While premiering his new movie “Steve Jobs” at the Telluride Film Festival over the weekend, director Danny Boyle confirmed that a sequel to his 1996 cult hit “Trainspotting” will be his next project.

The film that launched the career of Ewan McGregor and gave a raw, darkly comedic look at the heroin scene in Edinburgh was a landmark work in the late 1990s due to Boyle’s inventive way of capturing the drug scene and all its roller-coaster euphoric highs and horrific lows.

Boyle told Deadline at Telluride, “All the four main actors want to come back and do it, now it is only a matter of getting all their schedules together, which is complicated by two of them doing American TV series.”

The actors doing American TV from the original film are Jonny Lee Miller, who plays Sherlock Holmes in “Elementary” on CBS and Robert Carlyle is on “Once Upon A Time” for ABC.

“Trainspotting” was a loose adaption of Irvine Welsh’s novel of the same name. Boyle said that the sequel will be an adaptation of Welsh’s sequel to "Trainspotting," titled "Porno."

Screenwriter John Hodge, who adapted "Trainspotting," is also adapting "Porno," which Boyle is calling "Trainspotting 2" (as of right now).

Boyle points out to Vulture that like the first film "Trainspotting 2" will also be a very loose adaptation from Welsh’s original work.

“The great thing about the way John adapted the original book is that he took the spirit of the book and just ran with it, because really, strictly speaking, it's not an adaptation of the book,” Boyle said. “You shouldn't think of it as an adaptation of 'Porno.' It's more like a 'Trainspotting 2.' There might be some characters we use from the book, but it'll be its own thing, I think.”

SEE ALSO: Apple cofounder Steve Wozniak loved the new Steve Jobs biographical movie

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"BOURNE is back!"

That's what producer Frank Marshall proclaimed in his tweet from the set of the new untitled Jason Bourne movie that will mark the return of the original Bourne, Matt Damon.

Damon hasn't played Bourne since 2007's "The Bourne Ultimatum," but it looks like from Marshall's pic he's ready to get back into it.

In 2012 Jeremy Renner took the reigns of the franchise with "The Bourne Legacy."

The film did around the $250 million worldwide mark three of the four previous films have grossed ("Ultimatum" was the biggest, grossing over $440 million worldwide).  

But with Damon back as Bourne, look for that number to rise. 

The film is slated to be released next summer.

SEE ALSO: 9 movies new movies that could become big-time Oscar winners

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M. Night Shyamalan remembers the first time he watched “Paranormal Activity.”

“I was just like, ‘This is terrifying!’” the writer-director told Business Insider over the phone.

Having received an early version of the film before it was released, Shyamalan also recalled thinking, “This is going to be a phenomenon.”

And it turned out he was right. Released in 2009, the “found-footage” movie about a ghost tormenting a young couple in their house (filmed entirely on a single camera the actors shot on), was made for only around $15,000 and ended up grossing over $193 million worldwide. It then launched an unlikely franchise for Paramount Pictures that is about to come out with its final installment, “Paranormal Activity: The Ghost Dimension.”

The success of “Paranormal” also launched the career of producer Jason Blum, whose Blumhouse Productions has taken the found-footage horror genre (shot in a first-person, mockumentary style) and grown it into a money-maker by releasing similar low budget horror hits like “Insidious” and “Sinister.”

But the genre will now get a shot in the arm as Shyamalan has entered the fore.

Known best for his spooky thrillers with twist endings like “The Sixth Sense,” “Unbreakable,” and “Signs,” Shyamalan’s new film “The Visit” (with Blum producing) injects his Hollywood-polished suspense tastes into the low budget horror sub genre (the film's budget was around $5 million) to deliver a spooky thriller that follows a film enthusiast sister and wacky hip-hop loving brother as they go to meed their grandparents for the first time.

Shyamalan believes whether it’s a big budget movie or an indie it all starts with the characters, and for him it was the creation of the sister character Becca (Olivia DeJonge) that set the story in motion.

“When I thought of her as an aspiring filmmaker trying to make a movie for her family to bring them together, I saw the emotional engine of the movie,” Shyamalan told BI.

