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'Avatar' and 'Star Wars' Films Revealed at Disney Event

Every two years, thousands flock to a California convention center, dressed as their favorite Disney princesses and heroes, for D23. Patrick T. FALLON / AFP/File
Every two years, thousands flock to a California convention center, dressed as their favorite Disney princesses and heroes, for D23. Patrick T. FALLON / AFP/File
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'Avatar' and 'Star Wars' Films Revealed at Disney Event

Every two years, thousands flock to a California convention center, dressed as their favorite Disney princesses and heroes, for D23. Patrick T. FALLON / AFP/File
Every two years, thousands flock to a California convention center, dressed as their favorite Disney princesses and heroes, for D23. Patrick T. FALLON / AFP/File

Disney lifted the lid on "Avatar: Fire and Ash" and presented new footage from "Star Wars" and Pixar movies at a giant showcase in front of 12,000 fans in California on Friday.
"Avatar" director James Cameron took the stage at the company's biennial D23 fan gathering to announce the name of the latest installment of his sci-fi franchise, due out December 2025, said AFP.
"The new film is not what you expect. But it's definitely what you want," teased Cameron of his third visit to Pandora.
The previous two "Avatar" films are the highest and third-highest grossing movies of all time, earning $5.2 billion combined.
Images from the new movie, currently in production in New Zealand, showed its blue Na'vi characters dancing around a campfire, as well as images of giant floating ships and flying beasts.
The director promised higher emotional stakes, and "new cultures and settings and creatures and new biomes."
"You'll see a lot more Pandora, the planet, that you never saw before," he said.
The fourth and fifth "Avatar" films are scheduled for 2029 and 2031.
Also in Friday's presentation, Disney fans saw a first glimpse of "The Mandalorian and Grogu."
Out in May 2026, it will be the first "Star Wars" film since 2019's divisive "The Rise of Skywalker."
Disney, which had been churning out a new "Star Wars" film every year to that point, dramatically slammed the brakes in the face of diminishing box office returns.
"We're putting 'Star Wars' back on the big screen,'" said Dave Filoni, producer of the new movie -- which is spun off from streaming series "The Mandalorian," and will feature its beloved Baby Yoda.
Footage showed the cutesy creature and his mercenary friend speeding around a snowy planet.
On the television side, Jude Law plays a Jedi in "Skeleton Crew," streaming in December.
The kid-centric show is "in the spirit of... coming-of-age films of the '80s like 'The Goonies' and 'E.T.,'" promised Law.
'Who else?'
The giant D23 fan gathering caters to and showcases the obsessive loyalty of Disney's most die-hard devotees.
Every two years, thousands flock to a California convention center, dressed as their favorite princesses and heroes.
Tickets -- ranging from $80 to an eye-watering $2,600 VIP pass -- allow attendees to spend yet more money on rare merchandise, and watch starry presentations unveiling new films, shows and theme park rides.
"Who else but Disney could pull off a weekend like D23, right?" CEO Bob Iger asked the packed crowd at Anaheim's NHL professional ice hockey arena, to cheers.
Seconds later, the suited executive was replaced on stage by a troupe of hula-ing Polynesian dancers and Dwayne "The Rock" Johnson, promoting "Moana 2."
But beneath the euphoria, Friday night's presentation of new movies and TV shows comes at a key time for Disney.
The company's Pixar and Marvel franchises have suffered uncharacteristically poor runs in recent years, with high-profile flops like "Lightyear" and "The Marvels."
Disney's stock price remains well below half its 2021 peak. Rounds of cost-cutting have seen thousands of jobs cut since last year, mirroring trends across Hollywood.
This summer has brought welcome relief, with monster hits "Deadpool & Wolverine," and "Inside Out 2" -- already the biggest animated film of all time.
'Toy meets tech'
Pixar on Friday announced "Hoppers," a new animated movie about a young girl who can "hop" her brain into a robotic beaver.
Out in spring 2026, it will follow her undercover adventures into the animal world, where she befriends a "regal beaver" called King George, and helps battle an evil mayor voiced by Jon Hamm.
And Pixar's "Toy Story 5," out a few months later, will see the beloved toys vie with electronic devices like phones and tablets for children's attention.
"This time around, it's toy meets tech," said director Andrew Stanton.

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Movie Review: From Bumper to Bumper, ‘F1’ Is Formula One Spectacle 

Brad Pitt, from left, Lewis Hamilton, and Damson Idris attend the world premiere of "F1 The Movie" on Monday, June 16, 2025, in Times Square in New York. (Photo by Evan Agostini/Invision/AP)
Brad Pitt, from left, Lewis Hamilton, and Damson Idris attend the world premiere of "F1 The Movie" on Monday, June 16, 2025, in Times Square in New York. (Photo by Evan Agostini/Invision/AP)
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Movie Review: From Bumper to Bumper, ‘F1’ Is Formula One Spectacle 

Brad Pitt, from left, Lewis Hamilton, and Damson Idris attend the world premiere of "F1 The Movie" on Monday, June 16, 2025, in Times Square in New York. (Photo by Evan Agostini/Invision/AP)
Brad Pitt, from left, Lewis Hamilton, and Damson Idris attend the world premiere of "F1 The Movie" on Monday, June 16, 2025, in Times Square in New York. (Photo by Evan Agostini/Invision/AP)

The wide-screen spectacle of Formula One gets a gleaming, rip-roaring workout in Joseph Kosinski’s “F1,” a fine-tuned machine of a movie that, in its most riveting racing scenes, approaches a kind of high-speed splendor.

