Wednesday, February 25, 2026

The Bluff Movie

The Bluff (English) Cast & Crew

Banner
AGBO
Cinestar Pictures
Big Indie Pictures
Purple Pebble Pictures
Amazon MGM Studios
Release Date
25 February 2026
Genre
Action
Adventures 
Language
English
Director
Frank E Flowers
Producer
Joe Russo
Anthony Russo
Angela Russo-Otstot
Michael Disco
Priyanka Chopra Jonas
Cisely Saldana
Mariel Saldana
Star Cast
Priyanka Chopra Jonas ... Ercell
Karl Urban ... Captain Connor
Safia Oakley-Green ... Elizabeth
Ismael Cruz Córdova ... T.H. Bodden
Temuera Morrison ... Quartermaster Lee
Vedanten Naidoo ... Issac
David Field ... Pastor Bradley
Greg Hatton ... Scout
Pacharo Mzembe ... Chien
Gideon Mzembe ... Lupe
Zack Morris ... Weston
Gary Beadle ... Custode Drayton
Jordan Mooney ... Young Gunner
Indy Urban ... Powder Ben
James Morrison ... Powder Jim
Mark Lemon ... Elder Glendon
Vienna Baucke ... Young Ercell
Ronnie James Hughes ... The Sniper
Background Music
Henry Jackman
Costume Designer
Antoinette Messam
Music Director
Henry Jackman
Editor
Lisa Lassek
Cinematographer
Greg Baldi
Screenplay
Joe Ballarini
Frank E Flowers
Shooting Location(City & Country)
United States
Streaming Partners
Amazon Prime Video
Production Designer
Philip Ivey
Executive Producer
Joe Ballarini
Chris Castaldi
Ari Costa
Sarah Halley Finn
Frank E Flowers
Zoe Saldana
Thorsten Schumacher
Nick van Dyk
Kassee Whiting


Censor Details:

Censor Dates
Not Available.
Censor Certificate No
Not Available.
Runtime
1h 43min
Certification
A

One of Eric Dane’s Final Roles Was Boosting Visibility for ALS: “Used His Platform Not for Attention, But for Action”

  Even though Eric Dane has passed away, there are still some of his final performances that will be released.
 But the role he took on during his last year was the most meaningful one.

After Eric Dane, who acted in 'Grey's Anatomy' and 'Euphoria,' opened up about his diagnosis of amyotrophic lateral sclerosis (ALS) in April 2025, he didn't step back from the public eye as he fought the disease.
 Instead, he used the fame he had built through his Hollywood career to bring more attention to ALS.

Eric didn't wait to start helping.
 He worked with groups like Target ALS and I AM ALS to spread awareness and push for more research about this rare and serious illness.

At Target ALS, he joined their Board of Directors and became the face of their "Ending ALS Starts with You" campaign, helping raise over $500,000 in 2025 to speed up research for treatments.
 For I AM ALS, he became an ambassador and helped start their "Push for Progress" campaign in September, aiming to get $1 billion in federal funding for ALS over the next three years.

In October 2025, Eric traveled to Washington, D.C., with I AM ALS leaders to talk to lawmakers about increasing federal support for ALS research.
 He also pushed for the reauthorization of the Accelerating Access to Critical Therapies for ALS Act, which was set to expire in 2026. He met with lawmakers, including U.S. Rep. Eric Swalwell, to stress the need for more funding.

Beyond his work with nonprofits, Eric also combined his acting career with his activism.
 He appeared in a season two episode of the NBC medical drama 'Brilliant Minds,' where he played Matthew, a firefighter struggling to tell his family about his ALS diagnosis and later facing challenges as the disease progressed.

The show's creator, Michael Grassi, said they wanted to honor Eric and tell his story truthfully, without making it dramatic.
 The episode was co-written by Daniela Lamas, a doctor, and included input from ALS doctors and writers who had family members with the disease. Grassi emphasized the importance of being accurate when talking about ALS, especially since there's no cure yet, but people are working hard to find one.

Eric died on Feb. 19 after a long fight with the disease.
 He had first noticed symptoms a year and a half before making his diagnosis public.