“The Visit” is unlike most found-footage horrors as it includes a top-flight cinematographer overseeing the visuals (Maryse Alberti) and has a serious dramatic plot, which focuses on Becca’s motivation to make a documentary on her family that focuses on why her mother left home for good as a teen.

Becca tries to get these answers from her grandparents, but ends up instead shooting scary moments like grandma running around the house naked after 9:30 at night and grandpa polishing his shotgun in the barn (while it’s in his mouth).

Needless to say, the scares are often, and Shyamalan admits that was the biggest challenge of the movie: what to take out.

“The struggle of the movie was in the balance of humor and scares and suspense,” he said. “The original [cut] was a good 35 minutes longer and really what ended up happening was understanding how many weird things the grandparents were doing was too much. The questions of structure was what took me a long time to get right.”

The ability to have so much great footage to choose from came from the amount of preparation Shyamalan had for the film.

A couple of months before the filming began, the production team acquired a gutted house and completely redid the interior to match Shyamalan’s script notes and storyboards. “It was really a run down house so we were able to be like ‘Put the oven here,’ and ‘Take away this window and make it a wall’ and made the house that way we wanted it to flow.”

He also had a lot of time with the two kid lead actors and was able to nail down all the blocking for the scenes, in which it looks like they are holding the cameras but in fact all the movements were done by a camera operator.

“It was all very structured and very calculated to ultimately give you the sense that it was spontaneous,” said Shyamalan.

Shyamalan admits this might not be the last time we see him make a movie in the found footage style.

One of the biggest lessons he learned from his previous movie, 2013’s Will Smith box office bomb “After Earth," was that mega budget films don't always play to Shyamalan's strengths.

“The movies I like are much more simple and I feel really comfortable with limitations,” Shyamalan said. “I find that challenge very exciting. I feel I’m going to make more smaller movies.”

Shyamalan is already preparing his next movie, which he’ll shoot in the fall. Blum will reportedly be producing it and Shyamalan may be reunited with his “Signs” star Joaquin Phoenix.

The director would not confirm the reports but said his film will be a “very dark thriller” that’s more “adult oriented” than “The Visit” (and it won't be in a found-footage style).  

But like "The Visit," the next film will be a relatively small production. 

“A bigger movie takes years and years to make, and for me there’s a speed to creativity,” he explained. “I want to write about what I’m feeling right now and I need to tell it now, so the quicker cycle of a smaller movie is really exciting. And then when I’m done I’m ready to go and tell another story.”

“The Visit” opens in theaters on Friday.

SEE ALSO: "Wayward Pines" producer M. Night Shyamalan says his trademark plot twists aren't "thin and meaningless"

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It's rare for a movie studio to shine a light on a negative review while promoting a film, but for some reason, the international studio releasing the gangster pic "Legend" decided to sneak one onto a poster.

In a piece of promotional material for the coming movie, two faces are surrounded by four and five stars from numerous publications. The faces both belong to actor Tom Hardy, who plays the Kray brothers in the movie — identical twins who were the most notorious London gangsters of the 1960s.

But upon closer look, you'll notice a measly two stars from The Guardian hiding in plain sight between the two heads.

We'll give you a hand if you haven't caught it:

One person who definitely noticed the interesting "Legend" design choice was the critic who gave the negative review, The Guardian's Benjamin Lee.

He tweeted his discovery:

"Legend" is being released in the US by Universal (out Oct 2). The studio told BI that the international rights holder of the film, StudioCanal, is behind the material. (BI has reached out to the studio for comment.)

Occasionally studios will include blurbs by critics implying that the critics lauded a film as "a thrill ride" or "sensational" with wording taken out of context. But it takes a lot of creativity to place a low star rating in the promotion of a movie.

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UFC champion Ronda Rousey has signed on to play the Patrick Swayze role in a reboot of the classic 1980s action movie “Road House.”

According to Variety, the fighter reached out to the widow of Swayze’s widow, Lisa Niemi, to ask for her blessing to star in the remake, which Niemi gave.

The 1989 movie starred Swayze as Dalton, a bouncer who is hired by the rowdy Double Deuce bar to help clean up the place from a corrupt businessman.

