Amazon is being sued by the writer of the original 1989 Patrick Swayze version of the film Road House over alleged copyright infringement in the movie's remake, The Los Angeles Times has reported. Screenwriter R. Lance Hill accuses Amazon and MGM Studios of using AI to clone actors' voices in the new production in order to finish it before the copyright expired.
Hill said he filed a petition with the US Copyright Office in November 2021 to reclaim the rights to his original screenplay, which forms the basis of the new film. At that point, the rights were owned by Amazon Studios, as part of its acquisition of MGM, but were set to expire in November 2023. Hill alleges that once that happened, the rights would revert back to him.
According to the lawsuit, Amazon Studios rushed ahead with the project anyway in order to finish it before the copyright deadline. Since it was stymied by the actor's strike, Hill alleges Amazon used AI to “replicate the voices” of the actors who worked in the 2024 remake. Such use violated the terms of the deal struck between the union and major studios including Amazon.
The claim is complicated by the fact that Hill signed a "work-made-for-hire" deal with the original producer, United Artists. That effectively means that the studio hiring the writer would be both the owner and copyright holder of the work. Hill, however, dismissed that as "boilerplate" typically used in contracts.
The lawsuit seeks to block the release of the film, set to bow at SXSW on March 8th before (controversially) heading direct to streaming on Prime Video on March 21.
Amazon denies the claims, with a spokesperson telling The Verge that "the studio expressly instructed the filmmakers to NOT use AI in this movie." It added that if AI was utilized, it was only done in early versions of the films. Later on, filmmakers were told to remove any "AI or non-SAG AFTRA actors" for the final version. It added that other allegations are "categorically false" and that it believes its copyright on the original Road House has yet to expire.
This article originally appeared on Engadget at https://www.engadget.com/amazon-accused-of-using-ai-to-replicate-the-voices-of-actors-in-road-house-remake-054408057.html?src=rss
There’s a Borderlands movie coming out, and now we have our very first teaser trailer. This footage gives us a glimpse of all of the major characters, most of which are sourced from the game, and the tone that director Eli Roth is going for.
There’s a ...
With a healthy dose of heart and whimsy, the Sundance documentary Seeking Mavis Beacon follows two young Black women who are devoted to finding the original model for Mavis Beacon Teaches Typing. If you touched a computer during the '80s or '90s, there's a good chance that Mavis helped you get comfortable with a keyboard. Or at the very least, you might remember her from the program's original 1987 cover: a smiling, elegant Black woman dressed in a cream-colored outfit. She embodied style and professional poise — it was as if you could be just as capable as her if you bought that program.
It's no spoiler to say that "Mavis Beacon" didn't really exist – she was a marketing idea crafted by a group of white dudes from Silicon Valley. But the program's cover star was real: Her name was Renee L'Esperance, a Haitian model who was discovered while working at Saks Fifth Avenue in Los Angeles. After her image helped make Mavis Beacon Teaches Typing a success, she retreated from the spotlight, reportedly heading back to retire in the Caribbean.
Seeking Mavis Beacon
The documentary's director and writer, Jazmin Jones, as well as her collaborator, Olivia McKayla Ross, start with those basic details and set out to find L'Esperance like a pair of digital detectives. From a home base in a rundown Bay Area office – surrounded by tech ephemera, a variety of art pieces and images of influential black women – they lay out L'Esperance's reported timeline, follow leads and even host a spiritual ceremony to try and connect with the model.
I won't say if the pair actually end up finding L'Esperance because it's the journey that makes Seeking Mavis Beacon such a joy to watch. Jones and Ross both grew up with the typing program and felt a kinship toward the character of Mavis Beacon. It was the first program to prominently feature a Black woman on the cover (a move that reportedly caused some suppliers to cut their orders), so it made the technology world seem like somewhere young Black women could actually fit in. Beacon's digital hands also appear on-screen, as if she's gently guiding your fingers to the correct letters and positioning.
