Is the cause of Wings something that really needs to be … evangelized? Apparently so. When “Man on the Run,” a documentary about Paul McCartney’s 1970s Wings period, had its world premiere at the Telluride Film Festival over the weekend, you could hear patrons talking about what a revelation it was that he generated so much good music in the wake of the Beatles’ breakup, as if he hadn’t remained one of the biggest artists in the world throughout the subsequent decade. So maybe there’s some desire for further vindication that has driven McCartney to write a book about those years (coming out in the fall) as well as executive produce this Morgan Neville-directed doc (hitting select theaters and then Prime Video next year). Maybe everyone who sold McCartney’s post-Beatles period short previously has their reasons for putting blinders on, even in the face of that inescapable a juggernaut. “I was a John guy,” said one enthusiastic, 70-plus festivalgoer, as if that were a completely reasonable explanation for a 50-year immunity to the charms of “Jet” and “Let Me Roll It.” Or perhaps it just takes the creep of old age to agree with the wisdom of the sages, that it isn’t silly … love isn’t silly … love isn’t silly at all. “Man on the Run” is a heck of a lot of fun to watch, if you aren’t still so married to your worn copy of “Plastic Ono Band” that you can’t acknowledge the obvious: If there had been no 1960s (imagine no Beatles, it’s easy if you try), McCartney would still have to be acknowledged as on

It’s hard to be a movie star and a dad at the same time — just ask Channing Tatum. On the latest episode of “Daily Variety” podcast, Daniel D’Addario, Variety chief correspondent, details his reporting for Variety’s Sept. 2 cover story featuring Tatum and director Derek Cianfrance discussing how they brought a stranger-than-fiction true crime story to life in Paramount Pictures’ “Roofman.” Tatum and Cianfrance came together as collaborators at a time when both of them were regrouping in their careers. Tatum is extremely open in discussing the challenges of juggling movie shoots around the world with his most important job of being a parent to his 12-year-old daughter. Tatum, D’Addario notes, is at a key transition point in his career as he reaches his mid-40s. “Roofman,” which premieres Saturday at the Toronto Film Festival, tells the story of a blue-collar North Carolina man, Jeffrey Manchester, who wound up living secretly in a Toys R Us store and robbing McDonald’s fast food restaurants in order to provide for his daughter. Manchester was sentenced to 34 years in prison after being convicted of several robberies in 2000. “I think of [Tatum] as the guy from ‘Magic Mike’ or ’21 Jump Street’ — a fun loving, a goofball. He’s lived a lot of life since then,” D’Addario says. “Those movies were almost 15 years ago, and at 45, he is extremely reflective about the kind of career he wants to have and the kind of work he want

In Oren Jacoby’s evocative documentary This Is Not A Drill, a powerful alliance forms—three passionate grassroots environmentalists join forces with descendants of John D. Rockefeller to confront the most formidable oil and gas giants in the United States. Justin J. Pearson unites a multiracial movement in Memphis, Tennessee, in a fierce stand against a destructive crude oil pipeline. Roishetta Ozane, a resilient mother of six from Louisiana, channels the heartbreak of losing her home to relentless, record-breaking hurricanes into fierce political advocacy—taking her fight from the wreckage of her community all the way to the steps of Congress. And Sharon Wilson, once an oil industry insider, now a fearless methane hunter, wields infrared technology to reveal the invisible poisons seeping from fracking sites and pipelines across Texas. Supporting them are defiant Rockefeller heirs—descendants who have turned their backs on the family’s oil dynasty to expose ExxonMobil’s decades-long campaign of deception. Together, as the film reveals, this coalition unearths what they call Big Oil’s “Big Con”—an industry doubling down on fossil fuels while cloaking the truth in layers of misinformation. “When democratic institutions and protections are stripped away, corporate greed runs unchecked—and the public pays the price,” Jacoby reflects. “How do we protect our communities? We found three extraordinary individuals who’ve risen to the challenge, showing us the path forward. They are confronting oil and gas giants that ignore scientific warnings and continue expanding infrastructure that fuels the climate crisis. Each of them has something deeply personal, urgently real, at stake.” Variety sat down with Jacoby to discuss This Is Not A Drill, which made its debut at the 2025 Tellu

Oscar Isaac once again stood bathed in the golden glow of applause, earning his second standing ovation at the Venice Film Festival in just five days. The premiere of Julian Schnabel’s sweeping literary epic, “In the Hand of Dante,” on Wednesday night was met with a thunderous eight-minute reception. This came on the heels of his previous triumph, where he led Guillermo del Toro’s “Frankenstein” to a breathtaking 13-minute ovation just days earlier. As the final credits rolled on “In the Hand of Dante,” the theater pulsed with emotion. In the film, Isaac masterfully embodies two souls — the 14th-century poet Dante Alighieri and the tormented modern-day writer Nick Tosches. Overcome by the moment, Isaac embraced his director, eyes glistening, before turning to the crowd, his smile radiant as he waved to a sea of adoring fans. Earlier that evening, Isaac had strolled the red carpet with co-star Jason Momoa, whose bold fashion choice — a baby pink suit paired with matching Birkenstocks — turned heads. Momoa entered Venice’s historic Sala Grande flanked by Schnabel and the cast, including Louis Cancelmi, Franco Nero, and Benjamin Clementine. Yet, before the film began, he quietly slipped away, missing the triumphant ovation. Among the film’s other luminous names — Gal Gadot, Gerard Butler, Martin Scorsese, and Al Pacino — none were present, their absence felt in the velvet darkness of the theater. Based on the novel by Nick Tosches, “In the Hand of Dante” is a haunting tale that follows

