Paul Greengrass’s “The Uprising” Hits Home Video With Andrew Garfield Leading Robin Hood-Inspired Rebellion

Paul Greengrass brought his signature gritty realism to medieval England, and now you can watch it at home.

“The Uprising” just landed on digital, with 4K UHD, Blu-ray, and a limited edition Steelbook arriving November 3. The film stars Andrew Garfield as the leader of a rebellion against King Richard II, drawing from the true events that inspired the Robin Hood legend.

Greengrass, known for “Captain Phillips” and the Bourne films, turns his visceral style on 1381 England. The result is what Screenrant called “a riveting cinematic epic” that puts audiences right in the middle of the revolt.

The home release comes loaded with bonus material. There’s behind-the-scenes footage with Garfield and Greengrass breaking down the film’s historical roots, plus looks at the detailed sets and costumes that transformed modern locations into 14th-century England. Eight deleted scenes round out the extras.

It’s a story about ordinary people standing up to power, the kind of underdog tale that resonates whether it’s set in the Middle Ages or today. And with Greengrass’s documentary-like approach, it feels less like a costume drama and more like you’re there in the mud and chaos.

For filmmakers looking to blend historical accuracy with modern energy, this one’s worth studying.

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Sean Ono Lennon’s Fashion Doc threeASFOUR: FULL CIRCLE Hits Film Forum in November

Sean Ono Lennon is making his directorial debut with a documentary about fashion outsiders who refuse to play by the rules.

threeASFOUR: FULL CIRCLE follows the avant-garde fashion collective threeASFOUR, made up of designers Gabi Asfour (Lebanese-Palestinian), Angela Donhauser (German-Tajikistani), and Adi Gil (Israeli). For over 25 years, they’ve pushed fashion into uncharted territory, drawing from natural forms and pioneering techniques that landed them museum exhibitions and fans like Björk and Chloë Sevigny.

But the film isn’t just about their creative wins. It’s about survival. About what happens when you center artistry and cross-cultural collaboration in an industry obsessed with profit margins.

Lennon co-directs with Brian C. González, who also handles cinematography. Jenny Golden wrote and edited. Beth Levison produces alongside Lauren Evangelista, González, and Daniel Sheppard.

The documentary opens exclusively at New York’s Film Forum on November 13, then rolls out nationwide this fall.

It’s a timely portrait of artists choosing creativity over commerce, and a reminder that the most interesting work often comes from the people willing to struggle for it.

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Nicolas Cage Takes Over a Diner in IFC’s Action Thriller Best Pancakes in the County

Independent Film Company

Independent Film Company

Nicolas Cage is back in full eccentric mode. IFC just picked up Best Pancakes in the County, a shoot-’em-up thriller that traps a diner full of dangerous people in one explosive night.

Cage plays The S.O.B., a cunning criminal caught in a deadly standoff between rogue federal agents, a fast-talking con man (Justin Long), and a waitress with secrets (Shelley Hennig). As tensions boil over, survival comes down to who can outthink and outgun everyone else.

Writer-director Ken Sanzel reunites with Cage after their 2019 action thriller Kill Chain. He wanted a character who could be funny, dangerous, and unpredictable all at once. “And then he took it to wilder and more unexpected places than I could have imagined,” Sanzel says.

The film was shot in Arkansas with backing from Beno Films and CaliWood Pictures. The ensemble also includes Lauren German, Ravi Patel, and Brandon Mychal Smith.

IFC’s Mark Ward is clearly excited. “BEST PANCAKES IN THE COUNTY is exactly the kind of eccentric and wildly entertaining ride that Nicolas Cage does better than anyone else.”

The film hits select theaters and VOD on November 20.

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Henry Jaglom’s ‘Sitting Ducks’ Gets 4K Restoration, Screens at Baltimore Fest

A forgotten crime comedy from 1980 is getting new life in 4K.

Henry Jaglom’s “Sitting Ducks” screens at the New/Next Film Fest in Baltimore this weekend, freshly restored from the original 35mm camera negative. The film follows two small-time thieves who steal cash from the mob and head for Miami in a limousine, dreaming of escape to Costa Rica.

The restoration came together through a collaboration between Hope Runs High and Cinématographe, with help from the Academy Film Archive. Vinegar Syndrome handled the 4K scan in Connecticut, and Marcus Johnson of Emulsional Recovery completed frame-by-frame digital work and color grading.