Kosinski, who last endeavored to put moviegoers in the seat of a fighter jet in “Top Gun: Maverick,” has moved to the open cockpits of Formula One with much the same affection, if not outright need, for speed. A lot of the same team is back. Jerry Bruckheimer produces. Ehren Kruger, a co-writer on “Maverick,” takes sole credit here. Hans Zimmer, a co-composer previously, supplies the thumping score.

And, again, our central figure is an older, high-flying cowboy plucked down in an ultramodern, gas-guzzling conveyance to teach a younger generation about old-school ingenuity and, maybe, the enduring appeal of denim.

But whereas Tom Cruise is a particularly forward-moving action star, Brad Pitt, who stars as the driving-addicted Sonny Hayes in “F1,” has always been a more arrestingly poised presence. Think of the way he so calmly and half-interestedly faces off with Bruce Lee in Quentin Tarantino’s “Once Upon a Time ... in Hollywood.” In the opening scene of “F1,” he’s sleeping in a van with headphones on when someone rouses him. He splashes some water on his face and walks a few steps over to the Daytona oval, where he quickly enters his team’s car, in the midst of a 24-hour race. Pitt goes from zero to 180 mph in a minute.

Sonny, a long-ago phenom who crashed out of Formula One decades earlier and has since been racing any vehicle, even a taxi, he can get behind the wheel of, is approached by an old friend, Ruben Cervantes (Javier Bardem) about joining his flagging F1 team, APX. Sonny turns him down at first but, of course, he joins and “F1” is off to the races.

The title sequence, exquisitely timed to the syncopated rhythms of Zimmer’s score, is a blistering introduction. The hotshot rookie driver Noah Pearce (Damson Idris) is just running a practice lap, but Kosinski, his camera adeptly moving in and out of the cockpit, uses the moment to plunge us into the high-tech world of Formula One, where every inch of the car is connected to digital sensors monitored by a watchful team. Here, that includes technical director Kate McKenna (Kerry Condon) and Kaspar Molinski (Kim Bodnia), the team’s chief.

Verisimilitude is of obvious importance to the filmmakers, who bathe this very Formula One-authorized film in all the sleek operations and globe-trotting spectacle of the sport. That Apple, which produced the film, would even go for such a high-priced summer movie about Formula One is a testament to the upswing in popularity of a sport once quite niche in America, and of the halo effects of both the Netflix series “Formula 1: Drive to Survive” and the seven-time world champion Lewis Hamilton, an executive producer on “F1.”

Whether “F1” pleases diehards, I’ll leave to more ardent followers of the circuit. But what I can say definitively is that Claudio Miranda knows how to shoot it. The cinematographer, who has shot all of Kosinski’s films as well as wonders like Ang Lee’s “Life of Pi,” brings Formula One to vivid, visceral life. When “F1” heads to the big races, Miranda is always simultaneously capturing the zooming cars from the asphalt while backgrounding it with the sweeping spectacle of a course like the UK’s fabled Silverstone Circuit.

OK, you might be thinking, so the racing is good; is there a story? There’s what I’d call enough of one, though you might have to go to the photo finish to verify that. When Sonny shows up, and rapidly turns one practice vehicle into toast, it’s clear that he’s going to be an agent of chaos at APX, a low-ranking team that’s in heavy debt and struggling to find a car that performs.

This gives Pitt a fine opportunity to flash his charisma, playing Sonny as an obsessive who refuses any trophy and has no real interest in money, either. The flashier, media-ready Noah watches Sonny's arrival with skepticism, and the two begin more as rivals than teammates. Idris is up to the mano-a-mano challenge, but he’s limited by a role ultimately revolving around and reducing to a young Black man learning a lesson in work ethic.

A relationship does develop, but “F1” struggles to get its characters out of the starting blocks, keeping them closer to the cliches they start out as. The actor who, more than anyone, keeps the momentum going is Condon, playing an aerodynamics specialist whose connection with Pitt’s Sonny is immediate. Just as she did in between another pair of headstrong men in “The Banshees of Inisherin,” Condon is a rush of naturalism.

If there’s something preventing “F1” from hitting full speed, it’s its insistence on having its characters constantly voice Sonny’s motivations. The same holds true on the race course, where broadcast commentary narrates virtually every moment of the drama. That may be a necessity for a sport where the crucial strategies of hot tires and pit-stop timing aren't quite household concepts. But the best car race movies — from “Grand Prix” to “Senna” to “Ferrari” — know when to rely on nothing but the roar of an engine.

“F1” steers predictably to the finish line, cribbing here and there from sports dramas before it. (Tobias Menzies plays a board member with uncertain corporate goals.) When “F1” does, finally, quiet down, for one blissful moment, the movie, almost literally, soars. It's not quite enough to forget all the high-octane macho dramatics before it, but it's enough to glimpse another road “F1” might have taken.