Channing Tatum has finally claimed his place in the Marvel Cinematic Universe with his debut as Gambit in “Deadpool and Wolverine.” But long before stepping into that iconic role, Tatum had once tried to enter the superhero world as Thor—a dream that slipped through his fingers years ago. In his latest Variety cover story, Tatum reflected on his failed audition for Kenneth Branagh’s 2011 film. “I didn’t really want to be Thor,” he confessed. “But I wanted to audition in front of Kenneth Branagh.” The audition was a defining, albeit painful, moment in his career. Tatum recalled: “After I did one take, [Branagh] said, ‘You’re not allowed to move. Put your hands on this chair.’ And I froze. He nailed my crutch. I spent the next five years really trying to learn stillness.” The experience was humbling, but it became a quiet turning point in his journey. Though Chris Hemsworth ultimately became the God of Thunder, Tatum found his heart belonged to another hero—Gambit. He pursued the role with unwavering passion, developing a Gambit movie under 20th Century Fox’s “X-Men” universe. Yet, the project was plagued with delays and reshuffles. It was once slated for a October 2016 release, and in November 2017, Lizzie Caplan joined as the female lead. Despite the momentum, the film never saw the light of day, collapsing after Disney’s acquisition of Fox. By 2022, Tatum admitted to <a re

Andy Serkis recently told Metro that he is heading to New Zealand this month to begin work on “The Lord of the Rings: The Hunt for Gollum,” the new “Rings” movie that he is starring in and directing. Warner Bros. has already announced the movie will open in theaters Dec. 17, 2027. “Gollum” will be the first live-action “Rings” movie since 2014’s “The Hobbit: The Battle of the Five Armies,” directed by Peter Jackson. “I’m very excited to go back. I leave for New Zealand on Saturday [Sept. 6],” Serkis shared, his voice tinged with nostalgia and anticipation. “We’re going down to start prep and working on it, because I’m directing. I’m thrilled to return to the family that I’ve loved working with for many years, and a character that I cannot escape from.” There was a wistful honesty in his words, as if Gollum had become more than a role—more like a shadow that walks beside him, always present, always calling him back to Middle-earth. Warner Bros. first announced “The Hunt for Gollum” in summer 2024 and originally said it would be ready for theaters in 2026. It then got delayed to December 2027. Serkis is directing the tentpole and once again starring in the title role, which he’s bee

Ciao! The 82nd annual Venice Film Festival is underway and the stars have hit the canals, with this year’s world premieres including Yorgos Lanthimos kidnap thriller “Bugonia,” Noah Baumbach’s showbiz dramedy “Jay Kelly,” Guillermo del Toro’s lavish adaptation “Frankenstein,” Luca Guadagnino’s college campus thriller “After the Hunt” and Benny Safdie’s UFC biopic “The Smashing Machine.” New films from Mona Fastvold, Kathryn Bigelow, Paolo Sorrentino, Jim Jarmusch, Park Chan-wook, Gus Van Sant, Lucrezia Martel, László Nemes and Kaouther Ben Hania are also in the lineup. This year’s jury is headed by Alexander Payne, the director of films like “The Holdovers,” “Election” and “Sideways.” Venice often serves as the launch of awards season, coming ahead of an onslaught of other fall festivals including Telluride, Toronto and New York that distributors use to lay the foundation for campaigning in the coming months. See all of Variety’s reviews from the 2025 Venice Film Festival below. The roundup will be updated throughout the festival to include the most recent reviews. Read Variety’s review: Julian Schnabel’s gonzo literary gangster movie is a folly that pulsates with life. Oscar Isaac plays Nick Tosches — and Dante — in a heist-movie-meets-philosophical-rumination that overreaches almost on purpose. Read Variety’s review: Pietro Marcello unleashes Valeria Bruni Tedeschi on a torrid portrait of a prima donna. Italian theater star Eleonora Duse gets an adulatory l

If Dylan O'Brien has lent his drumming talents to Taylor Swift’s highly anticipated new album, “The Life of a Showgirl,” he’s keeping it under lock and key. “Oh, I can’t say!” he teased with a knowing smile during an intimate chat at the premiere of his latest indie film, “Twinless,” held Tuesday night at the Pacific Design Center in West Hollywood. His eyes sparkled with mischief as he repeated, “You know, I can’t say.” O’Brien’s drumming previously graced the track “Snow on the Beach” from Swift’s 2022 album, “Midnights.” Reflecting on that moment, he said, “It was an all-time bucket-list experience for me — one of those surreal dreams you never imagine coming true.” Their creative chemistry also shone in Swift’s emotionally charged short film, “All Too Well,” where O’Brien shared the screen with Taylor and Sadie Sink (“Stranger Things”), delivering a performance that lingered long after the credits rolled. Despite their close collaboration, O’Brien insists he hasn’t pressed Swift for a sneak peek of her new album. “I respect the space,” he said softly, with the kind of reverence reserved for art and artists who’ve shaped your life. In “Twinless,” a darkly humorous and unexpectedly moving film, O’Brien takes on a dual role as Roman and his late identical twin, Rocky — a character whose vibrant, unapologetic spirit is rev