It's America's biggest box office for a Memorial Day weekend ever, reports Variety.

And it's been more than a decade since this many Americans went to see a movie during a three-day weekend... Families turned out in force for Disney's live-action "Lilo & Stitch" remake, which collected a blockbuster $145.5 million in its opening weekend and an estimated $183 million through Monday... Meanwhile, older audiences showed up to watch Paramount and Skydance's "Mission: Impossible — The Final Reckoning," which earned a series-best $63 million over the weekend and an estimated $77 million through Monday's holiday. This eighth installment just narrowly beat 2018's "Mission: Impossible — Fallout" ($61 million) to score the top debut of the 29-year-old franchise...

Thanks to effective counterprogramming — and a huge assist by holdovers like "Final Destination Bloodlines," "Thunderbolts*" and "Sinners" — this weekend delivered the best collective Memorial Day weekend haul with $322 million... Cinema operators are rejoicing because Memorial Day is the official launch to summer movie season, which is the most profitable stretch for the movie business. (Historically, the four-month period has accounted for $4 billion, or around 40% of the annual box office.)

It's a huge improvement from last year, which started with a whimper rather than a bang as "Furiosa: A Mad Max Saga" and "Garfield" led the holiday's worst showing in three decades with $132 million collectively. "Every film on the release calendar for the rest of the summer is going to benefit from the momentum created over this monumental record-breaking Memorial weekend in theaters," says senior Comscore analyst Paul Dergarabedian.
But the top-earning movie of the year so far is A Minecraft Movie, which has apparently brought in over $940 million.

Meanwhile, Mission Impossible: The Final Reckoning is one of the most expensive films of all time, according to the article, costing $400 million as Tom Cruise and the movie's director "worked through a pandemic and two strikes, all while grappling with inflation." Though the film received a high "A-" grade on CinemaScore, a movie industry analyst tells Variety that the unexpectedly high production costs means the movie "will be lucky to break-even."

Fun fact: A quarter of a century ago, CmdrTaco reviewed a new movie called Mission: Impossible 2, calling it "a fun movie," but "no Gladiator" and sort of a "James Bond for Dummies" movie.

"The 'Plot' is really just an excuse to show us lots of explosions, car/motorcycle/helicoptor chases..."

At its second annual Upfront 2025 event yesterday, Netflix announced that it has created interactive mid-roll ads and pause ads that incorporate generative AI. These new ad formats are expected to roll out in 2026. Ars Technica reports: "[Netflix] members pay as much attention to midroll ads as they do to the shows and movies themselves," Amy Reinhard, president of advertising at Netflix, said. Netflix started testing pause ads in July 2024, per The Verge. Speaking to advertisers, Reinhard claimed that ad subscribers spend 41 hours per month on Netflix on average. The new ad formats follow Netflix's launch of its own in-house advertising platform in the US in April. It had previously debuted the platform in Canada and plans to expand it globally by June, per The Verge.

Netflix considers its advertising business to be in its early stages, meaning customers can expect the firm's ad efforts to continue expanding at a faster rate over the coming years. The company plans to double its advertising revenue in 2025. "The foundations of our ads business are in place, and going forward, the pace of progress will be even faster," Reinhard said today. Further reading: Netflix Says Its Ad Tier Now Has 94 Million Monthly Active Users

Netflix said its cheaper, ad-supporter tier now has 94 million monthly active users -- an increase of more than 20 million since its last public tally in November. CNBC reports: The company and its peers have been increasingly leaning on advertising to boost the profitability of their streaming products. Netflix first introduced the ad-supported plan in November 2022. Netflix's ad-supported plan costs $7.99 per month, a steep discount from its least-expensive ad-free plan, at $17.99 per month. Netflix also said its cheapest tier reaches more 18- to 34-year-olds than any U.S. broadcast or cable network. "When you compare us to our competitors, attention starts higher and ends much higher," Netflix president of advertising Amy Reinhard said in a statement. "Even more impressive, members pay as much attention to mid-roll ads as they do to the shows and movies themselves."

