazes are spliced with kickassery, well played for laughs. The Hollywood satire sharpens a notch with a comic subplot, in which an idiot movie icon lies about doing their own stunts. (Listen out for Tom Cruise being unrelatedly namechecked twice, just to clarify that nobody means him.) 

Amid the bedlam, the script asks us to salute the unsung stunt workers who imperil themselves for our fun. (Director David Leitch was once one himself. Later, he made the annoying caper Bullet Train .) The irony is that the film mostly ends up affirming the value of brand-name movie stars. The frictionless charisma of Blunt and Gosling is what makes it tick: two stellar presences nervelessly bouncing and crashing off each other.

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‘the fall guy’ comes to theaters. everything to know about ryan gosling’s new action movie.

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Colt Seavers (Ryan Gosling) in "The Fall Guy."

Ryan Gosling’s The Fall Guy opens in theaters Friday and judging the photos from the production of the new action comedy, the Barbie Oscar nominee is diving headfirst into his role as a stuntman opposite Emily Blunt.

The big-screen adventure is inspired by the hit Lee Majors TV series of the same name from the 1980s. Take a look at what to expect with photos and more about Gosling and his co-stars as the action comedy heads into theaters.

In The Fall Guy , Gosling plays Colt Seavers, a down-and-out ex-stuntman who is recruited to pull off perhaps his greatest stunt yet.

The assignment isn’t entirely for a movie, though. Instead, the rough and tumbling stuntman needs to find a big-name action star, Tom Ryder (Aaron Taylor-Johnson), who has gone missing from the big-budget action film Metalstorm and is said to be in the company of some very shady characters.

Colt is going to need his skills as a stuntman, though, because behind the movie star’s disappearance is part of a conspiracy and he’s walking — as well as flying and falling — into a very dangerous situation.

Colt Seavers (Ryan Gosling) and Judy Moreno (Emily Blunt) in "The Fall Guy."

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The richest person in every state 2024, trump media stock djt at risk of a new short selling plunge, ‘the fall guy’ also stars emily blunt.

Ryan Gosling’s fellow 2024 Oscar nominee Emily Blunt ( Oppenheimer ) also stars in The Fall Guy as Judy Moreno, the ex-girlfriend of Gosling’s Colt Seavers.

A former camera operator, Judy is a first-time director on Metalstorm and gets more than she bargained for with the gig as she’s eventually pulled into Colt’s quest to locate the missing movie star.

Blunt is no stranger to action films, having starred in such hits as Looper , A Quiet Place and its sequel and The Huntsman: Winter’s War . Blunt’s other action movie credits include Jungle Cruise in a turn opposite Dwayne “The Rock” Johnson and Edge of Tomorrow , in which she starred opposite Tom Cruise.

Gail Meyer (Hannah Waddingham) in "The Fall Guy."

Hannah Waddingham Plays A Movie Producer In ‘The Fall Guy’

In The Fall Guy, Colt Seavers is recruited to find Tom Ryder by film producer Gail Meyer, who is played by Hannah Waddingham.

Waddingham, of course, is one of the standout actors in the successful AppleTV+ comedy series Ted Lasso . Waddingham, of course, plays the boss of Ted Lasso (Jason Sudeikis), the eternally optimistic coach of her AFC Richmond football club. The role earned Waddingham a Best Supporting Actress in a Comedy Emmy Award in 2021, which was followed by two more nominations in the category in 2022 and 2023.

Her career dates back to 2002, and over the years she has appeared in such hit series as Game of Thrones and Sex Education. Waddingham’s upcoming projects include a role in Tom Cruise’s upcoming Mission: Impossible film (formerly subtitled Dead Reckoning Part Two ), which is set for a 2025 release.

Tom Ryder (Aaron Taylor-Johnson) in "The Fall Guy."

Aaron Taylor-Johnson’s Superhero Experience To ‘The Fall Guy.

Aaron Taylor-Johnson stars as action movie superstar Tom Ryder in The Fall Guy, while Ryan Gosling plays his stunt double Colt Seavers.

The actor certainly brings action movie experience to The Fall Guy. In 2010, Taylor-Johnson played Dave Lizewski, aka Kick-Ass, the superpower-less superhero in Kick-Ass. He reprised the role for the film’s sequel, Kick-Ass 2 , in 2013.

Taylor-Johnson’s other action roles include his turn as Ford Brody in the first MonsterVerse movie Godzilla in 2014. Also in 2014, Taylor-Johnson appeared as Pietro Maximoff, aka Quicksilver in an uncredited after-credits scene in Captain America: The Winter Soldier and he reprised the role in Avengers: Age of Ultron in 2015.

The actor’s other action movies include writer-director Christopher Nolan’s mindbender Tenet in 2020 and Bullet Train in 2022 for his future Fall Guy director David Leitch.

David Leitch directs Ryan Gosling on the set of "The Fall Guy."