After his passing, I AM ALS released a statement saying, "Eric used his platform not for attention, but for action.
 From the moment he joined I AM ALS, he showed up with courage and conviction, asking how he could use his superpowers to help the movement grow. It was an honor to brainstorm with him, to walk alongside him in the halls of Congress on behalf of our community, amplify the urgent need for ACT for ALS and research funding, and drive toward treatments and, ultimately, a cure. He understood that ALS is not just a diagnosis; it is a call to action for families, for answers, and for change."  

The organization continued, "Eric brought humility, humor, and visibility to ALS and reminded the world that progress is possible when we refuse to remain silent.
 Eric was more than a supporter of our mission—he was part of our family. His impact will live on in the research being funded, the policies being advanced, and the community he helped grow by his honesty, his bravery, and his belief in a better future for anyone struggling with this diagnosis. We honor Eric by continuing the work he believed in so deeply: mobilizing communities, driving critical research, securing essential funding, and fighting relentlessly for real solutions. Our thoughts are with his loved ones and our entire community. I AM ALS will carry his legacy forward—until ALS is no more."  

Target ALS also shared a statement, saying, "Though we had only known Eric, or 'E,' as so many called him, for the past year, his impact on our community was immediate and profound.
 From the moment we met him, we experienced his generosity of heart. He didn't hesitate to ask how he could help, how he could fight, and how he could be part of the solution. Whenever we asked for his support, his response was always the same: 'I'll do whatever I can to help.'"  

The organization added, "We also recognize that families across the globe experience this heartbreak every day.
 To lose someone to ALS is devastating and unacceptable. Partnering with Eric was a way to fight back, to accelerate research and advance effective treatments for this disease. At Target ALS, we will carry this work forward in Eric's honor, and in honor of the many who came before him. We remain steadfast in our mission so that no family has to endure this loss in the future."  

Eric Dane's final onscreen performances will be in Euphoria season three and Family Secrets.

Aimee Lou Wood to Star in ‘Jane Eyre’ Series From Working Title

Brontë fever has officially taken over Hollywood.

After Emerald Fennell's version of Emily Brontë's "Wuthering Heights" was a hit, Aimee Lou Wood is now set to star in a TV series based on Charlotte Brontë's "Jane Eyre," which is being produced by Working Title.

 The script is being written by "Succession" writer Miriam Battye, and a UK broadcaster is in advanced talks to invest in the project.

The 1847 novel was groundbreaking for its first-person storytelling and how it addressed class, sexuality, and female independence.
 The story follows the main character, Jane, as she grows up and falls in love with the mysterious Mr. Rochester. The last major TV version of "Jane Eyre" was in 2006, with Ruth Wilson in the lead role, and the most recent big-screen adaptation was in 2011, starring Mia Wasikowska and Michael Fassbender.

Aimee Lou Wood first gained attention for her role in the Netflix show "Sex Education" and later starred in the final season of "The White Lotus" with Walton Goggins.
 That performance earned her praise from critics and the public, leading to nominations at the Emmys, Golden Globes, and SAG Awards.

Working Title, a top UK production company, is currently working on a film adaptation of Jane Austen's "Sense and Sensibility" with Daisy Edgar-Jones in the lead.
 Their past successes include romantic comedies like "Love Actually," the "Bridget Jones" series, "About Time," the 2005 "Pride and Prejudice" with Keira Knightley, and the 2020 film "Emma" starring Anya Taylor-Joy. Their most recent TV project was Lena Dunham's Netflix series "Too Much," which featured Meg Stalter and Will Sharpe.

Deadline Hollywood was the first to announce Aimee Lou Wood's casting.

Tuesday, February 24, 2026

Paramount Is Expected to Raise Price of Warner Bros. Discovery Bid. Will Netflix Walk Away?

David Ellison's Paramount Skydance has until Monday to submit its final and best offer for Warner Bros. Discovery. It is expected that Paramount will increase its previous $30 per share offer for WBD, aiming to outbid Netflix and win the deal.

With Netflix's approval, the WBD board has started a seven-day conversation period to talk about better offers.
 This talk period ends at 11:59 PM ET on February 23, following efforts from both companies over the weekend.