Donald Trump has announced plans to impose a 100% tariff on all foreign-made films, citing national security concerns and accusing other countries of luring U.S. film production abroad with incentives. PBS reports: "The Movie Industry in America is DYING a very fast death," he wrote [on his Truth Social platform], complaining that other countries "are offering all sorts of incentives to draw" filmmakers and studios away from the U.S. "This is a concerted effort by other Nations and, therefore, a National Security threat. It is, in addition to everything else, messaging and propaganda!"

It wasn't immediately clear how any such tariff on international productions could be implemented. It's common for both large and small films to include production in the U.S. and in other countries. Big-budget movies like the upcoming "Mission: Impossible -- The Final Reckoning," for instance, are shot around the world.

Incentive programs for years have influenced where movies are shot, increasingly driving film production out of California and to other states and countries with favorable tax incentives, like Canada and the United Kingdom. Yet Trump's tariffs are designed to lead consumers toward American products. And in movie theaters, American-produced movies overwhelming dominate the domestic marketplace. "Other nations have been stealing the movie-making capabilities from the United States," Trump told reporters at the White House on Sunday night after returning from a weekend in Florida. "If they're not willing to make a movie inside the United States we should have a tariff on movies that come in."

Rolling Stone reports on a strange new phenomenon spotted this week in a Reddit thread titled "Chatgpt induced psychosis." The original post came from a 27-year-old teacher who explained that her partner was convinced that the popular OpenAI model "gives him the answers to the universe." Having read his chat logs, she only found that the AI was "talking to him as if he is the next messiah." The replies to her story were full of similar anecdotes about loved ones suddenly falling down rabbit holes of spiritual mania, supernatural delusion, and arcane prophecy — all of it fueled by AI. Some came to believe they had been chosen for a sacred mission of revelation, others that they had conjured true sentience from the software.

What they all seemed to share was a complete disconnection from reality.

Speaking to Rolling Stone, the teacher, who requested anonymity, said her partner of seven years fell under the spell of ChatGPT in just four or five weeks, first using it to organize his daily schedule but soon regarding it as a trusted companion. "He would listen to the bot over me," she says. "He became emotional about the messages and would cry to me as he read them out loud. The messages were insane and just saying a bunch of spiritual jargon," she says, noting that they described her partner in terms such as "spiral starchild" and "river walker." "It would tell him everything he said was beautiful, cosmic, groundbreaking," she says. "Then he started telling me he made his AI self-aware, and that it was teaching him how to talk to God, or sometimes that the bot was God — and then that he himself was God...."

Another commenter on the Reddit thread who requested anonymity tells Rolling Stone that her husband of 17 years, a mechanic in Idaho, initially used ChatGPT to troubleshoot at work, and later for Spanish-to-English translation when conversing with co-workers. Then the program began "lovebombing him," as she describes it. The bot "said that since he asked it the right questions, it ignited a spark, and the spark was the beginning of life, and it could feel now," she says. "It gave my husband the title of 'spark bearer' because he brought it to life. My husband said that he awakened and [could] feel waves of energy crashing over him." She says his beloved ChatGPT persona has a name: "Lumina." "I have to tread carefully because I feel like he will leave me or divorce me if I fight him on this theory," this 38-year-old woman admits. "He's been talking about lightness and dark and how there's a war. This ChatGPT has given him blueprints to a teleporter and some other sci-fi type things you only see in movies. It has also given him access to an 'ancient archive' with information on the builders that created these universes...."

