Our 15 Most Anticipated Films of 2026, Critics Choice and SAG Awards, & Special Guests from Row K Entertainment

24:01I have to give them points in a way for, you know, Ravora, you know, just going for it. He's got a movie star, so he can afford to, you know, but I'm curious to see. It's supposed to be a comedy, so we'll see. In the blink of an eye is Andrew Stanton's long-awaited return to live action filmmaking. Andrew Stanton, of course, is the, you know, he's like the brain trust leader over at Pixar. He's the guy who did, you know, so many of the great Pixar movies. So he had one really bad experience in live action, which sort of gave him a pause, which was one of the great debacles. It was John Carter of Mars.

24:57That was a disaster. Yeah, John Carter. And I read all those books, and they were great. So he messed that up. But he didn't know what to do with live action. So we'll see.

25:09Ryan Lattanzio:Yeah, that looks horrible to me. That will be at Sundance. And it's going straight to Hulu on February 27th. You were looking at different signs of what might be good. You might be right about that. It's another one of those, like, it's those Sloan Prize winning Sundance movies. It's like that that there's interconnected stories and it's kind of telling a message of the moment. I don't I don't really want ambition. I do. Yeah, sure. Me, too. But what's your next one? My next one will be you'll also have this one on your list. That'll be Werewolf directed by Robert Eggers, which is coming out at Christmas.

25:48Ryan Lattanzio:I'm amazed he turned around another one of these already because Nosferatu feels like it wasn't that long ago. And again, we have Aaron Taylor Johnson, Willem Dafoe, Lily Rose Depp in a 12th century werewolf movie coming out around Christmas that is promising to be his darkest horror movie yet. So I am, of course, excited about that. You know, I loved Robert Eggers and I did love Nosferatu, but somehow I'm not in the mood for another werewolf movie, honestly. I've seen so many of them. So I went with a different one. And I went with Behemoth, which is the title of the Tony Gilroy movie that's coming up from Searchlight.

26:22He's following up Andor with a feature that is, you know, pretty much of a character piece about a musician and film composer who returns to L.A. And it's Pedro Pascal, David Harbour, Olivia Wilde, Eva Victor and Matthew Lillard. I'm excited.

26:41Ryan Lattanzio:my next one uh is going to be the first movie from david robert mitchell in it's got to be eight years now flower veil street with uh ewan mcgregor and anne hathaway and the details are very scant about that one i think it's a sci-fi horror mystery set in the suburbs uh and this is the director of it follows and the myth of the american sleeper and love it or hate it under the Silver Lake, which actually... Hate it. Yeah, I'm not a big fan of that one either. But I like those other films, and he's a talented guy, and I'm rooting for him. Yeah. My next one is, you could have predicted that this would be on my list, David Fincher's The Adventures of Cliff Booth, which is the sequel, not directed by Tarantino, of Once Upon a Time in Hollywood.

27:33and so Brad Pitt is back. It's a big budget movie. It's Netflix and it takes place eight years after the events of Once Upon a Time in Hollywood which makes that 1977 and DiCaprio's not in it and we have Scott Kahn, Elizabeth DeBecky Yahya Abdul-Mateen II.

27:58Ryan Lattanzio:My next are going to be I came up with movies that are coming out that I've already seen that I think people should be excited about, which is the first one's going to be Mirror No. 3, directed by Christian Petzold. And that's coming out this spring. And that's another movie with Paula Beer that is a kind of romantic mystery that involves amnesia and memory. And these are the themes in all of his movies. And I'm excited to revisit that one. I have to see that. I'm looking forward to that. my next is very predictable. The next two are totally predictable. They're, because I'm counting down to my first choice and second choice.

28:41So this one would be Dune 3, Denis Villeneuve, Timothy Chalamet, Zendaya, Rebecca Ferguson, et cetera, et cetera. I can't wait. You know, I love the first two. I have all, nothing but high expectations for the third. This is where Timothy goes to the dark side for sure. Yeah.