Paramount has not commented on its next move.
 Sources say it is likely to offer around $32 per share for WBD.

What will Netflix do?
 After Paramount submits its new proposal, Netflix has four days to either match the offer or leave the deal.

Netflix co-CEO Ted Sarandos, in an interview with Variety's Cynthia Littleton on Friday, did not say how Netflix would respond to a better offer from Paramount.
 He mentioned that Netflix has a history of walking away if someone else pays more.

"In the next step, it's up to someone else.
 We have a signed deal with Warner Bros. Discovery," Sarandos said in the February 20 interview. "If someone wants to make a better deal, which the WBD board says hasn't happened yet, then we will see what happens later. But let's not get ahead of the process. I wouldn't comment on the bidding strategy anyway. But the core of it is, we are super disciplined buyers, as you probably know we have a reputation for that, so I'm willing to walk away and let someone else overpay for things. We have a rich history of that."

If WBD accepts Paramount Skydance's higher offer, WBD will have to pay a $2.8 billion fee to Netflix.
 In its latest offer, Paramount has said it will cover that fee.

On February 17, WBD said it was having discussions with Paramount to get clarity on its "best and final offer."
 WBD wanted Paramount Skydance to explain its proposal, which they believe will have a per share price higher than $31.

In a letter sent to Paramount's board, WBD's CEO David Zaslav and board chairman Samuel Di Piazza Jr. wrote that they wanted clarification on the offer.
 They mentioned communication from a "senior representative for PSKY" to a WBD board member, who said that if the WBD board approved M&A talks, Paramount would agree to pay $31 per share and that this was not their final offer. WBD also set March 20 for a shareholder meeting to vote on the Netflix deal, which the board recommended at the time.

"The question now is how high PSKY is willing to go—and whether Netflix will use its matching rights and raise its own offer," wrote MoffettNathanson analyst Robert Fishman in a February 20 research note.
 "In short, we expect PSKY to go to at least $32 per share to pressure Netflix to increase its bid likely to the $30 per share range. If PSKY truly wants to win the bidding war with Netflix, we think it will take a bid in the range of $34 per share to avoid ongoing debate over the value of Discovery's Global Networks."

Under Netflix's current agreement with WBD, Netflix would buy Warner Bros.' studios and streaming businesses for $27.75 per share.
 WBD shareholders would keep equity in Discovery Global, the proposed spin-off that includes CNN, TBS, and other linear networks.

If Netflix raises its offer above $30 per share, "we have difficulty making the accretion math work," Fishman wrote.
 This factors in added debt, "likely revenue cannibalization and necessary programming spend cuts."

"While we see the long-term benefits of owning Warner Bros., HBO, and HBO Max, we expect Netflix to walk away from the deal following a disciplined approach if PSKY pushes its bid well beyond $32 per share," the MoffettNathanson analyst continued.
 "We think it will be difficult for PSKY to win the bidding war for WBD if it decides to take a less aggressive approach during this waiver period, giving Netflix the opportunity to match at a more modest increase from its current bid."

Meanwhile, Donald Trump, who earlier this month said he wouldn't be involved in reviewing the Netflix-WB deal, demanded on social media that Netflix "immediately fire" board member Susan Rice or else "pay the consequences."
 Trump cited a tweet by far-right commentator Laura Loomer, who claimed Rice, who served as U.N. ambassador under Obama, was "threatening half of the country with weaponized government political retribution." Loomer also weirdly claimed that if Netflix acquired Warner Bros., "positive messaging of the Democrats' upcoming witch hunts against Trump from Barack Hussein Obama and his anti-White racist wife Michelle would likely be blasted across all streaming services."

On Monday, Sarandos talked about Trump's comments. He said, "He likes to do a lot of things on social media," during a BBC Radio 4 interview. "This is a business deal. It's not a political deal. This deal is handled by the Department of Justice in the U.S. and regulators in Europe and around the world," he explained.

