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'Spider-Man' Sequels and Bad Bunny Kick off Buoyant CinemaCon Summit

Puerto Rican rapper Benito Antonio Martinez Ocasio, aka Bad Bunny, appeared on stage at CinemaCon VALERIE MACON AFP
Puerto Rican rapper Benito Antonio Martinez Ocasio, aka Bad Bunny, appeared on stage at CinemaCon VALERIE MACON AFP
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'Spider-Man' Sequels and Bad Bunny Kick off Buoyant CinemaCon Summit

Puerto Rican rapper Benito Antonio Martinez Ocasio, aka Bad Bunny, appeared on stage at CinemaCon VALERIE MACON AFP
Puerto Rican rapper Benito Antonio Martinez Ocasio, aka Bad Bunny, appeared on stage at CinemaCon VALERIE MACON AFP

Hollywood bosses showcased new "Spider-Man" sequels and brought rap superstar Bad Bunny on stage to kick off a bullish meeting of movie theater industry leaders in Las Vegas Monday.

The CinemaCon summit draws Tinseltown executives to giant casino ballrooms each year, where owners of theaters -- from global chains to tiny independents -- are treated to never-before-seen footage and A-list appearances.

After a subdued edition last August, big-screen operators were back in a buoyant mood, with box office hauls now recovering from successive Covid-hit years -- not to mention news that streaming juggernaut Netflix recorded its first subscriber loss in more than a decade, AFP said.

"What are you doing here? Everyone said you're dead, everyone said you're finished," joked Tom Rothman, chairman of Sony Pictures, to cheers from theater owners.

Theaters have particularly been encouraged by hits like Sony's recent "Spider-Man: No Way Home" -- the third-biggest US box office success of all time, grossing $1.9 billion worldwide.

Phil Lord and Chris Miller, directors of Oscar-winning 2018 animation "Spider-Man: Into The Spider-Verse," unveiled unfinished footage from the first 15 minutes of their sequel "Across the Spider-Verse," out next summer.

It featured various male and female Spidey heroes hopping between dimensions -- and will be followed by another animated sequel, the newly announced "Beyond the Spider-Verse," in 2024.

In its opening-night presentation, Sony also presented footage from Brad Pitt action thriller "Bullet Train," based on a Japanese novel and out in July.

Early scenes showed Pitt's wise-cracking hitman pacing through neon-lit Tokyo streets before brawling with music superstar-turned-actor Bad Bunny on a train.

"That's not my first fight," joked the chart-topping Puerto Rican rapper, who was also unveiled as the first Latino to lead a live-action Marvel superhero film -- "El Muerto," out in January 2024.

Viola Davis appeared on stage to accept the event's inaugural "trailblazer" prize -- while plugging her upcoming film "The Woman King," a historical epic about the female warriors of the west African kingdom of Dahomey, out in September.

"I wanted to be a producer who championed those stories with people with a history that looked like me," said the "Fences" Oscar-winner.

She called the new film -- in which she also stars -- her "magnus opus."

Reese Witherspoon appeared by video to introduce her adaptation of best-selling novel "Where The Crawdads Sing," a creepy drama set around a murder in the North Carolina marshes, out this summer.

The presentation also confirmed new "Ghostbusters" and "Venom" sequels, and ended with a video message from boxing great George Foreman ahead of a new biopic about his career.

- 'Zeitgeist' -
This year's CinemaCon brings A-listers back in-person to Las Vegas, with Robert De Niro, Rachel McAdams and director David Cronenberg among those due to attend.

The stars stayed away last year when anxiety was high over the latest Covid-19 wave, and the mood was gloomy as Hollywood studios released films directly on streaming platforms, bypassing theaters.

Major studios have since cheered theater owners by largely reverting to an exclusive "window" when movies can only be seen on the big screen -- albeit for 45 days or less, down from around 90 days pre-pandemic.

Appearing by video, "Dune" director Denis Villeneuve said he was still "worried about the theatrical window getting shorter and shorter," and called for a return to longer windows to keep the movie-going experience "unique" and "precious."

Villeneuve spoke from Budapest, where preparation for his sci-fi epic sequel "Dune: Part Two" was going "full speed ahead," with the film due October 2023.

The Canadian director said he was "sad, horrified and worried" about the war in Ukraine, which led to Hollywood pulling films from Russian screens.

Warner Bros international chief Andrew Cripps said pirated copies of "The Batman" were playing at Russian theaters despite the embargo, but added that "we've all learnt to live with uncertainty in recent years."

Warner, which merged with Discovery this month to create Hollywood's newest giant, will present its upcoming films Tuesday, before Disney -- which skipped last year's event -- follows Wednesday.

CinemaCon concludes Thursday, when Paramount will present the first full screening of long-awaited sequel "Top Gun: Maverick."