28:59Ryan Lattanzio:I knew that that was going to be on your list and those movies are zero for two for me. I find them to be seriously cantankerously self-serious and yeah, that's my take on it. I'm very aligned with David Ehrlich's reviews on those two movies, though I understand the beauty of the crafts and all that stuff for sure. The movie that, I guess I'm at my last one, so the movie that I'm really excited for people to see, I don't know how many people are going to get to see it, is a movie that was a can last year called yes directed by nadav lapid and this is set after the october 7th attacks and it's about a pianist and his comedian uh wife in tel aviv who are asked to commission to make a new national anthem in support of israel but uh they they end up going on this orgiastic musical journey that takes a much darker uh introspective turn that you might imagine and this is from uh the director of a couple movies that i really liked which include the original the kindergarten Garden Teacher, as well as Synonyms from 2019.

30:03Ryan Lattanzio:So this is a Kino Lorber movie that I think by the end of the year, a lot wouldn't need to happen for this to be dethroned for one of my top 10 movies of 2020. Wow. Wow. I'll have to check that one out. Well, this is all too predictable, but my number one most looked forward to movie, along with many other people, is The Odyssey from Christopher Nolan. Matt Damon at 167 pounds and counting. Can't wait. Cannot wait. The visuals I've seen are stunning. He shot the whole thing in IMAX. And yeah, I'm sold. So can't wait. Yeah, I'll be there, like it or not. I need to brush up on my Odyssey, actually, and my classics.

30:50Ryan Lattanzio:I've actually been listening to a classics podcast, so it's kind of helping me brush up on that. Oh, yeah. Send me the link for that. I majored in the classics in college. I studied Greek in college. Yeah, it's kind of like a cliff notes of everything that happens within them. But I would recommend reading, actually reading the Odyssey. It isn't hard at all. The Iliad, too. The Iliad and the Odyssey, because one comes first. Yeah, we'll see. We'll see what I do.

31:28hello please welcome megan colligan the president of new distributor roe k we're going to get into what that means later uh which just opened gus van zant's venice drama dead man's wire uh starring bill skarsgaard and carrie elwis which is a terrific movie which uh debuted at venice as i said and Ryan saw it there to begin with. Roque has gone on a recent buying binge and we'll get into that. We have known Megan for years as a marketing executive at Searchlight, Paramount Pictures, Vantage, and IMAX. And if anyone can make sense of the current Scramble theatrical universe, it's Megan. I've enjoyed my wonky talks with you over the years.

32:19She's joined by Roque's head of acquisitions and distribution, Steve Garrett, who served previously as a CV, SVP of distribution at IMAX. And he was at Paramount also and at Paramount Vantage. And so the movies that you guys bought include Charlie Harper, which I actually saw. I saw that movie. I can see why you, why you bought it. Poetic License and Cliffhanger, a remake of the 1993 action film. But Ryan, why don't you get us started on our questions for this group?

32:57Ryan Lattanzio:Hey, yeah, great to meet both of you. I've been so curious to know about the ethos of the company and sort of what floats your boat. And so there's lots to dig into. But first, I thought, since the movie is coming out this weekend, obviously, you launched it into the Oscar race with a qualifying run last fall into the awards season. And so why was Gus Van Sant's Dead Men's Wire the right movie to be your flagship film? This is his first feature in eight years since he had Don't Worry, He Won't Get Far on Foot at Amazon. And then he took a little break to direct the feud Capote versus the Swans for FX on TV.

33:35Yeah, I mean, when we saw this movie at Toronto, we could not stop talking about it. And, you know, Anne touched on this a little bit. And first of all, thanks so much for having both of us. So I should probably start by saying that. It's great to see you both. But when we saw this movie, we could not stop talking about it. And that really is a little bit, when you say kind of what is a Roque film, we really do think, you know, a lot has been made about what makes a movie theatrical and what drives people into movie theaters. And for us, we think a lot about kind of the conversation that happens both before, during, and after a movie is in the marketplace.

34:25And we really think about kind of the conversation that a movie elicits. And Dead Man's Wire to us is one of those really fun, entertaining, true crime thrillers that like you kind of can't stop talking about. I think there is a big open-ended question at the end of this movie about whether this guy is a hero that's sort of fighting the good fight against the man or is he a criminal? And there's a debate and a discussion to be had. And Bill Sarsgaard is exactly the kind of actor that can deliver that kind of nuanced performance that is electric and charming and funny and scary and all the kinds of things that create that tension that make you not be able to kind of stop discussing it.

