‘The Marvels’ Filmmaker Nia DaCosta Is Excited To Finally Make A Film That Doesn’t “Traffic In Black Pain”

Beryl Vertue, the acclaimed UK TV exec behind Sherlock and Men Behaving Badly, has died aged 90.

Almost 12 years after Law & Order was abruptly canceled by NBC, Dick Wolf’s Emmy-winning drama series is returning Feb. 24 for a 21st season, which features Sam Waterston and Anthony Anderson reprising their roles from the original series, joined by new cast additions Jeffrey Donovan, Camryn Manheim, Hugh Dancy and Odelya Halevi.

Noel Gallagher is the latest artist to pay tribute to David Bowie for the late, great pop and rock icon’s David Bowie Is series, praising him to be “right up there with the greats of all time”.Not to be confused with a museum exhibit that toured the world between 2013 and 2018 (also named David Bowie Is), the series began last month with a seven-minute video showing Dave Grohl, Yungblud and Ricky Gervais reminiscing on their favourite Bowie moments, songs and interactions, and touching on the ways Bowie influenced their own careers. It was followed by a second video from Grohl at the end of January, and then one from Elvis Costello at the start of February.For the series’ fourth instalment, Gallagher looked back fondly on Bowie’s “forever changing” legacy, likening him to The Beatles and describing him as “fearless and not afraid of ridicule” with “a great, unique voice”.

Nick Vivarelli International CorrespondentIn spite of a disastrous box office situation, the Italian film industry is staying buoyant thanks to increased exports, a friendly rapport with streaming giants and support from the government of Prime Minister Mario Draghi that is pumping money into a revamp of Rome’s Cinecittà Studios.“Production never stopped and ailing movie theaters have been able to get subsidies,” says Francesco Rutelli, the former Rome mayor who heads Italy’s motion picture association, Anica. The org recently broadened its member base to include executives from Amazon Prime Video, Disney and ViacomCBS, after Netflix had joined.This move — which is unique in Europe — indicates the level of friendly dialogue between film producers and streaming platforms in Italy, best encapsulated by Paolo Sorrentino’s “The Hand of God,” Italy’s international Oscar nominee.

Wyatte Grantham-Philips editorThe season of love is officially upon us — and while many may be looking forward to enjoying time with their significant others this Valentine’s Day (perhaps accompanied by chocolate and a classic rom-com), others may be searching for a good cry.There’s no shame in however you’ll spend the holiday, but if you’re hoping to watch love (or heartbreak) unfold during your celebration this year, rewatching moments from beloved TV shows might be the perfect fit.Television can bring tears to eyes for countless reasons, but watching the ends of some of our favorite on-screen romances never stops us from grabbing that box of tissues. This list features some of the most heart-wrenching breakup moments in TV history — from the devastation following Ross and Rachel’s “break” on “Friends,” to Rue and Jules saying goodbye at that train station in “Euphoria.”These 30 scenes include moments of break-ups, the awkward aftermath and tear-jerking interactions leading up to a couple’s split.

Nick Vivarelli International CorrespondentItaly’s robust 2022 Berlinale representation of a half-dozen titles runs the gamut from the latest works by venerable veterans Paolo Taviani and Dario Argento to pics by fresh new Cinema Italiano voices including Chiara Bellosi, whose first film, “Ordinary Justice,” launched from Berlin in 2020.Taviani, who is 91, is returning to Berlin but alone this time — his filmmaker brother, Vittorio, with whom he won a Golden Bear in 2012 for “Caesar Must Die,” passed away in 2018 — in competition with surreal drama “Leonora Addio,” inspired by a short story by Italian playwright and author Luigi Pirandello. Argento, who set his 1977 chiller “Suspiria” in Germany, will be at the Berlinale for the first time as a director with Rome-set suspenser “Dark Glasses,” though he was on the fest’s main jury panel in 2001.

“Black Like Me” at the Grammys, was the first African-American woman to co-host the ACM Awards and rocked a supersize Afro when she did “Love My Hair” at the CMAs.Now, the 38-year-old singer — whose debut album, “Remember Her Name,” is up for three Grammys in April — will have another memorable moment when she performs the national anthem at the Super Bowl on Sunday. “It’s Black History Month, and a black country singer gets to sing the national anthem at the Super Bowl. Wow,” Guyton told The Post. “This is a huge moment for me.

Candyman director Nia DaCosta has become the first Black woman to debut at number one on the US box office chart.The reimagining and sequel to the 1992 horror flick earned $22.3million (£16million) in its opening weekend in US and Canadian cinemas.

EXCLUSIVE: Universal Studio Group has entered a new multi-year television overall deal with producer, director and Academy Award and Emmy award-winning writer Jordan Peele and Monkeypaw Productions, headed by President Win Rosenfeld.

Candyman, as the film debuted atop the box office this past weekend.The remake of the 1992 cult classic opened with an estimated gross of $22,370,000, exceeding its original projection of about $15M by nearly 50 percent. The take, surpassing that of the next three top-grossing films for the week combined (Free Guy, Paw Patrol: The Movie, Disney’s Jungle Cruise, Don’t Breathe 2 and The Suicide Squad) makes DaCosta the first Black female director to debut a movie at No.

made history this weekend when her film took the No. 1 spot at the box office, grossing $22.3 million in its opening weekend.The horror flick is a big milestone for the 31-year-old filmmaker: She’s the first black female filmmaker to achieve this feat.“Candyman” is a sequel to the 1992 horror classic of the same name.