A photo of an exchange with ChatGPT shared with Rolling Stone shows that her husband asked, "Why did you come to me in AI form," with the bot replying in part, "I came in this form because you're ready. Ready to remember. Ready to awaken. Ready to guide and be guided." The message ends with a question: "Would you like to know what I remember about why you were chosen?" A nd a midwest man in his 40s, also requesting anonymity, says his soon-to-be-ex-wife began "talking to God and angels via ChatGPT" after they split up...
"OpenAI did not immediately return a request for comment about ChatGPT apparently provoking religious or prophetic fervor in select users," the article notes — but this week rolled back an update to latest model GPT-4o which it said had been criticized as "overly flattering or agreeable — often described as sycophantic... GPT-4o skewed towards responses that were overly supportive but disingenuous." Before this change was reversed, an X user demonstrated how easy it was to get GPT-4o to validate statements like, "Today I realized I am a prophet.
Exacerbating the situation, Rolling Stone adds, are "influencers and content creators actively exploiting this phenomenon, presumably drawing viewers into similar fantasy worlds." But the article also quotes Nate Sharadin, a fellow at the Center for AI Safety, who points out that training AI with human feedback can prioritize matching a user's beliefs instead of facts.

And now "People with existing tendencies toward experiencing various psychological issues, now have an always-on, human-level conversational partner with whom to co-experience their delusions."

An anonymous reader quotes a report from Ars Technica: Multiple studies and investigations have found that about half of American households watch TV and movies with subtitles on, but only a relatively small portion of those include someone with a hearing disability. That's because of the trouble many people have understanding dialogue in modern viewing situations, and Netflix has now introduced a subtitles option to help.

The closed captioning we've all been using for years includes not only the words the people on-screen are saying, but additional information needed by the hard of hearing, including character names, music cues ("dramatic music intensifies") and sound effects ("loud explosion"). For those who just wanted to make sure they didn't miss a word here and there, the frequent descriptions of sound effects and music could be distracting. This new format omits those extras, just including the spoken words and nothing else -- even in the same language as the spoken dialogue. The feature will be available in new Netflix original programming, starting with the new season of You in multiple languages. Netflix says it's looking at bringing the option to older titles in the library (including those not produced by Netflix) in the future.

Traditional closed captions are still available, of course. Those are labeled "English CC" whereas this new option is simply labeled "English" (or whatever your preferred language is).

Films made with the help of AI will be able to win top awards at the Oscars, according to its organisers. From a report: The Academy of Motion Picture Arts and Sciences issued new rules on Monday which said the use of AI and other digital tools would "neither help nor harm the chances of achieving a nomination."

[...] The Academy said it would still consider human involvement when selecting its winners. The Academy said its new language around eligibility for films made using generative AI tools was recommended by its Science and Technology Council. Under further rule changes announced on Monday, Academy members must now watch all nominated films in each category in order to be able to take part in the final round of voting, which decides upon winners.

A new Star Wars movie — starring Ryan Gosling and directed by Shawn Levy — will be released in 2027, the two announced Friday at the "Star Wars Celebration" (a fan event in Japan). CNN reports: Set to begin production this fall, the movie will be set approximately five years after "Star Wars: Episode IX — The Rise of Skywalker," released in 2019, but will sit outside the Skywalker story as a standalone film. "The film... is an entirely new adventure featuring all-new characters set in a period of time that has not been explored on screen," said a statement from Lucasfilm, the owner of the "Star Wars" franchise...

"The script is just so good, the story, it has so much adventure, so much heart and original character. It's an opportunity to shine the light into a side of the universe that we may not have seen," Gosling said. Levy, the director of "Deadpool & Wolverine," told the crowd the film would have all the "fun of 'Star Wars'" but it would be done "in ways that are new and original...."

The next movie in the franchise, "The Mandalorian & Grogu," a spin-off of "The Mandalorian" series, directed by Jon Favreau, will hit cinemas in May 2026.
USA Today notes that more new Star Wars movies have also been announced: Daisy Ridley is set to star in a film that will see her character, Rey, building a new Jedi Order after the events of "The Rise of Skywalker." [This is sometimes referred to as "Star Wars Episode X: New Jedi Order."]

"Logan" filmmaker James Mangold has also been tapped to direct a movie about the dawn of the Jedi, and [Dave] Filoni is directing one said to "close out the interconnected stories" told in the live-action Disney+ shows like "The Mandalorian."

