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The heads of Amazon MGM Studios used Wednesday’s CinemaCon trade show to temper expectations surrounding the next James Bond film. Executives confirmed that the iconic spy has not yet been cast, citing a deliberate, respectful approach to the decision.Courtenay Valenti, Amazon MGM’s head of film, addressed the crowd with a measured tone: “We know you’re eager to learn who will embody James Bond, but we’re taking the time to do this with care and deep respect.” She stressed that the role is “a lifetime dream” and a responsibility the studio does not take lightly.Valenti highlighted the caliber of talent attached to the project, noting that the franchise will be paired with renowned director Denis Villeneuve, acclaimed producers Amy Pascal and David Heyman, executive producer Tanya Lapointe, and screenwriter Steven Knight. This combination, she argued, sets the stage for a film worthy of the Bond legacy.The upcoming installment is slated for a 2028 release, implying that principal photography is likely to commence in late 2026. The timeline follows earlier announcements in June 2025 (Villeneuve as director) and August 2025 (Knight as writer).Speculation about potential leads has centered on three actors: Callum Turner, Aaron Taylor‑Johnson, and Jacob Elordi. If Elordi were chosen, he would become the youngest, tallest, and second Australian to portray the famed spy.Despite his recent Oscar‑nominated turn in Frankenstein and a high‑profile role in Wuthering Heights, Elordi’s schedule appears unusually open, fueling further conjecture.Valenti concluded with confidence: “The film is coming, and when the time is right, we’ll have much more to share.”

German director Christian Petzold, known for his elegant and disquieting films, presents 'Miroirs No 3', a psychological mystery that delves into the complexities of grief and family dysfunction. The film, starring Paula Beer as Laura, a talented pianist struggling with depression, navigates the aftermath of a sudden violent trauma.The story takes a fascinating turn when Laura, who survives a catastrophic car crash, meets Betty, an intense and enigmatic woman, played by Barbara Auer. Betty's character is shrouded in mystery, and her relationship with Laura becomes increasingly complex. As Laura becomes entangled in Betty's family dynamics, the film masterfully crafts an atmosphere of tension and unease.Petzold's direction weaves a narrative that eschews macabre twists and instead, steers towards a redemptive conclusion. The film's use of Maurice Ravel's Miroirs, particularly the third movement 'A Boat on the Ocean', adds a dreamlike quality to the proceedings. This subtle touch showcases Petzold's skill in creating an elegantly contrived study of an unhappy family group.The performances, particularly from Beer and Auer, bring depth to the film's exploration of emotional trauma and the complexities of human relationships. As the story unfolds, the audience is left questioning the characters' motivations and the true nature of their interactions. 'Miroirs No 3' is a thought-provoking and hauntingly beautiful film that solidifies Petzold's reputation as a master of modern European cinema.

Cédric Klapisch’s new film, Colours of Time, is an entertaining sentimental fantasy that invents a romantic backstory to the career of Claude Monet and his contemporary, the pioneering photographer Félix Nadar. The film follows Adèle, a fictional young woman who makes a fateful journey to find her errant mother in Paris during the belle époque, leaving behind her sweetheart and the village where she was brought up, in the countryside near Monet’s home town of Le Havre.The story intercuts enjoyably between past and present, as Adèle's life and times are rediscovered by her descendants. In the present day, dozens of descendants of Adèle are contacted by lawyers and PRs working for a property company that wants to build a vast new shopping mall, which would mean bulldozing Adèle’s derelict cottage. This garrulous ragtag bunch must give their collective consent, leading to a journey of discovery that uncovers historical secrets: photos, letters, and even what might be a painting.The film takes a pretty un-subversive view of art and artists but is executed with brio and comic gusto, particularly in the “past” sections. Suzanne Lindon’s performance has charm, and the detective work is interspersed ingeniously with what Adèle in her own day discovers about her errant mother. The film culminates in a wacky climax when the present-day claimants have an Ayahuasca psychoactive experience, sending them back in time to encounter historical culture icons in person at an exhibition.Colours of Time is a film that requires a sweet tooth, but it’s tasty. It’s set to hit UK cinemas from 17 April.