‘The Fall Guy’ Is Directed By A Former Movie Stuntman

It’s only appropriate that The Fall Guy is directed by a former movie stuntman, which is why the production hired prolific stunt performer David Leitch.

Before Leitch directed such films hits as Atomic Blonde , Deadpool 2 , Fast & Furious Presents: Hobbs & Shaw and Bullet Train , he did stunt work in more than 80 productions dating back to 1995.

Among Leitch’s stunt performing credits are The Matrix Reloaded , The Matrix Revolutions , Van Helsing , The Bourne Ultimatum and The Bourne Legacy .

In addition, Leitch served as a stunt coordinator on such hits as Tron: Legacy and the 2014 live-action and CGI hybrid version of Teenage Mutant Ninja Turtles , which starred, among others, future Reacher star Alan Ritchson as Raphael.

Ryan Gosling and Aaron Taylor-Johnson with their stunt performers Ben Jenkin, Logan Holladay and ... [+] Justin Eaton, along with director David Leitch on the set of "The Fall Guy."

Real Stunt Performers Get Their Due With ‘The Fall Guy’

Normally only actors and filmmakers are featured in production photos but The Fall Guy’s press materials highlight some of the film’s key stunt performers alongside Ryan Gosling and Aaron-Taylor Johnson.

Among those pictured above are Ben Jenkin, whose stunt credits include the blockbusters Guardians of the Galaxy: Vol. 3 , Spider-Man: No Way Home and G odzilla vs. Kong , as well as Logan Holliday ( Ghostbusters: Frozen Empire , Logan and Bad Boys for Life ) and Justin Eaton ( Black Adam , The Falcon and the Winter Soldier and Jumanji: The Next Level ).

Jenkin, Holladay and Eaton perform stunts, naturally, for Gosling and Taylor-Johnson in The Fall Guy .

Gosling Also Has Action Movie Work On His Resume

Like Emily Blunt, Ryan Gosling has appeared in his share of action movies over the years. Among his hit action films are Drive , Blade Runner 2049 , The Nice Guys and The Gray Man .

Up next, Gosling — who also starred as legendary astronaut Neil Armstrong in the historical U.S. space travel chronicle First Man — is set to star as an astronaut once again in space thriller Project Hail Mary .

Winston Duke and Ryan Gosling on the set of "The Fall Guy."

‘The Fall Guy’ Also Stars Winston Duke

Also starring in The Fall Guy is Winston Duke, who plays Colt Seavers’ (Ryan Gosling) stunt coordinator and best friend, Dan Tucker.

Like his cast mates, Duke has several action movie credits on his resume including the pivotal role of M’Baku in Black Panther , Black Panther: Wakanda Forever , Avengers: Infinity War and Avengers: Endgame .

Ryan Seavers (Ryan Gosling) and Iggy Star (Teresa Palmer) in "The Fall Guy."

Teresa Palmer And Stephanie Hsu Are Also Featured In ‘The Fall Guy’

Rounding out The Fall Guy cast are Teresa Palmer and Stephanie Hsu.

Palmer — whose credits include the 2015 remake of Point Break , the horror thriller Lights Out , the zombie comedy Warm Bodies and the biographical war drama Hacksaw Ridge — stars in The Fall Guy as Iggy Starr, who is Tom Ryder’s (Aaron Taylor-Johnson) girlfriend and fellow film star.

Alma Milan (Stephanie Hsu) and Colt Seavers (Ryan Gosling) in "The Fall Guy."

Stephani Hsu stars in The Fall Guy as Alma Milan, who is Tom Ryder’s personal assistant. Hsu played the key role of Joy Wang in the 2022 Best Picture Oscar winner Everything Everywhere All at Once , which earned her a Best Supporting Actress Oscar nomination.

Hsu’s credits also include the superhero action blockbuster Shang-Chi and the Legend of the Ten Rings and a voice role in Adam Sandler’s animated film Leo . In addition, Hsu’s television credits include the recurring role of Mei in the hit Prime Video streaming series The Marvelous Mrs. Maisel .

The Fall Guy opens in theaters on May 3 and will face off against the new horror thriller Tarot and this weekend’s new box office champ Challengers , starring Zendaya .

Note: This article has been updated to include more information about Hannah Waddingham and Aaron Taylor-Johnson.

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Box office preview: Ryan Gosling and Emily Blunt's action rom-com ‘The Fall Guy' kicks off Summer 2024

N ormally, the summer movie season would kick off with a Marvel superhero movie, but this May, we’re doing things a little differently. Read on for Gold Derby’s box office preview.

