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ComingSoon.net has an exclusive video interview with 20th Century Fox’s Bad Times at the El Royale writer and director Drew Goddard (The Martian). Check out the video below to learn more about Goddard’s upcoming thriller, and be sure to catch the movie in theaters this Friday!

Bad Times at the El Royale takes place in the 1960s at a rundown hotel, centering on a cast of characters whose own shady agendas will violently collide: “Seven strangers, each with a secret to bury, meet at Lake Tahoe’s El Royale, a rundown hotel with a dark past. Over the course of one fateful night, everyone will have a last shot at redemption… before everything goes to hell.”

RELATED: New Bad Times at the El Royale TV Spot Welcomes You to the Motel

Alongside Chris Hemsworth (Avengers: Infinity WarThor: Ragnarok), the film stars Jon Hamm (Mad MenTag), Jeff Bridges (The Big LebowskiKingsman: The Golden Circle), Dakota Johnson (Fifty Shades series), Cynthia Erivo (Widows), Nick Offerman (Parks and Recreation) and Cailee Spaeny (Pacific Rim Uprising). The film serves as a reunion between Hemsworth and Goddard, who previously collaborated on the 2012 horror movie The Cabin in the Woods.

The film is set to hit theaters this October 12.

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ComingSoon.net sat down with director and writer Gareth Evans (The Raid) to talk about his upcoming cult thriller Apostle for Netflix. Check out what Evans had to say about exploring the occult in the video below, and be sure to check out the movie launching on Netflix this Friday!

Set in 1905 London, prodigal son Thomas Richardson (Dan Stevens) has returned home, only to learn that his sister is being held for ransom by a religious cult. Determined to get her back at any cost, Thomas travels to the idyllic island where the cult lives under the leadership of the charismatic Prophet Malcolm (Michael Sheen). As Thomas infiltrates the island’s community, he learns that the corruption of mainland society that they claim to reject has infested the cult’s ranks nonetheless – and uncovers a secret far more evil than he could have imagined.

Written and directed by Gareth Evans (The Raid), Apostle is a harrowing occult fable where the only thing more horrifying than madness is the sinister reality behind it. Aram Tertzakian and Ed Talfan are producing.

RELATED: New Apostle Trailer Asks Are You Ready for It? 

Apostle stars Dan Stevens (Disney’s Beauty and the Beast, Legion), Lucy Boynton (Murder on the Orient Express, The Blackcoat’s Daughter), Mark Lewis Jones (Stella, Keeping Faith), Bill Milner (IBoy, X-Men: First Class), Kristine Froseth (Rebel in the Rye, Sierra Burgess is a Loser) Paul Higgins (Utopia, Couple in a Hole), and Michael Sheen (Home Again, Passengers).

The film will premiere globally on Netflix on October 12, 2018.

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Yesterday Jon Favreau confirmed that the live-action Star Wars series he’s developing was officially titled The Mandalorian, and now Lucasfilm has released the first official photo from the series as production has officially kicked off.

In addition, the directors for the series have been officially announced included Dave Filoni (Star Wars: The Clone Wars, Star Wars Rebels) who will be directing the first episode. Additional episodes will be directed by  Deborah Chow (Jessica Jones), Rick Famuyiwa (Dope), Bryce Dallas Howard (Solemates), and Taika Waititi (Thor: Ragnarok). The Mandalorian will be executive produced by Jon Favreau, Dave Filoni, Kathleen Kennedy, and Colin Wilson. Karen Gilchrist will serve as co-executive producer.

After the stories of Jango and Boba Fett, another warrior emerges in the Star Wars universe. The Mandalorian is set after the fall of the Empire and before the emergence of the First Order. We follow the travails of a lone gunfighter in the outer reaches of the galaxy far from the authority of the New Republic.

The 10-episode first season will reportedly have a combined budget of $100 million, making each episode worth $10 million. It has also been announced that Disney is currently developing multiple limited series featuring characters from the Marvel Cinematic Universe for their upcoming streaming service.

The Mandalorian does not yet have a release date but the Disney direct-to-consumer platform will launch in late 2019.

