First Reactions to ‘The Flash,’ Starring Ezra Miller

Andy Muschietti, left, director of the upcoming film "The Flash," discusses the film alongside Peter Safran, co-chairman and CEO of DC Studios, during the Warner Bros. Pictures presentation at CinemaCon 2023, the official convention of the National Association of Theatre Owners (NATO) Chris Pizzello/Invision/AP
Andy Muschietti, left, director of the upcoming film "The Flash," discusses the film alongside Peter Safran, co-chairman and CEO of DC Studios, during the Warner Bros. Pictures presentation at CinemaCon 2023, the official convention of the National Association of Theatre Owners (NATO) Chris Pizzello/Invision/AP
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First Reactions to ‘The Flash,’ Starring Ezra Miller

Andy Muschietti, left, director of the upcoming film "The Flash," discusses the film alongside Peter Safran, co-chairman and CEO of DC Studios, during the Warner Bros. Pictures presentation at CinemaCon 2023, the official convention of the National Association of Theatre Owners (NATO) Chris Pizzello/Invision/AP
Andy Muschietti, left, director of the upcoming film "The Flash," discusses the film alongside Peter Safran, co-chairman and CEO of DC Studios, during the Warner Bros. Pictures presentation at CinemaCon 2023, the official convention of the National Association of Theatre Owners (NATO) Chris Pizzello/Invision/AP

The words “impressive” and “awesome” were common refrains from a group of entertainment reporters who were among the first to see the upcoming DC superhero movie “The Flash.”

Warner Bros. screened the film for the first time at CinemaCon Tuesday for theater owners, exhibitors and reporters attending the annual trade show and industry conference, The Associated Press said.

Reviews are embargoed until a later date – the film, the studio said, is not completely finished – but viewers were able to post reactions on social media as soon as the credits rolled.

Brian Welk of Indiewire wrote that “it played very well,” pointing out that there were more than a few screams and gasps in the packed theater.

Film critic Jordan Hoffman tweeted that it was, “far more madcap than I expected. Really nailed what reading a 5-issue crossover comic book is like. Tons of Ezra Miller being zany and time paradox stuff. Nerds will lose their minds at the ending.”

“The Playlist’s” Greg Ellwood wrote that it was “very good” and that Miller was “great,” while Scott Mantz went a step further declaring that it’s “one of the very best DC movies, a perfect blend of action, heart & humor.”

Erik Davis, of Fandango, wrote on Twitter that it is “tremendous" and that it is “without a doubt among the best superhero films ever made. An all-timer. Inventive storytelling, FANTASTIC action sequences, great cast. SO MANY nerdy details.”

Jason Guerrasio, of Business Insider, had a more tempered reaction, writing that it is “def not the best superhero movie ever made ... but it’s an impressive DC movie with lots of emotion and loads of surprises.”

“The Flash,” directed by Andy Muschietti, is one of the studio’s biggest films of the year. In the film, Barry Allen uses his superpowers to go back in time in an attempt to change the past and save his parents. But things go awry and he finds himself stuck in a very different reality where Michael Shannon's General Zod is back and Batman is not the Batman he knows (Ben Affleck's version). Widely available trailers have already revealed that the new Batman he encounters is Michael Keaton's version.

After the box office disappointment of “Shazam! Fury of the Gods” earlier this year, the hope is that “The Flash,” which reportedly carries a $200 million budget, will reach blockbuster heights when it opens in theaters on June 16.

The long-planned standalone about The Flash/Barry Allen has also been the subject of much discussion because of its star Ezra Miller, who made headlines last year for a string of arrests and erratic behavior.

Miller was arrested twice last year in Hawaii, for disorderly conduct and harassment at a karaoke bar and then for second-degree assault. The parents of 18-year-old Tokata Iron Eyes, a Native American activist, last year filed a protection order against Miller, accusing the actor of grooming their child and other inappropriate behavior with her as a minor from the age of 12. Tokata Iron Eyes has disputed that.

Miller, who identifies as non-binary and goes by they/them pronouns, said last year that they were seeking mental health treatment.