This year and for the first time since the pandemic, Marvel isn’t launching the month of May. Instead, Universal jumped on the date for its new action comedy “The Fall Guy,” loosely based on the popular ’80s series starring Lee Majors . Two of the Oscar-nominated stars from last year’s blockbuster “Barbenheimer” phenom unite for this new action rom-com from filmmaker David Leitch (“Bullet Train”). Those stars, of course, are Ryan Gosling and Emily Blunt , who were nominated for Greta Gerwig ‘s “Barbie” and Christopher Nolan ‘s Best Picture-winning “Oppenheimer,” respectively, two of the biggest movies of 2023. “The Fall Guy” premiered at the SXSW Film and TV Festival and even played at the annual exhibitors’ convention, CinemaCon , racking up fantastic reviews, currently at 89% on Rotten Tomatoes .

Gosling and Blunt appeared together at the Oscars for an appropriate tribute to movie stunt people, and then Blunt made an appearance when Gosling recently hosted “Saturday Night Live,” reported to be the most watched episode in years. Last year’s “Barbie” was the biggest movie of Gosling’s career by far, although he does some action experience from Denis Villeneuve ‘s “Blade Runner 2049,” the Russo Brothers ‘ Netflix action movie “The Gray Man,” and Nicolas Refn ‘s “Drive,” playing a similar character than he does in “The Fall Guy.” Blunt has done her share of action, whether it’s 2021’s “Jungle Cruise” opposite Dwayne Johnson , “Edge of Tomorrow” with Tom Cruise , or the “A Quiet Place” movies directed by her husband John Krasinski (who also has a new movie out this month).

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It’s unclear how many younger people will even be aware of the ’80s television series that lent its name to Leitch’s new action film, but “The Fall Guy” is following in the footsteps of many other movies that got their origins from television, including “21 Jump Street,” “Starsky and Hutch,” “The Dukes of Hazzard” and “Miami Vice.” “21 Jump Street” opened in March 2012 with $36.3 million and went on to gross $138.5 million, which is a great barometer for “The Fall Guy,” despite (presumably) being a lesser-known show among younger people. Michael Mann ‘s 2006 feature film based on “Miami Vice” (which is referenced in “The Fall Guy”) may be a closer comparison, since it starred Colin Farrell and Jamie Foxx , who were both incredibly hot at the time, although it ended up with less than $63.5 million despite a plum summer release.

Leitch’s last film, 2022’s “Bullet Train,” opened with $30 million with Brad Pitt , but “The Fall Guy” may have more in common with “The Lost City,” starring Sandra Bullock and Channing Tatum , which came out a few months earlier and opened with roughly the same amount.

With those comparisons, an opening in the $30 to 35 million range might be considered a win for “The Fall Guy,” but having the honor of launching the summer movie season should help it open closer to $40 million or maybe even $45 million based on the amount of buzz it’s been building since March.

It’s not often that a high-concept horror movie will be considered counter-programming, but that seems to be Sony’s hopes in releasing “Tarot” into over 3,000 theaters on Friday. Starring Avantika from “Mean Girls” and Jacob Batalon from the Sony/Marvel “Spider-Man” movies, this involves a premise that involves characters from the tarot card deck coming to life and killing young people, which is on par with Blumhouse movies like “Ouija” or “Truth or Dare” without this being produced by Blumhouse, instead being the latest from Sony’s genre imprint, Screen Gems.

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Horror movies rarely rely on star power to get younger moviegoers into theaters, but this one looks like a direct rip-off of so many other horror movies (including the 2001 remake of “13 Ghosts”). On top of that, there will be no reviews for the movie before Thursday afternoon, which is rarely a good sign that the movie is any good, or that the studio is expecting any good reviews. (Screen Gems became quite notorious in the 2000s for not screening its movies in advance for critics.)

Because of this and the lack of awareness against much stronger films, “Tarot” will probably be lucky if it gets anywhere near $10 million this weekend. Instead, it’s probably going to end up in the $6 to 8 million range, which means “Challengers” could end up being it for second place in its second weekend.

Despite the lackluster showing for anniversary re-releases “Alien” and “The Mummy” this past weekend, that isn’t stopping Disney and Lucasfilm from re-releasing “Star Wars Episode 1: The Phantom Menace” back into theaters for its 25th anniversary, despite it being available on Disney+ for many years. We don’t have a theater count yet, but this only needs $2 million to break into the Top 10, and even the fans who actively hated the first of George Lucas ‘ prequels might go out to see this in theaters.

Other movies hitting theaters this week include Jane Schoenbrun ‘s thriller “I Saw the TV Glow,” starring Justice Smith , which will be in select cities after receiving high praise from its Sundance premiere. There’s a good chance that A24 will expand it wider over the course of May.

Also, Oscar-winning Japanese filmmaker Ryusuke Hamaguchi (“Drive My Car”) returns with his new movie, “Evil Does Not Exist,” which, despite its title, is not a horror-thriller, but rather a drama about a Japanese farming community affected by a new “glamping” development.

Ethan Hawke directs his daughter,  Maya Hawke , playing writer Flannery O’Connor in “Wildcat,” which will also get a limited release.

You can check back this Sunday afternoon for a recap on how the above movies did against the returning ones.

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