The Italian comedy-drama Diamanti is set in a costume atelier in 1970s Rome and features a predominantly female ensemble. While it may be light on comedy, the drama is decidedly on the melo end of the scale, making it a sumptuously soapy dramedy. The film's strength lies in its luscious-looking period costumes, which specialize in 18th-century silhouettes and 1970s prints.Director Ferzan Özpetek brings his love and sincerity to the film, which is inspired by his visits to costume studios around Rome in the 80s. The story follows sisters Alberta (Luisa Ranieri) and Gabriella (Jasmine Trinca) as they run a studio staffed by dozens of seamstresses. The film's framing device features Özpetek himself gathering his cast for a read-through, where one character describes the female assemblage as a “vaginodromo”.The film explores various subplots, including girl-on-girl tension among the staff, a battered wife urged to defy her husband, and a political protestor with a gift for passementerie and decoupage. The costumes designed by Stefano Ciammitti convince throughout, and the film's 135-minute runtime feels breathless, never draggy.Diamanti is set to release in UK and Irish cinemas from 17 April. With its stacked cast and Özpetek's direction, this film is sure to delight fans of period dramas and costume films.

The Blue Trail, directed by Gabriel Mascaro, is a captivating and thought-provoking film that defies easy categorization. Set in the remote north-west of Brazil, the movie follows Tereza, a 77-year-old widow played by Denise Weinberg, as she navigates a dystopian future where older citizens are forced into 'colonies'. This chilling premise serves as the backdrop for a film that explores themes of rebellion, freedom, and the patronization of older people.The film's narrative is characterized by its meandering pace, reminiscent of a road movie or river movie, as Tereza encounters a series of characters who aid her in her escape. These encounters are woven together with fascinating visual compositions, showcasing the Amazonian landscape in a way that is both breathtaking and haunting.One of the most striking aspects of The Blue Trail is its exploration of gerontocide and the dehumanizing treatment of older citizens. The 'wrinkle wagon', a special prison vehicle for errant oldsters, and the humiliating, compulsory adult diapers issued to those being transported to 'colonies' are potent symbols of this theme.Tereza's journey is marked by moments of defiance and resilience, as she forms connections with a riverboat captain, Cadu (played by Rodrigo Santoro), and a woman named Roberta (played by Miriam Socarras), who becomes her friend and potential love interest.The film's use of symbolism adds depth to its narrative, particularly in the form of the 'blue drool snail', whose ecstatic visions offer a glimpse into a world beyond the dystopian reality. This blend of tones, from the bittersweet to the subversive and disquieting, makes The Blue Trail a generic mashup that is both captivating and thought-provoking.The Blue Trail is set to release in UK and Irish cinemas on April 17, making it a must-watch for fans of dystopian fiction and those interested in exploring the complexities of ageism and rebellion.

The Bridget Jones statue in Leicester Square, London, has been made a permanent fixture, joining other iconic characters like Harry Potter, Mary Poppins, and Batman. Originally intended to stay for three years, the statue has become a beloved landmark.149 days without vices have passed since its unveiling, and the statue's fast is set to continue indefinitely. The statue depicts Bridget Jones clutching her diary and pen, wearing a gaping cardigan exposing her navel.Kirsty Tullett-Jones, director of marketing and communications for Discover Leicester Square, said: “For 25 years, Bridget has made Londoners laugh, cry and feel seen. The reaction to her arrival in Leicester Square has been incredible, showing just how much she continues to resonate with audiences today.”The statue was unveiled by stars of the film, including Renée Zellweger and Sally Phillips, alongside Helen Fielding, who created the character. The Bridget Jones series of novels has been published in over 40 countries, and the four films have a combined box office of $900m (£683m).The news coincides with the return to cinemas of the first film, Bridget Jones’s Diary, released 25 years ago. The fourth film, Mad About the Boy, was the second highest-grossing movie in the UK last year and was nominated for an Emmy and a Bafta.