The development of a standalone Flash movie has been in the works for almost 10 years. In one plan, announced at Comic Con in 2014, an Ezra Miller Flash movie would have hit theaters in 2018. Muschietti wouldn’t even be attached to direct until 2019.

Warner Bros. has, throughout Miller’s personal troubles and the shelving of “Batgirl,” remained steadfast in its plans to release the “The Flash.”

And though plans are already underway for a new future for DC Studios, “The Flash” has been one that the new regime of James Gunn and Peter Safran have seemed particularly excited about. Gunn said it was, “One of the best superhero films I’ve ever seen.” And Warner Bros.

Discovery president and CEO David Zaslav even boasted that Tom Cruise saw and loved the film so much that he called Muschietti himself to congratulate him.



Sundance Film Festival Reveals Details about Robert Redford Tributes and Legacy Screenings

The marquee of the Egyptian Theatre appears during the Sundance Film Festival in Park City, Utah on Jan. 28, 2020. (AP)
The marquee of the Egyptian Theatre appears during the Sundance Film Festival in Park City, Utah on Jan. 28, 2020. (AP)
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Sundance Film Festival Reveals Details about Robert Redford Tributes and Legacy Screenings

The marquee of the Egyptian Theatre appears during the Sundance Film Festival in Park City, Utah on Jan. 28, 2020. (AP)
The marquee of the Egyptian Theatre appears during the Sundance Film Festival in Park City, Utah on Jan. 28, 2020. (AP)

Robert Redford’s legacy and mission was always going to be a key component of the 2026 Sundance Film Festival, which will be the last of its kind in Park City, Utah. But in the wake of his death in September at age 89, those ideas took on a new significance.

This January, the institute that Redford founded over 40 years ago, plans to honor his career and impact with and a screening of his first truly independent film, the 1969 sports drama “Downhill Racer,” and a series of legacy screenings of restored Sundance gems from “Little Miss Sunshine” to “House Party,” festival organizers said Tuesday.

“As we were thinking about how best to honor Mr. Redford’s legacy, it’s not only carrying forward this notion of ‘everyone has a story’ but it’s also getting together in a movie theater and watching a film that really embodies that independent spirit,” festival director Eugene Hernandez told The Associated Press. “We’ve had some incredible artists reach out to us, even in the past few weeks since Mr. Redford’s passing, who just want to be part of this year’s festival.”

Archival screenings will include “Saw,” “Mysterious Skin” and “House Party,” as well as the 35th anniversary of Barbara Kopple’s documentary “American Dream,” and 20th anniversaries of “Half Nelson” and “Little Miss Sunshine,” with some of the filmmakers expected to attend as well.

“Over the almost 30 years of Sundance Institute’s collaboration with our partner, the UCLA Film & Television Archive, we’ve not only worked to ensure that the Festival’s legacy endures through film preservation, but we’ve seen that output feed an astonishing resurgence of repertory cinema programming across the country,” said festival programmer John Nein.

“The films we’ve preserved and the newly restored films screening at this year’s festival, including some big anniversaries, are an important way to keep the independent stories from years past alive in our culture today.”

Tickets for the 2026 festival, which runs from Jan. 22 through Feb. 1, go on sale Wednesday at noon Eastern, with online and in person options. Some planning is also already underway for the festival’s new home in Boulder, Colorado, in 2027, but programmers are heads down figuring out the slate of world premieres for January. Those will be revealed in December.

“There’s a lot more to come and a lot more to announce,” Hernandez said. “This is just laying a foundation.”

Redford's death has added a poignancy to everything.

“Seeing and hearing the remembrances took me back to why I felt compelled to go to the festival in the first place,” Hernandez said. “It’s been very grounding and clarifying and for us as a team it’s been very emotional and moving. But it’s also been an opportunity to remind ourselves what Mr. Redford has given to us, to our lives, to our industry, to Utah.”


'Dream Come True' for US Pianist Eric Lu after Chopin Competition Win 

Pianists vying for the top prize performed in a multi-stage contest to showcase their skills in various musical forms. Wojtek RADWANSKI / AFP
Pianists vying for the top prize performed in a multi-stage contest to showcase their skills in various musical forms. Wojtek RADWANSKI / AFP
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'Dream Come True' for US Pianist Eric Lu after Chopin Competition Win 

Pianists vying for the top prize performed in a multi-stage contest to showcase their skills in various musical forms. Wojtek RADWANSKI / AFP
Pianists vying for the top prize performed in a multi-stage contest to showcase their skills in various musical forms. Wojtek RADWANSKI / AFP

American pianist Eric Lu won the top prize at the prestigious International Chopin Piano Competition, the contest's Polish organizers said Tuesday.