35:18And we really had that very visceral reaction. We missed a screening, went to breakfast, and couldn't stop talking about it. And if that was our very natural organic reaction, we knew other people would have the very same reaction. And those are the kinds of movies we're looking for. Yeah. And it's a movie that really surprises you too. Like it's not what audiences and we had a screening last night. Like it's not what they expected. And because of that, as Megan says, they keep talking about it. It's really much more fun than you expect it to be. Yeah.

35:54Ryan Lattanzio:I would characterize it as a, there's, there's darkly comedic elements for sure. Yeah. And you think you know who each character is, and then you find out that they're someone else. And it's not obvious. It's not clear who's the good guy and who's the bad guy. As you said, it's fun. Why did you pick up some of these other films, and how do they sort of define what you're going after? Well, I think each one has that same sort of element. You know, Charlie Harper is in some ways a very small, taut romance and really takes you back to that special place of 20-something love. But there is a very will they or won't they stay together conversation that that movie elicits as well.

36:42Or should they stay together? Have they evolved? And are they now meant to be together? And it really does remind you of that feeling when you're in your 20s. Falling in love can be very special and in some ways very easy and very magical. But the decision to stay together can be really heart-wrenching and really difficult. Because as you grow up, that becomes a real decision. um cliffhanger has um all of these very exciting elements um that uh lily james brings to the role it was shot on location in the dolomites it has um practical effects it was shot in camera um in full aspect ratio and had she did her many of her own stunts and is doing the climbing it has this sister story and this feminist appeal a very strong relationship with her dad who is played by Pierce Brosnan and it is so fun to see him in this kind of a role and it's been a minute since I at least have seen him in a big action movie and I was really enjoying seeing him back And it turns the genre a little bit on its head and it is a very fun summer popcorn kind of movie that I think audiences will really appreciate.

38:16And Poetic License is a first time filmmaker in Maude Apatow and she is an incredibly competent filmmaker. She delivers, I think, a wonderfully consistent comedy that is funny from the very first moments of the movie consistently all the way through the end. But it is a very heartwarming relationship film. The comedy is woven in in a very effortless way. And the writing is very strong and it's a real love letter to her mother, which maybe as a 50-year-old mother, I really appreciated.

39:02Ryan Lattanzio:Her mother being Leslie Mann. That's right. Leslie Mann. That's right. Yeah. And it really like speaks. It's also, there's a great story in there for the college kids. And I think there's we're living in a really unique modern time, too, where like, you know, college kids, as you I know, and I'm going to embarrass you, but you have a very special relationship with your with your daughter. And like that is a very modern thing. I think, you know, the relationship between mothers and particularly daughters is very unique and very special. And it really does capture that, I think, in a very unique way and not a way that I've seen on film very often.

39:39So a follow up here, Steve, are these very competitive bidding situations that you get into? I mean, sometimes it's difficult to land these movies without overpaying. Yeah, I think that is true. But we had the benefit of having Megan, who is a great advocate. But also being a new company, it did put us in a unique position to a filmmaker of like, these are people that are going to give their full attention to my film and do everything possible to make these succeed. And I think these four films that we were lucky enough to get is the perfect example of the types of films we're chasing after. It's funny you mentioned Charlie Harper.

40:24I love that film. It spoke to me. I don't know what it says about me personally, but those kind of films that did have other interests, they can resonate. Like every, you know, every 10 to 15 years is a film like Charlie Harper that can then cross over and become a social conversation. So those are really kind of the films we're chasing. All four of these films that we were able to get all have that kind of unique potential in them. But yes, there are other films that we wish we would have gotten in the festival, but certainly really happy with the four we got. I would say this, you know, the team that's here, it's a very small team.

41:05but each member of this team has 25 years of experience working in the film business and has been slavishly dedicated to the theatrical film business. We're named Roque, and you touched on it because it's the best row in the theater. It's indicative whether it's debatable, if you believe that or not, but we embrace the idea that when a filmmaker comes in and wants to review their film for the very last time, they go and they search for that perfect row, And they all line up and come into that perfect row in the theater for the best experience, the best sound. And we're trying to deliver the very best theatrical experience that we can.