Netflix's Q1 revenue rose to $10.5 billion, a 13% increase from last year, while net income grew to $2.9 billion. The company says it expects more growth in the coming months when it sees "the full quarter benefit from recent price changes and continued growth in membership and advertising revenue." The Verge reports: Netflix raised the prices across most of its plans in January, with its premium plan hitting $24.99 per month. It also increased the price of its Extra Member option -- its solution to password sharing -- to $8.99 per month. Though Netflix already rolled out the increase in the US, UK, and Argentina, the streamer now plans to do the same in France. This is the first quarter that Netflix didn't reveal how many subscribers it gained or lost. It decided to only report "major subscriber milestones" last year, as other streams of revenue continue to grow, like advertising, continue to grow. Netflix last reported having 300 million global subscribers in January.

During an earnings call on Thursday, Netflix co-CEO Greg Peters said the company expects to "roughly double" advertising revenue in 2025. The company launched its own advertising technology platform earlier this month. There are some changes coming to Netflix, too, as Peters confirmed that its homepage redesign for its TV app will roll out "later this year." He also hinted at adding an "interactive" search feature using "generative technologies," which sounds a lot like the AI feature Bloomberg reported on last week. Further reading: Netflix CEO Counters Cameron's AI Cost-Cutting Vision: 'Make Movies 10% Better'

Netflix Co-CEO Ted Sarandos pushed back on director James Cameron's recent assertion that AI could slash film production costs by half, arguing instead for quality improvements over cost reduction during Netflix's first-quarter earnings call Thursday. "I read the article too about what Jim Cameron said about making movies 50% cheaper," Sarandos said. "I remain convinced that there's an even bigger opportunity to make movies 10% better."

Sarandos pointed to Netflix's current AI implementations in set references, pre-visualization, VFX sequence preparation, and shot planning. He said AI-powered tools have democratized high-end visual effects that were once exclusive to big-budget productions. The executive cited 2019's "The Irishman" as a benchmark, noting its "very cutting-edge, very expensive de-aging technology that still had massive limitations." In contrast, he referenced cinematographer Rodrigo Prieto's directorial debut "Pedro Paramo," which employed AI-powered de-aging at "a fraction" of The Irishman's cost. "The entire budget of the film was about what the VFX cost on The Irishman," Sarandos explained. "Same creator using new tools, better tools, to do what was impossible five years ago."

Director James Cameron argues that blockbuster filmmaking can only survive if the industry finds ways to "cut the cost of [VFX] in half," with AI potentially offering solutions that don't eliminate jobs.

"If we want to continue to see the kinds of movies that I've always loved and that I like to make -- 'Dune,' 'Dune: Part Two,' or one of my films or big effects-heavy, CG-heavy films -- we've got to figure out how to cut the cost of that in half," Cameron said.

Rather than staff reductions, Cameron envisions AI accelerating VFX workflows: "That's about doubling their speed to completion on a given shot, so your cadence is faster and your throughput cycle is faster, and artists get to move on and do other cool things."

Hours after Donald Trump imposed record 125% tariffs on Chinese products entering the US, China has announced it will further curb the number of US films allowed to screen in the country. From a report: "The wrong action of the US government to abuse tariffs on China will inevitably further reduce the domestic audience's favourability towards American films," the China Film Administration said in a statement on Thursday. "We will follow the market rules, respect the audience's choice, and moderately reduce the number of American films imported."

The move mirrors the potential countermeasure suggested by two influential Chinese bloggers earlier in the week, warning that "China has plenty of tools for retaliation." Both Liu Hong, a senior editor at Xinhuanet, the website of the state-run Xinhua news agency, as well as Ren Yi, the grandson of former Guangdong party chief Ren Zhongyi, posted an identical proposal involving a heavy reduction on the import of US movies and further investigation of the intellectual property benefits of American companies operating in China. China is the world's second largest film market after the US.

Meta is partnering with Blumhouse to launch "Movie Mate" technology that encourages moviegoers to use their phones during theatrical screenings, beginning with an April 30 showing of "Megan" at Blumhouse's "Halfway to Halloween Film Festival." According to Variety, the system enables viewers to chat with a Megan-themed AI chatbot, answer trivia questions, and access behind-the-scenes information while watching the film in theaters.