The competition -- held every five years in Frederic Chopin's homeland -- is seen as a gateway to classical music glory, with winners going on to play top global venues and sign recording deals.

"This is a dream come true," Lu, 27, told reporters in Warsaw, thanking "all the Chopin lovers around the world".

A graduate of the Curtis Institute of Music in Philadelphia, Lu participated in the competition's 2015 edition, finishing fourth.

Pianists vying for the top prize performed in a multi-stage contest to showcase their skills in various musical forms composed by Chopin, including polonaises, sonatas and mazurkas, AFP said.

It culminated with a final round that saw 11 pianists performing one of two Chopin piano concertos and his Polonaise-Fantaisie, considered notoriously difficult to master.

Previous winners of the competition include some of the biggest names in classical music, including Maurizio Pollini, Martha Argerich and Krystian Zimerman.

American pianist Garrick Ohlsson, who won the top prize in 1970, chaired the jury that selected this year's winner.

"We had a number of very difficult discussions involving our opinions about artistic matters, and it did really take this long", Ohlsson said after the jury's nearly five-hour deliberations.

"But we actually got rid of the roadblocks, and I think we have a fine decision for this year's competition," he added.

Record interest

Canada's Kevin Chen, 20, finished second and China's Zitong Wang, 26, came third.

The winner receives a prize of 60,000 euros ($70,000).

Young pianists aged 16 to 30 were eligible to take part in the competition, first held in 1927, and the Warsaw organizers received a record number of more than 600 applications for this year's edition.

Only around a tenth of them made it through a complex qualification process that included playing in a preliminary round in Warsaw.

The last event, held in 2021 after being deferred because of the Covid pandemic, ended with Canadian pianist Bruce Liu scoring the highest accolade.

Broadcast live on YouTube, the contest attracted record online interest and drew music buffs from around the world.

"I came here to just listen to this concert," Kosei Harada, a 21-year-old Japanese student living in Germany told AFP after the competition's final stage and the verdict.

"Actually I wanted the Japanese to take the prize. But I really loved the performance of Eric Lu too. So it's okay for me," Harada said.

Tickets for the competition had sold out within 30 minutes of their release online, with the final round tickets gone in two minutes.


Adam Driver on Working with Jarmusch, ‘Star Wars’ and Putting Filmmakers First 

Adam Driver arrives at the Los Angeles premiere of "Star Wars: The Last Jedi" on Dec. 9, 2017. (AP)
Adam Driver arrives at the Los Angeles premiere of "Star Wars: The Last Jedi" on Dec. 9, 2017. (AP)
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Adam Driver on Working with Jarmusch, ‘Star Wars’ and Putting Filmmakers First 

Adam Driver arrives at the Los Angeles premiere of "Star Wars: The Last Jedi" on Dec. 9, 2017. (AP)
Adam Driver arrives at the Los Angeles premiere of "Star Wars: The Last Jedi" on Dec. 9, 2017. (AP)

Props, mementos and photographs adorn Adam Driver ’s Brooklyn office. There’s an artwork Jim Jarmusch gave him for his 40th birthday, the doll from Leos Carax’s “Annette” and dozens of on-set photographs, including one of Driver and his son in the Millennium Falcon.

“A friend who saw all this said: ‘Oh, so you care,’” Driver says, chuckling.

Driver, 41, can come off as stoic but his passion for movies and, in particular, the filmmakers who make them, runs deep. In a relatively short amount of time, he’s worked with a litany of one-name directors: Scorsese. Coppola. Spike. Mann. Spielberg. Jarmusch. Soderbergh.

In a movie age where franchises, not filmmakers, have ruled the industry, Driver has stayed remarkably loyal to directors compelled to make personal films. He gamely followed Francis Ford Coppola into “Megalopolis” and helped Michael Mann realize his decades-long passion project, “Ferrari.”