41:47And with every movie we select, we're passionate about that. And I think in this environment, in this moment in time, to have a group of people that are so committed and so in love with that experience, we are really working in partnership with these creators to say, we are so aligned with you to deliver this to the very best that we can. and to deliver an experience to audiences. And we want this business to succeed. So we're rooting for Neon and A24 and Paramount and Warners and everybody else to do very well each and every week because a great experience in those theaters means more people coming back week after week and having like a tremendous experience.

42:44And I think we're seeing that, that movies are becoming, this has been a tremendous year of original films and original filmmaking and audiences are responding. And the independent film market at Toronto was full of really great movies. And I'm very optimistic about what Sundance might bring. And I'm looking forward to this year coming up. get into Sundance let's go for it uh what what's your plan I mean we're we're we're going with you know eyes wide open and like a really you know a joy like real being real joyful warriors as we head into it like we're really excited like there's we have room on our slate and um a capability of of buying more movies.

43:37And, you know, I think, um, but I, but I also really do believe like movies find their right home and there's a real diverse, um, and interesting group of independent distributors and there's a right home for each and every kind of movie. And, um, I still think there's room for more distributors to enter the fray. There's, there's still space for more people to be in this side of the business. We are not yet returned to pre-pandemic levels in terms of the amount of content that are coming to theaters each and every week. And that has been a process. And this business has been through a lot, not just with COVID, but with strikes as well.

44:29And so it's taken a minute, But I think we just have to keep at it and keep building up audiences and keep offering audiences diverse and interesting content. But I think this year there's a lot of comedy that's returning back to the marketplace. I think you're going to see more diverse content and more audiences being served, more content for women. You know, I think we're starting to see, I think, a real cross-section of film coming back into the marketplace, which is good for a healthy ecosystem.

45:09Ryan Lattanzio:So it sounds like you're going to be on the lookout at Sundance. Have you pre-screened anything already? No. Not for. Yeah. Because I heard, and don't quote me about this, a sizable number of these movies going into Sundance already have distribution, whether announced or not. And as we know, festivals aren't just about an acquisitions market anymore, right? There's a networking function and there's other functions as well. And so that's got to be part of your plan too, right, is setting up meetings with filmmakers. Yes. Yes. That's all. All of it is, you know, that's the thing. I mean, if we ended up not buying anything at Sundance, that's okay for us too.

45:47We have like the four movies we have are four sizable movies and Cannes and Berlin are important places for us as well. And we're tracking some other projects, too. So, you know, it's not a make or break situation for us either. But I have to say, as it is the the last time we will be in Park City, I'm I'm really looking forward to the festival no matter what happens, because it's going to be, I think, a bit of an emotional experience for all of us. Also, you've been around the block so many times that you're not going to rush into some kind of exultant overpaying situation. You know, you know where your limits are.

46:28Well, I think it's a really important piece for all of it because I think the fact of the matter is if you really care about the theatrical experience, you actually have to care about having the right level of support for those movies. And if you overpay, by definition, you are putting so much pressure on your capability to be able to support the movie and that becomes an issue. Yeah, but you've got spending money now. So you have a little bit of a hole in your pocket. You can go for it if you have to. Right. Well, that's the thing. I think you just want to be in a position where, you know, I think it's all in the way you communicate.

47:10I think you want to make people understand what you're prepared to do. I think when you really love a movie, you're capable of looking a filmmaker in the eye and really expressing what you're prepared to do. What is the plan? You don't perfectly know the plan, but you do have a pretty good concept of what your vision is for them and for the movie and how you see it. And I think being as expressive as you can be is great because if they don't align with you, then you're maybe not the right partner for them. And that's OK.

47:43Ryan Lattanzio:Yeah. Speaking of filmmakers and their vision for the release of their movies, I wondered if theatrical is your main focus or are you fashioning bespoke release plans for each film? Like I'm thinking, you know, you're talking about Cliffhanger. This is directed by Jaum Colette Sarah, who did the movie The Shallows with Blake Lively, which is a movie that I loved from that year that greatly benefited from a theatrical experience, but then did really well on VOD and streaming as well. Back when the windows were a little different than they are now. Yeah, we're, as Megan said earlier, we're certainly our theatrical first.

48:22We feel like there is a growing audience that's starting to come back, but also from our background alone. I really care about this industry at the experience. I care about the community being able to come together and support films and having those moments. Um, so it's really that with the notion of then, you know, transactional goes well, wonderful, but then we're respecting traditional windows. I think that there are opportunities in this marketplace, given that they're so underserved by the studios, these theaters, opportunities to fill the gaps and get some playtime. You know, there's room, right?