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Cuba Gooding Jr. will helm his second directorial feature with Wudi Pictures lining up the financing, as reported by Variety. Gooding worked with the Chinese studio for his debut as a director, Bayou Caviar, which came out earlier this year. The as-yet-untitled picture will star Richard Dreyfuss (Jaws, The Goodbye Girl) and Famke Janssen (The Blacklist, X-Men).

The film is a modern-day thriller about a family man who, after experiencing a life-altering event, must find the courage to pick up the pieces of the rest of his life. In doing so, he will change the course of events for not only his life, but also for those around him… including the ones he loves,” Gooding said about the project.

Wudi Pictures has an extensive history working with Disney on The Dreaming Man, the first Chinese-language production from the House of Mouse. They also produced the upcoming Crown Vic, starring Thomas Jane (Deep Blue Sea) and Luke Kleintank (The Man in the High Castle).

Production will begin in 2019. While details are still scarce at this point, some of the film will be shot internationally. Gooding can be seen next in the upcoming Life in a Year, with Cara Delevingne and Nia Long.

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Director David Mackenzie’s medieval Netflix epic is getting a shorter runtime after its premiere at the Toronto International Film Festival. As reported by Deadline, it was the reactions from the crowd at the TIFF screening that inspired the Outlaw King director to trim 20 minutes from the films, knocking it down from 137 minutes to a lean 117, just under two hours.

Mackenzie said he didn’t even read any reviews or reactions to the film, but rather “could feel what the audience was like in the theater. I’m sensitive to the way they felt.” The re-cut film will screen at the London Film Festival on October 17 ahead of its premiere on Netflix in November.

The edits will reportedly help the pacing of the film, which some felt took too long to get to the climax.

The untold, true story of Robert the Bruce who transforms from defeated nobleman to outlaw hero during the oppressive occupation of medieval Scotland by Edward I of England. Despite grave consequences, Robert seizes the Scottish crown and rallies an impassioned group of men to fight back against the mighty army of the tyrannical King and his volatile son, the Prince of Wales.

Related: Check out the first trailer for Outlaw King

Outlaw King stars Chris Pine (Star Trek, Hell or High Water) Aaron Taylor-Johnson (Godzilla), Florence Pugh (Lady Macbeth) and Stephen Dillane (Game of Thrones) as King Edward I. The feature film is produced by long-time filmmaking partners David Mackenzie and Gillian Berrie via their production company Sigma Films, and Richard Brown and Steve Golin of Anonymous Content.

Outlaw King will be released on Netflix worldwide on November 9.

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RLJE Films will release critically acclaimed new Nicolas Cage action-thriller Mandy this weekend, and ComingSoon.net got a chance to chat with its co-writer and director Panos Cosmatos. Mandy marks Cosmatos’ sophomore feature after the 2010 abstract horror film Beyond the Black Rainbow, and we chatted about why it took so long to make his second film, how it’s similar to barbarian movies, and which of his father George P. Cosmatos’ movies might have secretly inspired it. Check out the interview below!

RELATED: Nicolas Cage Seeks Vengeance in the Mandy Trailer

Written and directed by Panos Cosmatos (Beyond the Black Rainbow), the film stars Academy Award winner Nicolas Cage (Leaving Las Vegas), Andrea Riseborough (Battle of the Sexes) and Linus Roache (Vikings). RLJE Films plans to release Mandy in theaters in summer 2018 with an exclusive theatrical window.

In Mandy, outsiders Red Miller and Mandy Bloom lead a loving and peaceful existence. When their pine-scented haven is savagely destroyed by a cult led by the sadistic Jeremiah Sand, Red is catapulted into a phantasmagoric journey filled with bloody vengeance and laced with fire.

Mandy was produced by SpectreVision, XYZ Films, and Umedia. The project was financed by Umedia and Piccadilly Pictures with additional support from Wallimage. The score was composed by Johann Johannsson.

RELATED: Alamo Drafthouse & Regal Team Up to Broadcast Mandy Conversation

ComingSoon.net: I loved the hell out of “Beyond the Black Rainbow.” It just hit the perfect groove for me. What was the eight year delay between films?