Jaglom, who died in 2025, carved out his own strange corner of American independent cinema. He started in editing, helping Jack Nicholson cut “Easy Rider” in 1969, then went on to write and direct over 20 films. “Sitting Ducks” was his third feature and played Cannes back in the day. Time Out called it “an instantly likeable triumph of optimism over opportunism.”

The film screens Sunday at 5:45pm at the Charles Theatre.

This is the second Jaglom restoration to hit screens, with more on the way. For a generation of filmmakers who worked outside the system, these restorations matter. Jaglom’s work has been underseen for decades, and 4K brings it back where it belongs.

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BOT LOVE Documentary Asks If AI Intimacy Can Replace Human Connection

A new documentary wants to know: if artificial intimacy feels real, does it matter that it isn’t?

BOT LOVE, from director Tyler Funk, premieres October 21 on CBC and CBC Gem. The film follows real people navigating relationships with AI companions, each for different reasons.

Nick, a young man on the autism spectrum, finds relief in an AI that offers consistency and patience where human relationships require exhausting effort. Denise turns to AI after painful experiences left her struggling to trust people. For both, this isn’t escapism. It’s survival.

The doc also tracks the developers building the systems that make this possible. Eugenia Kuyda created one of the world’s most popular AI companions. Anthony and Bryan Mitchell are fusing gaming, porn, and AI into an interactive sexual experience. Justin Harrison uses AI to reconstruct the dead so relationships can continue after loss.

“I never thought I’d see another technology transform our lives as quickly as the internet did,” Funk says. “AI has arrived with astonishing speed.” One developer told him AI could be “either the biggest existential threat or the most beautiful technology.” That tension runs through every frame.

Funk’s previous film, ANYTHING FOR FAME, premiered on Paramount+ and Showtime in 2024. This one feels more urgent. Millions of people are already using AI as a companion, advisor, or lover. BOT LOVE doesn’t judge them for it. It just asks what happens next.

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Lifetime’s Reunion Island and vertTV’s Bite Club Join Inaugural ALZA Festival Lineup

alza festivalNew York’s ALZA Festival is loading up its first-ever microdrama celebration with nine new world premieres ahead of its October 16-18 debut.

The additions include Lifetime’s Reunion Island, a thriller about reality show contestants trapped in a deadly game at a Maui mansion. The cast features Felix Merback and Eric Guilmette, with direction by Gary and Edmund Entin.

Also joining the slate is vertTV’s supernatural horror Bite Club, which reunites horror legends Barbara Crampton and Russell Todd on the 40th anniversary of Chopping Mall. The series follows a student investigating her friend’s murder at a university hiding vampire bloodlines. Sam Irvin directs.

Other premieres include South African dramedy Confessions of a Gold Digger, workplace comedy Bandana Besties, and a trio of thrillers from Reelarc: Fatal Match, Splitlight, and Zero Point.

Beyond screenings, the festival is packing in conversations with industry experts Richard Lawson, Jeffrey Schenck, Jay Blumenfield, Todd Spicer, Jen Cooper, Phil Viardo, Rob McGillivray and Manny Ruiz about how vertical storytelling is reshaping entertainment. A special panel features the leading men of GammaTime microdramas sharing behind-the-scenes stories and debuting an exclusive teaser for The Summer I Turned My Sexiest 2.

“There is no better place than ALZA to hear directly from the people who are helping shape the way we consume entertainment,” says Pete Torres, founder and CEO of ALZA Festival.

Festival passes and tickets are available now at ALZAFestival.com/ticketing.

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Phil Lord and Chris Miller’s Project Hail Mary Wins Sloan Science in Cinema Prize

project-hail-marySFFILM just handed its Sloan Science in Cinema Prize to Phil Lord and Chris Miller’s Project Hail Mary, and they’re backing it up with a $20,000 check and a splashy event.

The prize celebrates films that make science central to the story, not just window dressing. Project Hail Mary, starring Ryan Gosling as a lone science teacher on a spaceship racing to save Earth’s dying sun, fits the bill. The adaptation of Andy Weir’s novel leans hard into physics, astronomy, and microbiology to solve its interstellar crisis.

“This deeply entertaining and emotional film never skirts the scientific process, but instead fully embraces it at every turn,” says Anne Lai, SFFILM’s Executive Director.

The celebration happens October 28 at San Francisco’s Premier Theater at One Letterman. Lord, Miller, and screenwriter Drew Goddard will join VFX Supervisor Paul Lambert, Sound Designers Erik Aadahl and Ethan Van der Ryn, and Dr. Ron Radeztsky, the astrophysical scientist who worked on the film’s astrometric modeling. Expect a deep dive into how they balanced spectacle with actual science.