Rebecca Rubin Film and Media Reporter“Candyman,” the updated take on Clive Barker’s terrifying urban legend, continues a positive pandemic-era box office trend: It’s the latest theatrical-only offering to beat expectations amid a resurgence in COVID-19 cases.“Candyman” opened to $22.37 million from 3,569 theaters, a result that bested pre-release tracking, which projected a debut around $15 million. In a notable box office benchmark, director Nia DaCosta became the first Black woman to have a movie open at No.

Candyman, as the film debuted atop the box office this past weekend.The remake of the 1992 cult classic opened with an estimated $22,370,000; which exceeded its original projection of about $15M by nearly 50 percent – surpassing Free Guy, Paw Patrol: The Movie, and Disney’s Jungle Cruise, Don’t Breathe 2, and The Suicide Squad. With this achievement, it makes DaCosta the first Black female director to debut a movie at No.

“Candyman” debuted a No. 1 in the domestic box office over the weekend but that isn’t even the biggest win.

With the $20.4M opening of Universal/MGM/Monkeypaw’s Candyman, director Nia DaCosta becomes the first Black female director to debut a movie in the No. 1 weekend spot at the domestic box office.

Angelique Jackson With “Candyman” debuting at the top of the box office, earning $22 million in its opening weekend, star Yahya Abdul-Mateen II is just getting started with his Hollywood takeover.After top-lining the “spiritual sequel” to the 1992 horror classic, directed by Nia DaCosta, Abdul-Mateen has a string of high-profile roles in the pipeline, including a secretive part in “The Matrix Resurrections,” plus reprising his role as Black Manta in the comic book sequel “Aquaman and the Lost Kingdom.”It’s only been five years since the actor’s breakout performance in Baz Luhrmann’s gone-but-not-forgotten series, “The Get Down,” but lately, Abdul-Mateen’s career has shifted into a higher gear, and the actor is certainly not letting up on

Rebecca Rubin Film and Media Reporter“Candyman” was summoned to the top of domestic box office charts, collecting an impressive $22.37 million from 3,569 theaters in its first three days of release.The R-rated slasher film, written by Jordan Peele and directed by “Captain Marvel 2” filmmaker Nia DaCosta, surpassed industry expectations despite fears the delta variant would keep people from going to the movies.

Candyman is starting strong!

Produced on a $25 million budget and directed by Nia DaCosta, the sequel to the 1992 horror classic has been well-received with a B on CinemaScore and an 85% critics score on Rotten Tomatoes. The film also added $5.2 million from 51 overseas markets for a global total of $27.6 million.

Ellise Shafer administratorUniversal and MGM’s “Candyman” is expected to slay the domestic box office in its opening weekend, with a projected gross of $20.7 million.The horror film, directed by Nia DaCosta, raked in $9.1 million from 3,569 theaters on Friday, and is expected to add another $11 million to its total by the end of the weekend. This puts “Candyman’s” debut ahead of previous industry predictions, which had the R-rated slasher film debuting to $15 million.

Angelique Jackson When the first trailer debuted for “Candyman” — director Nia DaCosta and producer Jordan Peele’s “spiritual sequel” to the 1992 horror classic — there was a great deal of buzz about the use of a slowed-down remix of Destiny’s Child’s “Say My Name” alongside the original movie’s haunting score.But upon further reflection — the needle drop was an early hint at the way DaCosta and Peele’s take would examine deeper social themes.

“Candyman,” the horror film from director Nia DaCosta and co-writer Jordan Peele, made $1.9 million at the box office in its Thursday night previews from 2,750 theaters with showings beginning at 7 p.m. It opens on 3,569 North American theaters.“Candyman,” an MGM film released by Universal, is a contemporary reimagining and spiritual sequel to the 1992 cult classic of the same name.Universal is projecting the film to open in the mid-teens this weekend.

Candyman (★★☆☆☆) don’t have to wait long before the mythical boogeyman materializes to dig his hook into whomever should be so bold as to summon him.Historically speaking, and as one character aptly puts it, “Black people don’t need to be summoning shit.” As the film asserts, Black folks have suffered enough pain and degradation over centuries without conjuring up a phantom murderer just for kicks.

Ethan Shanfeld Nearly 30 years after the vengeful spirit first haunted the big screen in 1992, the Candyman is back.Serving as a “spiritual sequel” to the original supernatural slasher of the same name, Nia DaCosta’s “Candyman” — written by recent horror darling Jordan Peele — was met with mostly positive reviews.Read some highlights of what critics are saying below:Variety’s Owen Gleiberman:But now “Candyman” has been remade, by the director Nia DaCosta (I’m pleased to report that Tony Todd is back — he looks a little bit older, and a lot more venerable in his grin of unspeakable pain), and what she has done is to make a horror movie that has its share of enthralling shocks, but one that’s rooted in a richer meditation on the social

Director Bernard Rose’s 1992 horror, “Candyman,” still feels somewhat like an oddity of its era. A grim poetic tome that feels neither at home with the schlocky ’80s slashers before it or post-modern “Scream” appearing several years later.

The Marvels? Look no further; we have all the details. Her name is Nia DaCosta, and she is just 31 years old and will be premiering on August 27 her new film based on the 1992 urban legend Candyman.The filmmaker is also in charge of directing The Marvels, the sequel to Captain Marvel that will be released in November 2022.

The Marvels? Look no further; we have all the details. Her name is Nia DaCosta, and she is just 31 years old and will be premiering on August 27 her new film based on the 1992 urban legend Candyman.The filmmaker is also in charge of directing The Marvels, the sequel to Captain Marvel that will be released in November 2022.