In recent weeks, the Justice Department has broadened its look into the proposed Netflix-WB deal to check if the combined company would break antitrust rules in the entertainment programming market.
 The DOJ's Antitrust Division has sent questions to independent studios, asking if the Netflix buy of Warner Bros. "may substantially lessen competition or tend to create a monopoly in violation of Section 7 of the Clayton Act or Section 2 of the Sherman Act," according to a copy of one of the letters reviewed by Variety.

Netflix claims it doesn't have near-monopoly power in any market.
 In a statement to Bloomberg about the expanded DOJ investigation, chief legal counsel David Hyman said, "Netflix operates in an extremely competitive market. Any claim that it is a monopolist, or trying to monopolize, is not true. We don't have monopoly power or engage in exclusionary behavior, and we'll happily work with regulators on any concerns they may have."

On Friday, Paramount announced that its proposed WBD takeover had passed a key step at the DOJ, after the end of the statutory waiting period following Paramount Skydance's "certification of compliance" with the Justice Department's second request for information under the Hart-Scott-Rodino antitrust act.
 Netflix's Hyman criticized Paramount for continuing to "mislead stockholders and distract from the facts," saying that "routine HSR milestones do not mean DOJ approval or that any decision has been made."

Winona Ryder Reunites With Tim Burton for ‘Wednesday’ Season 3 Guest Role

Winona Ryder is set to return to work with Tim Burton in "Wednesday" Season 3. She will play a guest character in the upcoming third season of the Netflix show. This will also be a chance for her to team up again with Jenna Ortega, who plays Wednesday Addams in the series. So far, there's no information about what Winona's character will be like.

She's joining other guest stars already announced, like Eva Green, who will play Ophelia, the sister of Morticia Addams, played by Catherine Zeta-Jones.


This role will be Winona's first since "Stranger Things" ended its fifth and final season.
 The final two-hour episode aired on New Year's Eve.

Ryan Coogler’s ‘X-Files’ Reboot Gets Hulu Pilot Order With Danielle Deadwyler Starring; Jennifer Yale Joins As Showrunner

The search for the truth is back in action. Ryan Coogler's long-awaited X-Files reboot has been given the green light for a pilot at Hulu. Danielle Deadwyler, known for her role in The Piano Lesson, is set to star as one of the main characters in the project, which is produced by Onyx Collective and 20th Television. Jennifer Yale, who worked on The Copenhagen Test, has been named the showrunner, according to Deadline.

Coogler, who directed the film Sinners, is also writing and directing the pilot.
 The story follows two highly respected but very different FBI agents – one played by Deadwyler – who are paired together to investigate a long-closed unit that deals with unexplainable events.

Yale is producing the show along with The X-Files creator Chris Carter, as well as Coogler, Sev Ohanian, and Zinzi Coogler from Proximity Media.
 Simone Harris from Proximity Media is also a co-executive producer. Francine Maisler, the casting director for Sinners, is handling the casting for the pilot.

This pilot order marks the end of a three-year process for the project.
 It's part of Coogler's five-year deal with Disney, which owns Hulu, 20th Television, and Onyx.

Carter first mentioned the project during a 2023 podcast, where he said Coogler was planning to reboot The X-Files with a diverse cast, but added that it would be a big challenge since the original series covered a lot of ground.


Coogler confirmed his involvement during a podcast in April.
 He said he was excited about the project and hoped it would be scary and satisfying for both old and new fans. He also mentioned that he had spoken with Gillian Anderson, who was part of the original X-Files, about the reboot. The project took time to come together as Coogler was busy with other projects like Sinners and Disney+’s Ironheart.

After finishing Sinners, Coogler made The X-Files a priority, which helped the project gain momentum and led to Yale joining as showrunner.
 Hulu has been focusing more on pilot development in recent years, even for its big titles. The streamer is also moving forward with a pilot for a Buffy the Vampire Slayer reboot, directed by Chloé Zhao.

The original X-Files had Gillian Anderson and David Duchovny as FBI agents Dana Scully and Fox Mulder, investigating cases with supernatural elements.
 The show started on Fox in 1993 and ran for nine seasons. It had two movies and a 2016 revival on Fox.

Coogler's latest film, Sinners, won many awards at the BAFTA Film Awards, making it the most decorated film by a Black director.
 It won three awards, including Best Original Screenplay. The movie has made over $365 million worldwide. Coogler runs Proximity Media with Zinzi Coogler and Sev Ohanian. He is represented by WME, M88, and Cohen and Gardner.