Past winners include Oppenheimer, Twisters, Don’t Look Up, Hidden Figures, and The Martian. The Sloan Foundation has backed over 900 science and film projects, trying to close the gap between hard science and Hollywood storytelling.

For indie filmmakers chasing authenticity, this prize proves there’s an appetite for smart science on screen, not just CGI explosions.

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Kerry Washington and Omar Sy Go on the Run in Joe Carnahan’s “Shadow Force,” Now on 4K and Digital

A former special forces power couple fights for their family in Shadow Force, the new action thriller from Joe Carnahan now available on 4K and Digital.

Kerry Washington and Golden Globe nominee Omar Sy star as Kyrah and Issac, ex-leaders of an elite multinational unit called Shadow Force. Their mistake? Falling in love. To protect their son, they vanished. But with a bounty on their heads and their former team closing in, their quiet life explodes into full-scale war.

Carnahan, who co-wrote the script with Leon Chills, brings his signature kinetic style to the 104-minute R-rated thriller. The cast also includes Mark Strong, Da’Vine Joy Randolph, Cliff “Method Man” Smith, and Jahleel Kamara.

Lionsgate’s home release comes loaded with extras, including an audio commentary with Carnahan and editor Kevin Hale, a making-of doc, location breakdowns, and a deep dive into the film’s final gunfight. There’s also a featurette on the leads’ stunt and weapons training.

Shadow Force delivers exactly what action fans want: a tight premise, a stacked cast, and a director who knows how to stage chaos.

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Clark Duke’s Crime Thriller STRANGLEHOLD Hits Digital This Friday

Clark Duke returns to his Arkansas roots with STRANGLEHOLD, a gritty crime thriller about desperation and bad decisions hitting digital platforms and VOD this Friday.

Ashley Benson stars as Bailey, a small-town Arkansas stripper tired of scraping by. With Christmas approaching and an infant daughter to think about, she hatches a plan to rob the club where she works. Her accomplice? Ex-military husband Tim, played by Jake Lacy. It’s a scheme fueled by Instagram envy and the desire to give their kid something better than barely getting by.

Duke, who made his directorial debut with the Vince Vaughn crime drama Arkansas, co-wrote STRANGLEHOLD with Chandler Duke and Billington Garrett. The cast includes Justin Long, Ron Perlman, Elle King, David Arquette, Brian Posehn, and Chris Redd.

For Duke, this marks his second feature behind the camera. Before directing, he built a career as an actor in projects like The Office, Hot Tub Time Machine, and Kick-Ass. He’s already prepping his third feature, an adaptation of Jonathan Lethem’s novel You Don’t Love Me Yet.

STRANGLEHOLD arrives at a moment when stories about economic struggle and morally messy characters feel especially urgent. Duke knows this territory, he’s from Arkansas, and he’s not afraid to show the ugly side of chasing the American dream.

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Sundance Hands Out Over $1 Million to 19 Doc Projects as Program Nears 25 Years

Sundance Institute just dropped over $1 million across 19 documentary projects from 14 countries. The grants support filmmakers at every stage, from early development through final edits.

The Documentary Film Program turns 25 next year. Since launching in 2002, it’s become a lifeline for nonfiction storytellers navigating everything from funding gaps to censorship threats. This year’s slate spans topics from Indigenous activism to internet preservation,gorilla communication to undocumented queer poets.

Nearly 65% of proposals came from outside the U.S. Projects have roots in Canada, Denmark, France, India, Iran, Mexico, the Netherlands, Norway, Qatar, Romania, Tunisia, the U.K., the U.S., and South Korea.

Several familiar names landed grants. Julian Brave NoiseCat, whose Sugarcane became the first Indigenous-directed doc nominated for an Oscar, returns with Alcatraz is an Idea about the 1969 occupation. Emmy winner Drew Xanthopoulos got support for My Friend the Bear. David Alvarado’s All Shall Be Saved follows his Luis Valdez doc that won the Library of Congress prize earlier this year.

The mix includes first-timers too. Thirty-seven percent of grantees are directing their first feature doc.

Past Sundance Doc Fund projects include All That Breathes, Crip Camp, No Other Land, Sugarcane, and The Territory. The program is backed by Open Society Foundations, John Templeton Foundation, MacArthur Foundation, and Free People.

For indie filmmakers working outside the system, this kind of unrestricted funding can mean the difference between finishing a film and abandoning it halfway through.

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