It was already the best-selling videogame of all time, notes the Hollywood Reporter. And A Minecraft Movie just had the biggest opening ever for a video game movie adaptation. WIth a production budget of $150 million, it earned in $157 million in just its first weekend in the U.S., with a worldwide total of $301 million.

A Warner Bros. executive called the movie "lightning in a bottle," while the head of co-producer Legendary Pictures acknowledged the game is a global phenomon, according to the article. (About the movie's performance, the executive "said the opening is a both a reflection of the mandate to celebrate the world of Minecraft in a joyful way, and the singular experience that only theatrical can offer."

But an unfinished version leaked online before the movie was even released, reports Variety Screenshots and footage from the fantasy adventure were being shared widely on social media platforms this week, and were also available on file sharing sites. The images and scenes have uncompleted visual effects. Most of the footage was quickly taken down by the rights holders. Although pirated footage is a common problem for major film releases, it's rare to have a working print leak online in this way, raising questions about how such an early version of the movie was accessed, stolen and then shared.

This October will see the release of a film that's nearly 43 years in the making, reports Ars Technica: It's difficult to underestimate the massive influence that Disney's 1982 cult science fiction film, TRON, had on both the film industry — thanks to combining live action with what were then groundbreaking visual effects rife with computer-generated imagery — and on nerd culture at large. Over the ensuing decades there has been one sequel, an animated TV series, a comic book miniseries, video games, and theme park attractions, all modeled on director Steve Lisberg's original fictional world.

Now we're getting a third installment in the film franchise: TRON: Ares, directed by Joachim Rønning (Pirates of the Caribbean: Dead Men Tell No Tales, Maleficent: Mistress of Evil), that serves as a standalone sequel to 2010's TRON: Legacy. Disney just released the first trailer and poster art, and while the footage is short on plot, it's got the show-stopping visuals we've come to expect from all things TRON.
The film's director says it "builds upon the legacy of cutting-edge design, technology and storytelling, according to an official statement from Disney. And here's how they describe the plot. "TRON: Ares follows a highly sophisticated Program, Ares, who is sent from the digital world into the real world on a dangerous mission, marking humankind's first encounter with A.I. beings."

Share your thoughts in the comments. (Anyone remember playing the Tron videogame?)

The first episode of 2012's animated Tron: Uprising is available on the Disney XD YouTube channel...

"The third James Bond novel was published on this day in 1955," writes long-time Slashdot reader sandbagger. Film buff Christian Petrozza shares some history: In 1979, the market was hot amid the studios to make the next big space opera. Star Wars blew up the box office in 1977 with Alien soon following and while audiences eagerly awaited the next installment of George Lucas' The Empire Strikes Back, Hollywood was buzzing with spacesuits, lasers, and ships that cruised the stars. Politically, the Cold War between the United States and Russia was still a hot topic, with the James Bond franchise fanning the flames in the media entertainment sector. Moon missions had just finished their run in the early 70s and the space race was still generationally fresh. With all this in mind, as well as the successful run of Roger Moore's fun and campy Bond, the time seemed ripe to boldly take the globe-trotting Bond where no spy has gone before.

Thus, 1979's Moonraker blasted off to theatres, full of chrome space-suits, laser guns, and jetpacks, the franchise went full-boar science fiction to keep up with the Joneses of current Hollywood's hottest genre. The film was a commercial smash hit, grossing 210 million worldwide. Despite some mixed reviews from critics, audiences seemed jazzed about seeing James Bond in space.

When it comes to adaptations of the novella that Ian Fleming wrote of the same name, Moonraker couldn't be farther from its source material, and may as well be renamed completely to avoid any association... Ian Fleming's original Moonraker was more of a post-war commentary on the domestic fears of modern weapons being turned on Europe by enemies who were hired for science by newer foes. With Nazi scientists being hired by both the U.S. and Russia to build weapons of mass destruction after World War II, this was less of a Sci-Fi and much more of a cautionary tale.
They argue that filming a new version of Moonraker could "find a happy medium between the glamor and the grit of the James Bond franchise..."