This fall, he co-stars in his third Jarmusch movie, the Venice prize-winner “Father Mother Sister Brother.” All Jarmusch needed to do was ask, Driver says, and he was in, no matter the role.

While “Father Mother Sister Brother” was playing at the New York Film Festival, Driver met a reporter shortly before leaving to Budapest to shoot “Alone at Dawn” with Ron Howard. It’s a meaningful film for Driver, a former Marine. In it, he plays John Chapman, an Air Force combat controller who was killed fighting in Afghanistan in 2002.

“It deals with character and story and — just tying it with ‘Father Mother Sister Brother’ — that’s why I like these filmmakers so much,” Driver says. “They’re seemingly few and far between and are making films that feel like they were directed by a person.”

But Driver’s faith in filmmakers isn’t always shared by the powers that be in the industry. In a lengthy conversation that often touched on Driver’s concerns about current Hollywood trends, he revealed that he and Steven Soderbergh spent two years developing a “Star Wars” film that was ultimately nixed by the Walt Disney Co.

Driver says he took a concept to Soderbergh for a film that would take place after 2019’s “The Rise of Skywalker.” That movie culminated in Kylo Ren’s redemption and apparent death. Soderbergh and Rebecca Blunt outlined a story that the group then pitched to Kennedy, Lucasfilm vice president Cary Beck and Lucasfilm chief creative officer Dave Filoni.

They were interested, so the filmmakers then pulled in Scott Z. Burns to write a script. Driver calls the result “one of the coolest (expletive) scripts I had ever been a part of.”

“We presented the script to Lucasfilm. They loved the idea. They totally understood our angle and why we were doing it,” Driver says. “We took it to Bob Iger and Alan Bergman and they said no. They didn’t see how Ben Solo was alive. And that was that.”

“It was called ‘The Hunt for Ben Solo’ and it was really cool,” adds Driver. “But it is no more, so I can finally talk about it.”

Soderbergh, in a statement, said: “I really enjoyed making the movie in my head. I’m just sorry the fans won’t get to see it.”

Representatives for Disney and Lucasfilm declined comment.

Driver is reportedly attached to a pair of films that would reunite him with filmmakers he feels similarly about: Carax (“Annette”) and Mann. Mann’s “Heat 2” recently moved from Warner Bros. to Amazon MGM’s United Artists after Warner Bros. balked at the film’s cost.

“Watching filmmakers not get the money they need is frustrating,” Driver says. “I don’t think I’m a value add. But I’m always down for the cause because I love those filmmakers and their films. I’d rather do a Michael Mann anything.”

“Ferrari,” which starred Driver as Enzo Ferrari, was Mann’s first feature in eight years. It cost $95 million to make, but struggled at the box office, grossing $43.6 million worldwide. Coppola’s “Megalopolis” was even pricier, at $120 million, but Coppola paid for it himself. To Driver, Coppola’s audacious sense of experimentation is what moviemaking is all about, and what’s missing from most filmmakers half Coppola’s age.

“The gesture of paying that much money for a film and him having the trust that an audience would go with him — or that he didn’t care, that this is how he wanted to do it — that to me is moving,” Driver says. “Maybe people don’t like them or they’re not ready for them. Maybe it’s boring to some, but it wasn’t boring making it.”

“Father Mother Sister Brother,” which Mubi will release Dec. 24 in theaters, is a triptych about adult children and their parents. The film’s first chapter features Driver and Mayim Bialik as siblings visiting their hermetic father (Tom Waits). It’s Driver’s third film with Jarmusch, following “Patterson” (2016) and “The Dead Don’t Die” (2019).

Driver is notoriously against watching the films he’s in, so he hasn’t watched Jarmusch’s film. But Driver has made some exceptions lately. He watched “Ferrari.” He watched 2023’s “65.” He watched “Megalopolis” numerous times.

“I tried it, but I just don’t want to do it,” he says, laughing. “I don’t want to look at my face.”

“It makes you conscious of what an audience is watching and I want to retreat more and more into what’s going on internally for someone,” says Driver. “More than ever, I don’t want to concern myself with what’s happening externally."