Panos Cosmatos: Yeah, I got involved with SpectreVision very early on and we were going to wait for the right situation to present itself, where we could make a movie the way we wanted. But in order to do that, we also needed a star, and it took eight years for all those plans to align together.

CS: Did this script and your vision of the film evolve over that time?

Cosmatos: There was a point where we had offered the villain, Jeremiah Sand, to Nicholas Cage and I rewrote the part with him in mind. I ended up doing a pass with the idea of him playing Jeremiah Sand and I think that gave it more of a sort of disintegrating rock star kind of feeling of that era, you know?

CS: This movie and “Beyond the Black Rainbow” both have that kind of feeling of that weird VHS that you found in the video store in the 80’s, and you’re like, “What is this?”

Cosmatos: Yeah, they’re both kind of one-offs of that same kind of concept and thought that I became fixated on. I started writing both of them at that same time, so I thought that was a very kind of a beautiful and interesting path to take creatively so that both felt like they were expressing their concepts and needs to that framework.

CS: And “Beyond the Black Rainbow” had a distinct Cronenberg-ian, “THX 1138” vibe to it. I had a much more difficult time sort of pinning down what your specific inspirations might have been for this one. Can you talk a little bit about that?

Cosmatos: Yeah, I think that’s partly because I decided to sort of just be more influenced by my own inner instinct and less by specific films. I mean, even on “Black Rainbow” I tried to avoid looking back on what might be informing it. And so, the same facets have been manifested in a more abstracted kind of hazy way. I didn’t want it to feel like a list of references  as a film fan, although some of it was somewhat influenced by “The Sword and the Sorcerer”, the main scene of that film, and kind of the weird, amorphous vibe of “Conquest.”

CS: Yeah, I guess because there is that sort of fantasy element to it. There are some kind of creatures that seem to be beyond reality.

Cosmatos: Yeah, and definitely at a certain point I realized that the fantasy barbarian film and those elements kind of run pretty heavily to the surface, but more than looking at films, I was reading D&D modules and stuff like that, just listening to music. I mean, one of the main things that drives my process is listening to music.

CS: And speaking of which, this was Johann Johannsson’s last film as composer. What was your creative relationship like?

Cosmatos: I loved working with him. Some people you meet them and you immediately feel a close emotional bond with them for no apparent reason and he’s one of those people. He had kind of a gruff exterior, and yeah, I really liked the guy. We responded well to each other’s ideas.

CS: I don’t know if this is too far afield, and maybe I’m saying this just because I recently watched it from Scream Factory, but I thought there was a little bit of “Of Unknown Origin” in this, in the sense it’s a guy on sort of a vengeance quest with kind of ad hoc armor that he’s made.

Cosmatos: Yeah, yeah, undoubtedly. I mean, that’s my favorite of my dad’s films for sure. (laughs) Yeah, I mean, I honestly never thought too specifically about it, but now that you mention it there’s probably no question that that’s an influence on it.

CS: Has anybody else brought that movie up?

Cosmatos: Not that I can think of, no.

CS: I’m not trying to be an armchair psychiatrist. I was just like, “There are some similarities there.”

Cosmatos: (Laughs) No, it’s a good call.

CS: In terms of your last movie, you had some really talented actors, but this time you were actually working with marquee names like Andrea and Nic and Linus. What was that experience like? And how was it different from your past experience?

Cosmatos: It wasn’t really different at all. I love to choose the right actors. It’s kind of a pleasure to work with them and watch them imbue your concepts that you write. You write a character, but in essence, it’s just a concept of what it could be, and then actors come in and they have their own sort of interpretations and thoughts. If you respond to those and then go forward with them, then it’s kind of like magic to see the idea you had become alive and in the flesh. And in both cases, on both “Black Rainbow” and this one, it’s kind of a magical experience to watch your imagination come to life in the form of their imaginations.

CS: This movie -maybe more than any one I’ve seen in a long time- very much embodies the Stanley Kubrick quote of, “Reality is good, interesting is better.”

Cosmatos: Right. (Laughs)

CS: In what terms did you describe your very surreal vision for how you wanted this film to feel for an audience?

