Next ‘Mission: Impossible’ Delayed a Year as Actors Strike Drags On  

Tom Cruise attends the premiere of "Mission: Impossible, Dead Reckoning - Part One" at Jazz at Lincoln Center's Frederick P. Rose Hall, July 10, 2023, in New York. (AP)
Tom Cruise attends the premiere of "Mission: Impossible, Dead Reckoning - Part One" at Jazz at Lincoln Center's Frederick P. Rose Hall, July 10, 2023, in New York. (AP)
TT

Next ‘Mission: Impossible’ Delayed a Year as Actors Strike Drags On  

Tom Cruise attends the premiere of "Mission: Impossible, Dead Reckoning - Part One" at Jazz at Lincoln Center's Frederick P. Rose Hall, July 10, 2023, in New York. (AP)
Tom Cruise attends the premiere of "Mission: Impossible, Dead Reckoning - Part One" at Jazz at Lincoln Center's Frederick P. Rose Hall, July 10, 2023, in New York. (AP)

The eighth installment of the “Mission: Impossible” franchise has been postponed a year, signaling a new wave of release schedule juggling for Hollywood studios as the actors strike surpasses three months of work stoppage.

Paramount Pictures on Monday shifted the release date of the next “Mission: Impossible” from June 28 to May 23, 2025. Production on the follow-up to Christopher McQuarrie's “Mission: Impossible — Dead Reckoning Part One” was paused in July while Tom Cruise and company embarked on an international promotion blitz for “Dead Reckoning.” (The sequel had been titled “Mission: Impossible — Dead Reckoning Part Two” but is now simply listed currently as “Mission: Impossible.”)

“Dead Reckoning” ultimately grossed $567.5 million worldwide, falling shy of 2018 installment “Fallout” ($791.7 million globally) and the heady highs of Cruise's summer 2022 blockbuster “Top Gun: Maverick” ($1.5 billion). The 163-minute-long action thriller, drew some of the best reviews of the 27-year-old movie franchise, but was quickly eclipsed by the box-office juggernauts of “Barbie” and “Oppenheimer.”

As Hollywood's labor turmoil has continued, it's increasingly upended release plans not just for movies this fall that want to wait until their stars can promote them (like “Dune: Part Two,” postponed to March), but some of next year's top big-screen attractions.

A string of Marvel movies have previously shifted back, as did the third “Venom” film. “Spider-Man: Beyond the Spider-Verse” has been delayed indefinitely after being dated for March 2024.

Paramount also announced Monday that “A Quiet Place: Day One,” a prequel to the post-apocalyptic horror series starring Lupita Nyong’o, will have its release pushed from March to when “Dead Reckoning” had been scheduled to open, on June 28.

Negotiations between the Screen Actors Guild-American Federation of Television and Radio Artists and the studios are scheduled to resume Tuesday.



South Korean Cult-Horror Series ‘Hellbound’ Returns at BIFF

In this picture taken on October 2, 2024, (L-R) South Korean actors Im Seong-Jae, Kim Hyun-joo and Kim Sung-cheol arrive on the red carpet during the opening ceremony of the 29th Busan International Film Festival in Busan. (AFP)
In this picture taken on October 2, 2024, (L-R) South Korean actors Im Seong-Jae, Kim Hyun-joo and Kim Sung-cheol arrive on the red carpet during the opening ceremony of the 29th Busan International Film Festival in Busan. (AFP)
TT

South Korean Cult-Horror Series ‘Hellbound’ Returns at BIFF

In this picture taken on October 2, 2024, (L-R) South Korean actors Im Seong-Jae, Kim Hyun-joo and Kim Sung-cheol arrive on the red carpet during the opening ceremony of the 29th Busan International Film Festival in Busan. (AFP)
In this picture taken on October 2, 2024, (L-R) South Korean actors Im Seong-Jae, Kim Hyun-joo and Kim Sung-cheol arrive on the red carpet during the opening ceremony of the 29th Busan International Film Festival in Busan. (AFP)

Netflix's Korean cult-horror thriller "Hellbound" returned for its much anticipated second season with a world premiere at Busan International Film Festival, showcasing intense performances from the new cast members, particularly Moon Geun-young.

Created by Yeon Sang-ho, known for zombie flick "Train to Busan", the first season of "Hellbound" achieved critical and commercial success with its portrayal of a world where supernatural beings suddenly appear to tell people of their impending death, followed by monstrous entities that drag the condemned to hell.

Yeon, whose early works included a dark animated film about a Korean cult organization, elevates the dystopian thriller into a more philosophical realm in its second season, while still delivering the spectacle of creatures, violence, and collective religious hysteria.

"I believe that the concept of disaster in the work 'Hellbound' refers more to a mental or ideological catastrophe than to a physical disaster," director Yeon said at a BIFF event late Friday.

The show had to let go of actor Yoo Ah-in, who played a key character in season one, after he was charged with illegal drug use. Yoo was subsequently found guilty.

Kim Sung-cheol takes on the role of the charismatic leader of a cult that arose amid the horrific supernatural deaths that triggered a wave of social media frenzy, delivering a convincing portrayal of this intricate character.

But the most captivating -- and gut-wrenching -- performance of the second season arguably belongs to Moon Geun-young, a much beloved former teen actress in South Korea, who portrays a young wife gradually transforming into a deranged cult fanatic.

Yeon said he decided to cast Moon after seeing her in a 2021 TV drama where she portrayed a tormented wife who succumbs to alcoholism while caring for her alcoholic husband.

Moon did not attend this year's BIFF, but fellow cast member Kim Hyun-joo said: "Moon Geun-young made a tremendous contribution. I already knew (she was immensely talented), but I was pleasantly surprised and delighted by her performance."

The series was featured at BIFF in its big-screen theaters, even as the festival faces criticism from cinephiles for selecting a streaming title, "Uprising", also from Netflix, as its opening film this year.

Cineastes blame OTT streaming platforms for some of the challenges encountered by the traditional theater market and independent filmmakers.

"BIFF has been a key player in showcasing fresh Asian films by young, emerging talents in the region, and this has been their priority," Kay Heeyoung Kim, owner of the film studio K-Dragon, told AFP.

"But the lines between traditional independent cinema and big-budget streaming titles have blurred at this year's festival, which is unfortunate to see."

Yeon, who began his career as an independent animated filmmaker, along with his work "Hellbound," is credited with increasing the global visibility of South Korean content in recent years, alongside works like "Squid Game" and "Pachinko."