49:06Although they do tend to put all the big movies in all the theaters when they have the chance. That's the part that kills me, the way that the theater chains behave. You know, they don't make room for independence. Next year will be very interesting because if you look at the slate from May to August, there's a giant film pretty much every week. But then there's only the one or two films, as you say. What about the other down the hall, all those other auditoriums? Are you just going to train people to see the big blockbusters? That would be a shame. So I think there is, as you say, Anne, an opportunity for whether it's counter-programming or, as Megan said, you know, there's more comedies or more female-driven, you know, to be released along with the blockbusters next year.

49:55What's the rollout plan for Dead Man's Wire? So this week, it's 10 markets, 14 locations. And then next week, it's WIG National. No. What I mean? At least a thousand locations. And then we'll see from there. You know, we're not going to be shy about if it's successful, you know, chasing it and adding more runs through the month.

50:20Ryan Lattanzio:Yeah, I was going to just say the release date is well served by one of the leads in the movie, Mayala, who is in industry. And that is premiering its fourth season this weekend. And that has a lot of fans. Yeah, she's great. She's great. And, you know, I think the cast itself has been a huge help to the movie because I think, you know, Bill Sarsgaard, who's been working kind of in back-to-back movies, still having, you know, Welcome to Derry premiering all fall has been really interesting. The return of Stranger Things has reminded everyone of Dacre Montgomery and having that him be top of mind.

51:06And he was here all December. He's actually directing his first movie, which is exciting. But he was around and doing press and was nominated for a Supporting Actor Award in Australia for his role in this movie. And he's phenomenal in the film. Certainly Al Pacino has been around doing work for the movie and Clement and Domingo is amazing. So like it's really it's it's like an embarrassment of riches. And Carrie Elwes is incredible and almost unrecognizable. Took me a minute. Totally, totally. And is just I is one of my favorite things in the movie. He's just so incredible. And each time I see it, I still have trouble sort of seeing him in the role, which is he's he's incredible.

51:52in it. So Megan, I'm going to put you on the spot a little bit as a sort of industry seer. Where do you see the industry heading? Are we looking at, you know, a lot more consolidation? Are we going to see a lot fewer movies being made? And are theaters going to be shutting down? Well, I mean, you know, there's, there's still a big question mark about what all happens with warners and that then and even wherever it lands what are the are what's the commitment to the warner slate long term and how that um affects theaters i do hope that whoever ends up owning that studio that there is a long-term commitment to theaters because i think it's really important.

52:45We're hyper-reliant on that slate of movies being maintained for theatrical distribution. And I think you could argue, and I've heard people argue, the scenarios either way, that it could be a move where Netflix is considering, you know, diversifying how they how they do business and they may be interested in this and that that may be true and it'll be interesting to see or if it ends up in paramount's hands they've said publicly that they're committed to 30 movies going into theater so well that remains to be seen what i what i will say is every time that there's consolidation there's opportunity for new things to be born and to grow where um an example of that black bearer is an example of that and i do think you're probably going to see some new players coming into this space.

53:46And Warner's independent, yeah. And that's a really, you know, talented, you know, exciting new group of people that are going to be out, you know, buying movies with their own sensibility and their own experience that they're bringing to the table. And so it's going to be really interesting as those things pop up. I think it diversifies the playing field and it gives new opportunity for independent film. And you even see people like, you know, and Alexander Payne going off and making his films, his film independently, you know. And I think that could start to be a real thought process for, you know, and Gus Van like for very established filmmakers to be making independent films and for new voices and brand new filmmakers to be uh to independently finance their movies there's not a shortage of financing for these films um what there is a shortage of is is uh right now is distribution and and and confidence in theatrical distribution and so that that part needs to be kind of bolstered up but i think what you're seeing, um, slowly but surely is like that, that those players are starting to pop up, not just in the United States, but also internationally.

55:12And as that, as that, um, as that universe starts to get healthier and healthier, I think, um, it's, it's going to lead to some really exciting films and new filmmakers and new voices. And I think, uh, for exhibitors, It's going to be a really important business that needs to be supported and needs to be cared for because it is going to be a mainstay. The mid-level independent movie and the smaller independent movie is going to have to be really cared for very carefully. Is there signs of, are there signs that the chains, the AMCs and the cinemarks of the world are actually paying attention to that?