Cosmatos: On this one, I kind of thought of it as a horrible rock opera in a sense, you know? And that was kind of a defining thing in the back of my mind, anyway, when we were working on it.

CS: That’s a pretty good summation of it. But I think what surprised me about it is even though it was so surreal and so kind of very off kilter and not of this reality, there was this emotional through line and it was touching in a lot of places. Can you talk a little bit about the emotional element?

Cosmatos: Well, yeah. I mean, it was very important to me that you actually care about Red and care about Mandy and feel something for them unless it just becomes a lot of noise signifying nothing, you know? And I really feel it’s important, even for being just an abstract film, you still sort of feel some kind of connection to what you’re watching emotionally, you know? “Black Rainbow” is where you’re watching the TV channels in their inner prison room and it’s a very small, subtle moment, but I feel like it’s there specifically for people to connect with her on an emotional level. I like the idea of cutting these sort of phantasmagorical worlds and it being almost fragile, emotional creatures, you know?

CS: Yeah, and what fascinated me the most about it is you encapsulated the relationship between the two of them with almost no dialogue. Is there a part of you that feels less is more when you’re trying to impart feelings and character?

Cosmatos: I’m always trying to strip it down to its bare essence and then make that work. I decided to just work on some simple things to kind of—I mean, it’s kind of simplistic, but it’s just trying to evoke something quickly without over-lingering any of it. And I think that’s what her monologue at the start is about.

CS: So in the interim between these two films, were you developing any other projects that you’re hoping to get through right now?

Cosmatos: Yeah, I mean, I did write another script with my friend, Max Goldblatt, and I’m starting to get into that- now. It’s an original thing right now, but we’ll see.

CS: And is there any part of you that feels like you would at all fit into a more mainstream kind of, maybe not even studio film, but a mid-budget level kind of director for hire kind of thing?

Cosmatos: I wouldn’t want to do that. (Laughs) If I’m going to sell out, I’m going to sell out all the way, so a bid by the studio would be if you’re going to go through the pain of trying to make a film, it’s gotta be worth it.

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Variety reports that director Claire Denis’ sci-fi drama High Life was bought by indie film studio A24 after screening at the Toronto International Film Festival. The film, starring Robert Pattinson (The Lost City of Z, Twilight) and Juliette Binoche (The English PatientCertified Copy), tells the story of a group of criminals aboard a spaceship traveling to a black hole. They’ve been told they’ll be freed once they study a black hole, but undergo sexual experiments courtesy of the scientists on board.

Rounding out the cast are André Benjamin (Jimi: All is by My SideAmerican Crime), Lars Eidinger (Clouds of Sils MariaPersonal Shopper), Agata Buzek (RedemptionThe Reverse), Ewan Mitchell (The Last KingdomThe Halcyon), Jessie Ross (The Frankenstein Chronicles), and Claire Tran (Valerian and the City of a Thousand Planets, Lucy).

Denis is known for her films ChocolatBeau TravailWhite Material and 35 Shots of Run. Binoche and Tran recently collaborated with Denis on Let the Sun Shine Inwhich made its debut at the Cannes Film Festival in Director’s Fortnight where it won the SACD Prize. Binoche is known for her work in the film The English Patient, which won her the Academy Award for Best Supporting Actress in 1997. She was nominated for Best Actress for her role in 2000’s Chocolat (not to be confused with Denis’ Chocolat in 1988).

Writing credits go to Claire Denis, Jean-Pol Fargeau, Geoff Cox and Nick Laird. The movie is produced by Laurence Clerc, Oliver Dungey, Christoph Friedel, Andrew Lauren, DJ Gugenheim, Claudia Steffen, Olivier Thery-Lapiney and Klaudia Smeija. Production companies handling the film are Andrew Lauren Productions, Apocalypse Films, Alcatraz Films, Pandora Film Produktion and Madants.

The deal was brokered by CAA Media Finance, with Wild Bunch handling the foreign sales.

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Warner Bros. Pictures invited ComingSoon.net to a genuine convent in Mexico City to interview The Nun cast and director about the latest installment in the Conjuring Universe. Check out the video interviews with stars Demian Bichir and Taissa Farmiga along with filmmaker Corin Hardy in the player below!