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Entertainment

Movie Review: Stephen Curry's Animated Basketball Movie 'GOAT' Is a Disappointing Air Ball

Stephen Curry attends a premiere for the film "GOAT", in Los Angeles, California, US, February 6, 2026. (Reuters)
Stephen Curry attends a premiere for the film "GOAT", in Los Angeles, California, US, February 6, 2026. (Reuters)
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Movie Review: Stephen Curry's Animated Basketball Movie 'GOAT' Is a Disappointing Air Ball

Stephen Curry attends a premiere for the film "GOAT", in Los Angeles, California, US, February 6, 2026. (Reuters)
Stephen Curry attends a premiere for the film "GOAT", in Los Angeles, California, US, February 6, 2026. (Reuters)

You'd expect an animated basketball movie with four-time NBA champion Stephen Curry in the producer's chair to be an easy lay-up. So why is “GOAT” such a brick?

Despite a wondrously textured, kinetic world and some interesting oddball characters, the movie is undone by a predictable, saccharine script. It’s as easy to see the steps coming as a Curry three-pointer arching into the net.

The movie has the kind of lazy, thin writing that feels like it all could have derived from a Hollywood happy hour gettogether: “Bro, bro. Wait. What if the GOAT was an actual goat?”

It centers on Will Harris, a goat with dreams of becoming a great baller, voiced by “Stranger Things” star Caleb McLaughlin. Undersized and an orphan — again with the orphans, guys? — Will is a delivery driver for a diner and late on his rent. He's a great outside shooter but a liability in the paint, unless he learns, that is.

He lives in Vineland — a hectic urban landscape with graffiti and living vines that choke the playgrounds — and is a rabid supporter of the local franchise, the Thorns. His idol is veteran Jett Fillmore, a leopard who's the league's all-time leading scorer, nicely voiced by Gabrielle Union. The Thorns are a bit of a mess, despite Jett's brilliance.

The game here is called roarball, a high-intensity, co-ed, multi-animal, full-contact sport derived from basketball with a hollow ball that has small holes. It's a “Mad Max” sport — ultraviolent, unofficiated and the dangers lurk not just from the beefy opponents but from the arena itself. The championship award is called the Claw.

The best part of the movie may be the environments for the other arenas — lava in one, a swamp with stalagmites and stalactites in another, plus an ice-bound one and another with desert sandstorms and rocks. Homefield advantage is a big thing in this league.

There seem to be only two kinds of points scored here — blazing windmills, cutting tomahawks and spectacular alley-oop dunks or slow-mo threes from so far downtown they might as well be in a different zip code. No mid-range jumpers, bro.

This universe is divided into “bigs” and “smalls” — rhinos, bears and giraffes on one side, gerbils and capybara on the other — and Will is deemed a small. “Smalls can’t ball,” he is told, condescendingly.

But Will — thanks to a viral video — improbably gets signed to the Thorns by the team's owner (a cynical warthog voiced wonderfully by Jenifer Lewis). It's seen as a shameless publicity stunt that no one wants, especially Jett, who needs a winning season after being taunted by “All stats, no Claw.”

Now, predictably, in Aaron Buchsbaum and Teddy Riley script, comes the bulk of the movie, giving a steady “The Karate Kid” or “Air Bud” vibe as it charts Will's steady rise to honored teammate and franchise future, despite Jett insisting she's not ready to go: “I’m the GOAT. I’m not passing the torch.”

The lessons are good — the importance of teamwork and believing in yourself — but the testosterone-fueled violence on the courts is WWE extreme. There are unnecessary plugs for Mercedes and Under Armor, and hollow slogans like “Dream big” and “Roots run deep.”

Some of the most interesting characters end up on the Thorns, a fragile, somewhat broken team that includes a rhino (voiced by David Harbour), a delicate ostrich (Nicola Coughlan), a gonzo Komodo dragon (Nick Kroll) and a desultory giraffe (Curry).

The Komodo dragon, named Modo, is the best of the bunch, an insane, unpredictable creature full of electricity. “If Modo was any more of a snack, he’d eat himself,” he declares. Could he get his own movie?

Directed by “Bob’s Burgers” veteran Tyree Dillihay and Adam Rosette, “GOAT” is targeted to Gen Alpha, leveraging cellphone screens and online likes, virality and diss tracks. It's not as funny as it thinks it is and tiresome in its overly familiar redemption arc.

Another potential basketball GOAT — Michael Jordan — gave us a clunker of a live-action- animated basketball movie in “Space Jam” exactly 30 years ago and “GOAT,” while not as bad as that mess, is an air ball none the same.

Entertainment

Music World Mourns Ghana's Ebo Taylor, Founding Father of Highlife

Ebo Taylor, who kept performing into his 80s, was instrumental in introducing Ghanaian highlife to international listeners. Nipah Dennis / AFP
Ebo Taylor, who kept performing into his 80s, was instrumental in introducing Ghanaian highlife to international listeners. Nipah Dennis / AFP
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Music World Mourns Ghana's Ebo Taylor, Founding Father of Highlife

Ebo Taylor, who kept performing into his 80s, was instrumental in introducing Ghanaian highlife to international listeners. Nipah Dennis / AFP
Ebo Taylor, who kept performing into his 80s, was instrumental in introducing Ghanaian highlife to international listeners. Nipah Dennis / AFP

Tributes have been pouring in from across Ghana and the world since the death of Ghanaian highlife legend Ebo Taylor.