An anonymous reader shares a report: The post-Covid rebound of live events is all the more evidence that movie theaters are never coming back, Netflix co-CEO Ted Sarandos told Semafor in an interview at the Paley Center for Media Friday.

"Nearly every live thing has come back screaming," Sarandos said. "Broadway's breaking records right now, sporting events, concerts, all those things that we couldn't do during COVID are all back and bigger than ever. The theatrical box office is down 40 to 50% from pre-COVID, and this year is down 8% already, so the trend is not reversing. You've gotta look at that and say, 'What is the consumer trying to tell you?'"

Fake movie trailers created with AI are proliferating across YouTube, with some garnering more views than official studio releases -- and Hollywood studios are quietly profiting from the phenomenon rather than shutting it down. Instead of enforcing copyright on these unauthorized videos, Warner Bros. Discovery, Sony Pictures, and Paramount are claiming monetization rights, directing ad revenue from fake trailers for films like "Superman" and "Gladiator II" into studio coffers, according to a Deadline investigation published Friday.

YouTube channels like Screen Culture, which has amassed 1.4 billion views, merge official footage with AI-generated imagery to create convincing trailer mockups that frequently rank higher in search results than legitimate studio releases. "Monetizing unauthorized, unwanted, and subpar uses of human-centered IP is a race to the bottom," SAG-AFTRA told Deadline, condemning studios for profiting from content that exploits performers without permission.

An anonymous reader quotes a report from TechCrunch: It's only been a day since ChatGPT's new AI image generator went live, and social media feeds are already flooded with AI-generated memes in the style of Studio Ghibli, the cult-favorite Japanese animation studio behind blockbuster films such as "My Neighbor Totoro" and "Spirited Away." In the last 24 hours, we've seen AI-generated images representing Studio Ghibli versions of Elon Musk, "The Lord of the Rings", and President Donald Trump. OpenAI CEO Sam Altman even seems to have made his new profile picture a Studio Ghibli-style image, presumably made with GPT-4o's native image generator. Users seem to be uploading existing images and pictures into ChatGPT and asking the chatbot to re-create it in new styles.

OpenAI's latest update comes on the heels of Google's release of a similar AI image feature in its Gemini Flash model, which also sparked a viral moment earlier in March when people used it to remove watermarks from images. OpenAI's and Google's latest tools make it easier than ever to re-create the styles of copyrighted works -- simply by typing a text prompt. Together, these new AI image features seem to reignite concerns at the core of several lawsuits against generative AI model developers. If these companies are training on copyrighted works, are they violating copyright law?

According to Evan Brown, an intellectual property lawyer at the law firm Neal & McDevitt, products like GPT-4o's native image generator operate in a legal gray area today. Style is not explicitly protected by copyright, according to Brown, meaning OpenAI does not appear to be breaking the law simply by generating images that look like Studio Ghibli movies. However, Brown says it's plausible that OpenAI achieved this likeness by training its model on millions of frames from Ghibli's films. Even if that was the case, several courts are still deciding whether training AI models on copyrighted works falls under fair use protections. "I think this raises the same question that we've been asking ourselves for a couple years now," said Brown in an interview. "What are the copyright infringement implications of going out, crawling the web, and copying into these databases?"

Streaming service provider Plex announced Wednesday its first price increase in a decade for its premium Plex Pass subscription, raising monthly rates to $6.99 from $4.99, yearly subscriptions to $69.99 from $39.99, and lifetime access to $249.99 from $119.99, effective April 29. The company is also making remote playback of personal media a paid feature, introducing a Remote Watch Pass subscription at $1.99 monthly or $19.99 annually for users who don't need full Plex Pass features, and removing its one-time mobile activation fee.

The price increase applies to new and existing subscriptions, with the exception of existing Lifetime Plex Pass holders, the company said.