To help uncover more details about the whereabouts of Mavis Beacon, Jones and Ross set up a hotline and website for anyone to submit clues. Some of those calls are featured in the film, and they make it clear that her digital presence inspired many people. The film opens with references to Beacon throughout culture, including one of my favorite bits from Abbott Elementary, where Quinta Brunson's over-achieving teacher is far too excited to spot the typing icon in a school crowd. I was reminded of my own childhood experience with Mavis Beacon Teaches Typing, spending free periods at school and idle time at home trying to get my typing speed up. By middle school, typing felt as natural as breathing. And yes, I would also have freaked out if I saw the real Beacon in person.
While the documentary doesn't seem out of place at Sundance, which is known for innovative projects, it also sometimes feels like a piece of experimental media meant for YouTube or an art show filled with impossibly cool twenty-somethings. (At one point, Ross attends a farewell ceremony for one of her friends' dead laptops, which was hosted in an art space filled with people dressed in white. That's the sort of hip weirdness that will either turn you off of this film, or endear you to it more.)
Jones shows us screen recordings of her own desktop, where she may be watching a TikTok alongside her notes. Instead of a full-screen video chat with another person, sometimes we just see a FaceTime window (and occasionally that reflects Jones' own image looking at the screen). Finding Mavis Beacon tells its story in a way that digital natives will find natural, without locking itself exclusively into screens like the film Searching.
As is true for many first features, the film could use some narrative tightening. Jones and Ross's investigation stalls at several points, and we're often just left adrift as they ponder their next steps. The pair also occasionally appear too close to the story, or at least, that's how it seems when we see Jones tearing up while pleading to meet with L'Esperance.
But I'd argue that's also part of the charm of Seeking Mavis Beacon. Jones and Ross aren't some true crime podcast hosts looking to create content out of controversy. They're young women who found comfort in one of the few faces in tech that looked like them. With this film, Jones and Ross could be similarly inspirational for a new generation of underrepresented techies.
This article originally appeared on Engadget at https://www.engadget.com/seeking-mavis-beacon-review-sundance-documentary-140049830.html?src=rss
Hold onto your cabbages. Netflix just dropped a full trailer for its forthcoming live-action adaptation of Avatar: The Last Airbender. It actually looks pretty cool, surprising fans who have been dreading a repeat of the disastrous 2010 film adaptation...
It’s that time of year again. Oscar nominations are in, setting off a firestorm of debate and speculation until the awards ceremony in March. This year, the streamers absolutely ruled the roost. Netflix snagged 18 nominations, including best picture, which technically puts it in first place, according to a breakdown from Variety.
I say Netflix “technically” received the most nominations because it depends on your point of view. Disney actually scored 20 nominations across various categories, but only when you don’t split up its various sub-brands. Remember, Disney owns just about everything, including 20th Century Studios, Hulu, Lucasfilm Ltd., Marvel Studios, National Geographic Documentary Films, Pixar Animation Studios and Searchlight, among others. All of them together came to 20 nominations, including a best picture nomination for Poor Things.
Apple came away with 13 nominations, including best picture nods for Napoleon and Killers of the Flower Moon, which isn’t bad for a company that just started creating original content around four years ago. Universal, an actual old-school production company, also nabbed 13 noms, including best picture for one half of the summer’s hottest cinema event, Oppenheimer.
The other half of the equation, Barbie, was also nominated for best picture. However, Greta Gerwig got snubbed for best director, which is not sitting right with denizens of the internet. Also, Margot Robbie didn’t get a best actress nomination, while Ryan Gosling got one for best supporting actor. To be fair, that best actress category is crowded with stellar performances from relative newcomers like Lily Gladstone to long-time veterans like Annette Bening.
"Oppenheimer" – 13 "Poor Things" – 11 "Killers of the Flower Moon" – 10 "Barbie" – 8 "Maestro" – 7 "American Fiction" – 5 "Anatomy of a Fall" – 5 "The Holdovers" – 5 "The Zone of Interest" – 5https://t.co/Ag0MICHLXY
The films with the most nominations include Oppenheimer and Poor Things, both with 13. Production company A24, however, was the only studio with multiple nominations in the best picture category, thanks to Past Lives and The Zone of Interest. A24 was also behind the Netflix limited series Beef, which took home a slew of Emmy awards last week. Inexplicably, A24 also produces the hilarious, yet decidedly low-brow, sitcom Tacoma FD. That's your useless fact for the day.