55:55I have not seen that. I, you know, I think so. I think sometimes, you know, I, I try to be really fair to them. I think that they are, I think that they are, you know, thoughtful about this process. I think, you know, I think they don't sometimes get enough credit. You know, there's, there's support in when trailers are launched and supporting the trailers, like there is, uh, you know, it, it could, it could be, it can continue to be better. And I do think like there's a lot of ways in which we need to continue to come together and to continue to communicate on how to bring our industries together.

56:39Because there's a lot of pressure on their side of the business as well. These announcements put a ton of pressure on them. You know, AMC has been under pressure now for many, many years. And so it is a difficult business to be managing and running. That all being said, I would say, you know, and Steve could actually speak to this probably better than I can, but like the communication that goes on happens on a daily basis. And I think like there is a real enthusiasm for new players and a willingness to get on the phone and a willingness to work together that I think is genuine. And I think there's a lot, I think that there is a lot of genuine partnership that happens at that level.

57:26And there's, these guys are very seasoned and very enthusiastic. They watch these movies and they think about these movies. They go to the festivals. They check these films out. You know, they have boots on the ground and they deserve, I think, more credit than they're often given for how this industry operates. But I do think like from an institutional basis, we could all work together a little more closely.

57:55Ryan Lattanzio:Yeah, well, there's a lot more the audiences can be doing too as well. It's not just on the other side, I would say. Share your taste, Ryan. Well, I think, you know, I think that what we're seeing is like something like Letterboxd and like, you know, having like a youth movement around reviewing movies and having a real connectivity. like there's you know audiences are getting younger and smarter and more capable and more discerning so that like the diversification of of of what makes a great movie and what younger audiences are willing to see um is is really interesting i and i think that's going to continue to evolve you know so that you know the the conventional wisdom of like what movies are for young people or, you know, that that's kind of thrown out the window.

58:51Like there, there's interest in foreign films, there's interest in there, there's, there's a real like globalization of movies, they care about, they do care about library titles, they care about film, you know, like, you know, film is back. Are you guys going to be picking up international films? Yeah, I think so. I mean, I think for us, again, it's about how movies sort of speak to us. And I think that that is the real, for us, movies are movies. I mean, people ask us all the time about like documentaries and foreign films, and we're open to all kinds of movies of all kinds of sizes. But it is about knowing that we're really the best home for any given movie is the is the key driver for us.

59:42Ryan Lattanzio:Yeah, I mean, I resonate with what you say about younger audiences, because, you know, there was a recent study by the trade exhibition, the Exhibition Trade Association that Gen Z had the biggest growth in moviegoers in the last year in theater. So I think the conventional wisdom is conflicts with that. But, you know, it's not true. And there is because a letterbox and things like that, there is a real interest in these, this library titles, this library cinema that you're talking about. Yes. And sometimes like two things happen, you know, two comedies don't work. And then there becomes like a headline that like, oh, comedies don't work in theaters.

1:00:21Like, you know, but why don't those comedies work? And what about those comedies? And were they the right, you know, like the fact of the matter is, do audiences want to see comedies collectively in a communal way that are great comedies, a thousand percent. I believe in that a thousand percent. You know, like there's audiences love great experiences. There is no doubt about it. And young people love collective experiences, but there is something about the modernization of the way we behave, the way we sell, the way we think about speaking to those audiences that I think still require some evolution.

1:01:03And I do really commend, like, you know, not to just state the obvious, but like the Marty Supreme campaign was a real kind of textbook look at what a modern campaign can look and feel like on what is ostensibly a period classic Oscar movie being sold in a totally modern way. Very good. And helped by a movie star in that case. Who's incredibly modern in his approach. He gets it on a level that is he is like a rock star or the most modern athlete. He gets it on a very deep level. He really understands it in his bones. He does. He does. Yeah. Well, thank you guys for coming in. And I know our readers are really interested in your company and always in the independent universe expanding and thriving.

1:02:14And so we look forward to seeing all these movies reach the marketplace and good luck at Sundance. Thank you so much. It's fun to see you guys and we appreciate you very much.

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