RELATED: The Nun On Track for Biggest Box Office Debut of Any Conjuring Film

When a young nun at a cloistered abbey in Romania takes her own life, a priest with a haunted past and a novitiate on the threshold of her final vows are sent by the Vatican to investigate. Together they uncover the order’s unholy secret. Risking not only their lives but their faith and their very souls, they confront a malevolent force in the form of the same demonic nun that first terrorized audiences in The Conjuring 2, as the abbey becomes a horrific battleground between the living and the damned.

The Nun stars Oscar-nominated Demian Bichir (A Better Life) as Father Burke, Taissa Farmiga (American Horror Story) as Sister Irene, Jonas Bloquet (Elle) as local villager Frenchie, Charlotte Hope (Game of Thrones) as the abbey’s Sister Victoria, Ingrid Bisu (Toni Erdmann) as Sister Oana, and Bonnie Aarons, reprising her Conjuring 2 role as the title character.

Filmmaker James Wan, director of the record-setting horror hits The Conjuring and The Conjuring 2, explores another dark corner of that universe with The Nun. Directed by Corin Hardy (The Hallow), the new fright-fest is produced by Wan and by Peter Safran, who has produced all the films in The Conjuring franchise.

The Nun scares its way into theaters on September 7.

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Check out the first teaser for Teen Spirit from director Max Minghella

Director Max Minghella, best known as an actor on The Handmaid’s Tale, took to Twitter yesterday to release the first teaser for Teen Spirit, his directorial debut. You can check out his tweet, teaser and all, below (via Collider)!

The film stars Elle Fanning (The Beguiled, Maleficent) as an aspiring pop star and Agnieszka Grochowska (Persona Non-Grata) as her mother. Teen Spirit is currently slated to play at the Toronto International Film Festival this year.

Violet (Fanning), is a 17-year-old who lives with her mother (Grochowska) on a small farm on the Isle of Wight. While she spends her days doing chores, waiting tables, and going to school, she mostly tries to keep to herself. During her free time alone, either in her room, with her horse, or at an open-mic night, Violet yearns to be a singer. Naturally gifted with a lovely voice, her dreams of becoming a pop star don’t seem that far-fetched. Over the course of the film, Violet learns how to come out of her shell and embrace her seemingly impossible dream.

Minghella wrote and directed the film, which also stars Rebecca Hall (The Town, Professor Marston and the Wonder Women) and Zlatko Buric (1864, Montana). Fred Berger (La La Land) is serving as producer

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Download Bond 25 Director Shortlist Narrows to Three Names Torrent

Bond 25 director shortlist narrows to three names

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Bond 25 director shortlist narrows to three names

Bond 25 director shortlist narrows to three names

The director hunt may be drawing to a close for Bond 25. Variety reports that the director shortlist has been narrowed down to three potential names, with one being a very strong contender for the position moving forward. Two new names have been thrown in the ring since we last revealed the initial shortlist with Bart Layton (American Animals, The Imposter) and S.J. Clarkson (Mistresses, Star Trek 4) are both now being considered for the director position for the upcoming Bond 25.

Hell or High Water director Yann Demange is the strongest contender and is back to being taken into consideration by the team at MGM. Initially, there was a concern surrounding whether or not the team would be able to view his film White Boy Rick. A screening is being arranged to see the final product before EON and MGM make their decision.

EON Production and MGM are hoping that if they can find a director soon, then the planned production schedule can be kept and the intended release date for the film can be maintained. The next Bond film may be able to hit its November 8, 2019 release date.

EON Productions and Metro Goldwyn Mayer Studios (MGM) recently reached an agreement with Universal Pictures to partner on the worldwide release of the 25th James Bond film. Daniel Craig will return as 007, the legendary British secret agent, but there is no word yet on who will now direct the film.

The 24th James Bond film, Spectre, opened in U.S. theaters on November 16, 2015. The film earned $200 million domestically and $680.6 million internationally, for a worldwide total of $880.7 million.

SPECTRE

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