Massive press interest aside, current Bond films have far less mainstream appeal than they did in the 20th century. One statistic to explain what 007 is up against: 36 percent of its domestic audience was over 45, and 57 percent was over 35. For “Venom: Let There Be Carnage” last weekend, more than two-thirds of its audience was under 35. In a release announcing its Bond results, United Artists indicated that 25 percent of its audience returned to theaters for the first time since before the pandemic....

As Variety reports: “The movie cost more than $250 million to produce, at least $100 million to promote and tens of millions more to postpone over 16 months. Insiders say ‘No Time to Die’ needs to make closer to $900 million to break even, a feat that would have been realistic had a global health crisis not entirely upended the theater industry. As a result, the film now stands to lose $100 million in its theatrical run, according to sources close to production....

The $19.99 rental title added home viewing while still at 2,405 theaters. Even with just three days’ availability, it scored #1 spots Apple (by rentals) and FandangoNow (by revenue). (It is also #7 at GoogleTV, which usually lags a few days behind Apple, but was released too late for inclusion on Spectrum Cable’s site). A strategy originally conceived to buttress Universal from uncertain theatrical response, it’s become a hit for consumers at home while maintaining box-office interest....

“The filmmaker’s curiosity of trying to talk about humanity through nature because it’s not just us and nature, we’re the same thing,” Zhao told Criterion about “The New World.” “And he’s really asking us to think that way in his filmmaking, and that dictates how he works with his actors and how his cinematography works.” While she was on the Filmmaker Toolkit podcast to discuss her third feature film, the Oscar frontrunner “Nomadland,” IndieWire asked Zhao if her description of Malick doesn’t also apply to her own approach to story and filmmaking....

“Taken together, the movies in this year’s Main Slate are a reminder of cinema’s world-making possibilities,” said Dennis Lim, NYFF Director of Programming and chair of the Main Slate selection committee in an official statement. “They open up new ways of seeing and feeling and thinking, and whether or not they refer to our uncertain present, they help us make sense of our moment.” The rest of the slate is rounded out with a series of Cannes standouts, including Paul Verhoeven’s “Benedetta,” Mia Hansen-Løve’s “Bergman Island,” Nadav Lapid’s “Ahed’s Knee,” Gaspar Noé’s “Vortex,” Apichatpong Weerasethakul’s “Memoria,” Saul Williams and Anisia Uzeyman’s “Neptune Frost,” Jonas Carpignano’s “A Chiara,” and Joachim Trier’s “The Worst Person in the World....

The source material tells an existential horror story about mysterious and rapid aging occurring on a beach, where a group of tourists seem unable to leave. Shyamalan has assembled a great international cast, including Gael García Bernal, Eliza Scanlen, Thomasin McKenzie, Aaron Pierre, Alex Wolff, Vicky Krieps, Abbey Lee, Embeth Davidtz, and Rufus Sewell. The film shot around the Dominican Republic (a first for Shyamalan), and was originally set to release February 26 before the pandemic led to a delay....

We haven’t seen the Dimases much in Season 2 but this week’s episode “Flipping the Pieces” brings Theo Dimas back to the fold, pairing him up with Mabel (Selena Gomez) as everyone continues to look for Bunny’s killer. Right away, Caverly’s presence slows the narrative — not in a negative way — but by giving the audience a chance to look at his relationship to himself and the other characters....