Deadwyler is set to appear in the upcoming HBO comedy series Rooster with Steve Carell, Charly Clive, and Phil Dunster.
 She is also in Season 3 of Euphoria and The Saviors, a dark comedy thriller directed by Kevin Hamedani. She is an executive producer on The Woman in the Yard, directed by Jaume Collet-Serra. She is represented by Paradigm, Play Management, and Ziffren Brittenham.

Yale recently executive produced and co-showran The Copenhagen Test for Peacock with Simu Liu and Atomic Monster.
 She also wrote for Apple TV’s Your Friends and Neighbors and worked on Apple’s See and Netflix’s Chambers. She is represented by Brillstein Entertainment Partners, CAA, and Hansen Jacobson.

Carter is represented by CAA and Gang, Tyre, Ramer, Brown & Passman, Inc.

Monday, February 23, 2026

Wolfram’ Review: Warwick Thornton Deftly Reframes Painful Indigenous Australian Experience Through the Lens of Classic Western Archetypes

Warwick Thornton, who began his career as a cinematographer, has a deep connection to the Central Australian desert and the rugged MacDonnell Ranges. His films have an epic yet personal feel, shaped by the landscape around Alice Springs, where he grew up. This connection gives his movies a soulful beauty. "Wolfram" is no different. It's a four-part story about escaping, being chased, and surviving, and while it's brutal, it's more about enduring than about sadness for stolen land and stolen children.

This film is a sequel to Thornton's 2017 movie "Sweet Country," and it's again written by Steven McGregor and David Tranter.
 It takes place a few years later in the same fictional Northern Territory town of Henry, though most of the main characters are new. The two films feel like parts of a bigger story, with some shared elements and separate paths.

The main character is Pansy, played by Deborah Mailman.
 She's shown holding her newborn and cutting off her hair with a rusty knife. Pansy and her new partner, Zhang, travel by horse and cart to Queensland in search of her lost children. She marks her path by tying strands of hair with seeds and hanging them on shrubs, like a trail of breadcrumbs.

Meanwhile, two Indigenous children, Max and Kid, work in a mine shaft, removing chunks of ore used to make tungsten.
 Their boss is a mean man named Billy. At the same time, a couple of criminals, Casey and Frank, arrive in town, looking to find gold. They ignore the advice of a local storekeeper to avoid the backcountry where they might meet Indigenous people. When they find Max alone, they steal him and take him with them.

When Kid finds out his brother is missing, he steals a donkey from the mine and chases after him, helped by a snake bite that slows Casey and Frank down.
 Far away on a run-down cattle station, a man named Kennedy uses his son Philomac as a slave. Philomac is a character carried over from "Sweet Country."

Casey and Frank take over the station, claiming they found Max alone.
 Kennedy listens to them and lets them mistreat Philomac, who suspects they're not who they seem. Casey and Frank become more ruthless, treating Indigenous people like animals. Their cruel actions towards a thief named Archie shock Philomac and lead to a chase sequence with violent scenes.

The story draws from oral history passed down to Tranter by his great-grandfather.
 Tranter's Indigenous and Chinese heritage is important to the story. The plot sometimes feels a bit loose, and the twists aren't always surprising. However, the film is still engaging because of the strong cast.

Deborah Mailman gives a touching performance as Pansy, showing strength and grace.
 Pedrea Jackson stands out as Philomac, showing his anger and longing to be with his people. Shand's Casey is chilling, treating Indigenous people with contempt. The young actors who play Max and Kid are also excellent. Two Chinese gold miners later join the story, showing solidarity among people who have been mistreated. Their presence brings a powerful ending to the film.

Thornton also acts as the director of photography, using the rich colors of the landscape to create a vivid look.
 The film doesn't have an original score, but it uses Charlie Barker's saw playing to create a unique atmosphere. While it doesn't surpass his debut film "Samson & Delilah," "Wolfram" is a solid film in Thornton's career, showing a return to form after his more uneven recent work, "The New Boy."