Brian Cox steps behind the camera for the first time with Glenrothan, a sentimental comedy‑drama that paints a broad, colour‑rich portrait of family ties in rural Scotland. The screenplay, penned by David Ashton, follows the uneasy reunion of two brothers against the backdrop of a lucrative, family‑run whisky distillery.Cox portrays Sandy, the stern yet ailing chief of the distillery, a business that anchors the local economy. His sister‑in‑law Jess, played by Shirley Henderson, runs the operation with unflinching competence. Sandy’s younger brother Donal, embodied by Alan Cumming, has been living in Chicago, managing a blues bar with his daughter Amy. When the bar falters, Donal receives a plaintive invitation to return home, prompting a journey that includes his granddaughter Sasha.The film juxtaposes the gritty world of Chicago blues with the serene, panoramic vistas of the Scottish Highlands, delivering visual moments that are both expansive and intimate. Whisky expertise becomes a narrative thread as Sandy, aware of Donal’s superior palate, grapples with the future of the family business and the inevitable question of succession.Humorous touches—such as Donal’s disastrous attempt at making porridge and his nostalgic discovery of a bedroom frozen in time with Buzzcocks posters—lend the story a comforting, almost TV‑night feel without sacrificing depth.Glenrothan opens in UK cinemas on 17 April and reaches Australian screens on 25 June, offering audiences a gentle, well‑acted exploration of brotherly bonds, legacy, and the pull of home.

Adam Scott, a familiar face in the entertainment industry since the 90s, has had a diverse career spanning films like Hellraiser IV: Bloodline, Star Trek: First Contact, Knocked Up, and Step Brothers. One of his most memorable roles was as Ben Wyatt in Parks and Recreation, where he played a state auditor and the anxious policy wonk turned devoted husband to Leslie Knope, played by Amy Poehler.Since his time on Parks and Recreation, Scott has continued to work in both comedy and drama, appearing in shows such as The Good Place and Veep, as well as taking the lead in the Apple TV hit Severance. His film work has also been notable, with roles in Madame Web alongside Dakota Johnson and as an absent father in Stephen King’s The Monkey.In addition to his acting career, Scott also runs a podcast series called U Talkin’…, where he deep-dives into bands like U2, REM, and Talking Heads. He has also expressed his fandom on occasion, such as when he met his hero Mark Hamill on Jimmy Kimmel.Now, Adam Scott is set to star in the supernatural horror film Hokum, which is scheduled to release in cinemas on May 1st. Fans have the opportunity to ask him questions about his career and upcoming projects, with responses to be published in a reader interview series. Questions must be submitted by 3pm BST this Thursday, April 16th.

After a 90‑year blackout, MGM’s 1932 melodrama Letty Lynton is set for its first legal public screening. The film, starring Hollywood icon Joan Crawford, was withdrawn in 1937 following a plagiarism lawsuit and pressure from the Hays Office, which deemed its risqué themes “unfit for adaptation”.The controversy began when MGM attempted to acquire the rights to the Broadway hit Dishonored Lady, a play notorious for its depictions of booze, drugs and sexual intrigue. After the playwrights demanded $30,000—a sum the studio balked at—MGM settled for the cheaper novel by Marie Belloc Lowndes for $3,500. The resulting film, inspired by the 1857 murder trial of Scottish socialite Madeleine Smith, shocked contemporary censors with scenes such as Crawford’s character watching her ex‑lover sip poisoned champagne.Legal battles intensified when playwrights Edward Sheldon and Margaret Ayer Barnes sued MGM for plagiarism, alleging the movie copied their work rather than the novel. The protracted case forced MGM to pull the film from circulation in 1937, and a year later Crawford herself was labeled “box‑office poison”. Yet both the actress and the film survived, resurfacing in cultural memory through fashion and later adaptations.Beyond cinema, Letty Lynton left an indelible mark on 1930s style. Costume designer Adrian created a white organdy dress with exaggerated sleeves for Crawford; the design was mass‑produced for Macy’s and sparked a nationwide craze. Edith Head later called the dress “cinema’s single biggest influence on fashion”.The film’s revival is largely credited to Crawford’s grandson, Casey LaLonde. In an Instagram post, he announced that the play’s copyright would expire on 31 December 2025, clearing the legal path for a public showing. Warner Bros., which now holds the rights to many pre‑1986 MGM titles, restored the picture in 4K and arranged for its debut at the TCM Film Festival in Los Angeles on 1 May 2026. The movie will also be issued on Blu‑ray and DVD through the Warner Archive.LaLonde thanked Warner Bros. and library historian George Feltenstein for making the restoration possible, noting that without their effort “we wouldn’t have this fabulous film to see again on big and small screens.”Fans of classic Hollywood can finally experience a piece of cinema history that was once deemed too daring for the silver screen, offering a fresh look at Joan Crawford’s daring performance and the era’s bold storytelling.