This article originally appeared on Engadget at https://www.engadget.com/netflix-grabbed-the-most-oscar-nominations-with-stiff-competition-from-disney-and-apple-171221880.html?src=rss
Sony is continuing to mine its back catalog of games for movie adaptations while persistently forgetting that Bloodborneis right there. Its next game that's bound for the big screen is Until Dawn, a 2015 interactive horror title that Supermassive Games developed and Sony published.
David F. Sandberg (Lights Out and the Shazam! movies) will direct the adaptation, according to The Hollywood Reporter. Gary Dauberman, who previously worked on Annabelle: Creation with Sandberg, is taking a fresh stab at a script originally written by Blair Butler (The Invitation).
Until Dawn focuses on a group of eight young people who try to survive the night at a perilous mountain retreat. The spooky game has a branching narrative and, depending on the decisions you make (or if you fail at quick-time events), some of the characters may not make it until the group is rescued the following morning.
Given that any or all of the characters may perish during the night, there are hundreds of possible endings to the game, so it'll be interesting to see which direction Sandberg and Dauberman take with the material. Several notable actors appeared in Until Dawn, including Hayden Panettiere, Jordan Fisher and Oscar winner Rami Malek.
It’s official. The Mandalorian and his little green buddy are coming to the big screen, and before Dave Filoni’s long-anticipated crossover film event. The movie, appropriately titled The Mandalorian & Grogu, will be helmed by Jon Favreau, who crea...
Set your calendars. Martin Scorsese’s latest and greatest, Killers of the Flower Moon, is premiering globally on Apple TV+ in just over a week. The film drops on January 12. It was originally released in theaters on November 20, which means it’ll be 12...
Jack Black is reportedly set to play Minecraft Steve. Deadline wrote on Tuesday that the School of Rock actor will play the game’s blocky protagonist alongside Jason Momoa in the game’s long-delayed film adaptation.
The Minecraft adaptation has be...
It's been a year since we learned that a movie based on Death Stranding was in the works. Now, Kojima Productions has brought another notable partner on board. A24, the celebrated studio behind movies such as Everything Everywhere All At Once and Uncut Gems, is helping to adapt Death Stranding into a live-action film.
More than 16 million people have explored Hideo Kojima's haunting game so far. Death Stranding tasks a courier named Sam Porter Bridges (played by Norman Reedus) with unifying a fractured America after a cataclysmic event. It's a strange, captivating game. Perhaps most importantly for A24, it's also deeply cinematic.
The adaptation will "delve into the mysteries surrounding the apocalyptic event called the 'Death Stranding,' which blurred the lines between life and death, and brought forth nightmarish creatures into a world on the brink of collapse," according to a press release. Don't expect the film to directly follow the events of the game, though.
"There are a lot of 'game adaptation films' out there but what we are creating is not just a direct translation of the game," Kojima, who claims to have taken inspiration from some of A24's work, said. "The intention is that our audience will not only be fans of the games, but our film will be for anyone who loves cinema. We are creating a Death Stranding universe that has never been seen before, achievable only through the medium of film, it will be born.”
Kojima is a renowned movie buff who may very well have been a film director in another life. He may not have enough time to slide into the director's chair on this occasion though, as Kojima Productions has its hands full with two games that are in the works: a Death Stranding sequel and a new project called OD. Still, A24 has a number of high-profile collaborators who'd make a compelling Death Stranding film. I'm curious as to what Ari Aster, Robert Eggers, Sofia Coppola or Alex Garland might be able to do with that source material.
This article originally appeared on Engadget at https://www.engadget.com/a24-will-help-bring-the-death-stranding-movie-to-life-171735945.html?src=rss