A guitarist, composer and bandleader who died on Saturday, Taylor's six-decade career played a key role in shaping modern popular music in West Africa, said AFP.

Often described as one of the founding fathers of contemporary highlife, Taylor died a day after the launch of a music festival bearing his name in the capital, Accra, and just a month after celebrating his 90th birthday.

Highlife, a genre blending traditional African rhythms with jazz and Caribbean influences, was recently added to UNESCO's Intangible Cultural Heritage list.

"The world has lost a giant. A colossus of African music," a statement shared on his official page said. "Your light will never fade."

The Los Angeles-based collective Jazz Is Dead called him a pioneer of highlife and Afrobeat, while Ghanaian dancehall star Stonebwoy and American producer Adrian Younge, who his worked with Jay Z and Kendrick Lamar, also paid tribute to his legacy.

Nigerian writer and poet Dami Ajayi described him as a "highlife maestro" and a "fantastic guitarist".

- 'Uncle Ebo' -

Taylor's influence extended far beyond Ghana, with elements of his music appearing in the soul, jazz, hip-hop and Afrobeat genres that dominate the African and global charts today.

Born Deroy Taylor in Cape Coast in 1936, he began performing in the 1950s, as highlife was establishing itself as the dominant sound in Ghana in the years following independence.

Known for intricate guitar lines and rich horn arrangements, he played with leading bands including the Stargazers and the Broadway Dance Band.

In the early 1960s, he travelled to London to study music, where he worked alongside other African musicians, including Nigerian Afrobeat pioneer Fela Kuti.

The exchange of ideas between the two would later be seen as formative to the development of Afrobeat, a political cocktail blending highlife with funk, jazz and soul.

Back in Ghana, Taylor became one of the country's most sought-after arrangers and producers, working with stars such as Pat Thomas and CK Mann while leading his own bands.

His compositions -- including "Love & Death", "Heaven", "Odofo Nyi Akyiri Biara" and "Appia Kwa Bridge" -- gained renewed international attention decades later as DJs, collectors and record labels reissued his music. His grooves were sampled by hip-hop and R&B artists and helped introduce new global audiences to Ghanaian highlife.

Taylor continued touring into his 70s and 80s, performing across Europe and the United States as part of a late-career renaissance that cemented his status as a cult figure among younger musicians.

Many fans affectionately referred to him as "Uncle Ebo", reflecting both his longevity and mentorship of younger artists.

For many, he remained a symbol of highlife's golden era and of a generation that carried Ghanaian music onto the world stage.

Entertainment

'Send Help' Repeats as N.America Box Office Champ

Canadian actor Rachel McAdams and US actor Dylan O'Brien pose upon arrival on the red carpet for the UK premiere of the film 'Send Help' in central London on January 29, 2026. (Photo by CARLOS JASSO / AFP)
Canadian actor Rachel McAdams and US actor Dylan O'Brien pose upon arrival on the red carpet for the UK premiere of the film 'Send Help' in central London on January 29, 2026. (Photo by CARLOS JASSO / AFP)
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'Send Help' Repeats as N.America Box Office Champ

Canadian actor Rachel McAdams and US actor Dylan O'Brien pose upon arrival on the red carpet for the UK premiere of the film 'Send Help' in central London on January 29, 2026. (Photo by CARLOS JASSO / AFP)
Canadian actor Rachel McAdams and US actor Dylan O'Brien pose upon arrival on the red carpet for the UK premiere of the film 'Send Help' in central London on January 29, 2026. (Photo by CARLOS JASSO / AFP)

Horror flick "Send Help" showed staying power, leading the North American box office for a second straight week with $10 million in ticket sales, industry estimates showed Sunday.

The 20th Century flick stars Rachel McAdams and Dylan O'Brien as a woman and her boss trying to survive on a deserted island after their plane crashes.
It marks a return to the genre for director Sam Raimi, who first made his name in the 1980s with the "Evil Dead" films.

Debuting in second place at $7.2 million was rom-com "Solo Mio" starring comedian Kevin James as a groom left at the altar in Italy, Exhibitor Relations reported.

"This is an excellent opening for a romantic comedy made on a micro-budget of $4 million," said analyst David A. Gross of Franchise Entertainment Research, noting that critics and audiences have embraced the Angel Studios film.

Post-apocalyptic Sci-fi thriller "Iron Lung" -- a video game adaptation written, directed and financed by YouTube star Mark Fischbach, known by his pseudonym Markiplier -- finished in third place at $6.7 million, AFP reported.

"Stray Kids: The Dominate Experience," a concert film for the K-pop boy band Stray Kids filmed at SoFi Stadium in Los Angeles, opened in fourth place at $5.6 million.

And in fifth place at $4.5 million was Luc Besson's English-language adaptation of "Dracula," which was released in select countries outside the United States last year.

Gross called it a "weak opening for a horror remake," noting the film's total production cost of $50 million and its modest $30 million take abroad so far.

Rounding out the top 10 are:
"Zootopia 2" ($4 million)
"The Strangers: Chapter 3" ($3.5 million)
"Avatar: Fire and Ash" ($3.5 million)
"Shelter" ($2.4 million)
"Melania" ($2.38 million)