Rousey tweeted this about the role:

Rousey has had cameo roles in “Furious 7” and “Entourage.” This will be her biggest role to date. She's also pining for the lead female role in "Captain Marvel."

MGM will release the film. They are currently meeting with writers to pen the script, according to Variety.

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Before directing "Selma," one of last year's most acclaimed films, and turning down a gig to direct Marvel's "Black Panther," Ava DuVernay was known to the world as a Hollywood publicist and the director of two small features.

Like most independent directors, she struggled to find an audience for her movies. Her second, "Middle of Nowhere," was a modest success, winning a prize at the 2012 Sundance Film Festival and making back slightly more than its budget at box office. In 2010, she completed "I Will Follow," but she struggled to find it a home.

So DuVernay founded the African American Film Festival Releasing Movement, a collective designed to get movies into theaters. The collective got "I Will Follow" distribution. Since then the collective has been releasing about two films per year.

Now, in her post-"Selma" success, DuVernay is rebranding and expanding the collective as a company called "Array." Under a new mandate, she'll be helping women and other minorities get their films in front of audiences, whether in theaters or with streaming services.​

"There's a generation of filmmakers of color and women whose primary concern is that no one will see their work," DuVernay told the Los Angeles Times. "And that is a huge barrier. They're asking, 'Why make something if no one will see it?'"

Gender disparity is a major issue in Hollywood. A recent study found that of the 1,300 top-grossing films since 2002, only one female-directed movie made the list out of every 23 by a man. Among independent features, the numbers are better but still dismal, with a 6-1 ratio of movies that premiere at Sundance.

Array recently released "Mississippi Damned," which lit up the film festival circuit in 2009, on Netflix. There, it found new life after languishing without a distributor for six years.

"It's a lifesaver. It really is," Tina Mabry, the film's director, told the Los Angeles Times. "Audiences can't watch something if they don't know it exists. Now with Netflix we're finding the people we wanted to reach in the first place."

Array has two more films scheduled for distribution this fall, though neither have release dates yet. "Ayanda and the Mechanic," by Sarah Blecher, was well-received at the Los Angeles Film Festival earlier this year. "Out of My Hand" by Takeshi Fukunaga premiered at the prestigious Berlin Film Festival in February.

DuVernay has her own directing projects in the works as well. Deadline reports that she's working on a film set around Hurricane Katrina with "Selma" star David Oyelowo.

SEE ALSO: Some of America's best TV shows have a problem with women

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M. Night Shyamalan’s latest movie is a far cry from the ones we know him best for.

From hits like “The Sixth Sense” and “Signs” to the colossal dude “After Earth,” the writer-director is known for his big Steven Spielberg-like ideas.

But with his new movie, “The Visit,” we are seeing a new side of Shyamalan. And he’s the first to admit it.

The revelation came to him when he directed the pilot episode for the show on Fox he executive produces, “Wayward Pines.”

“When I directed ‘Wayward Pines’ I really felt, ‘Oh, wow, I’m fat!’ I really had to get skinny to make it work,” Shyamalan told Business Insider, referring to the quick efficiency needed to be successful on the small screen.

“‘Wayward Pines’ really gave me a sense of how to shoot fast and with a kind of leaner, tighter mentality because that’s what TV demands,” he said.

He also said the experience shed a lot of “bad habits” which led to him deciding he’d make “The Visit” like the TV show.

The film is a found-footage low budget ($5 million budget) horror that follows two young siblings as they meet their grandparents for the first time.

After spending months prepping the actors and getting the house where the majority of the film takes place to look he wanted, Shyamalan did a break-neck 30 day shoot with only 25 crew members.

“How to get everything I wanted you really had to be intense,” he said. “I basically scheduled ‘The Visit’ on how quickly I directed ‘Wayward Pines.’”

Shyamalan is already preparing his next movie that he’ll begin shooting this fall. It will be another thriller that he plans to be "skinny" with.

SEE ALSO: M. Night Shyamalan explains how he makes grandparents so creepy in his new thriller 'The Visit'

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"Zero Dark Thirty" has always been controversial. The movie depicted the CIA's hunt for Osama bin Laden and the eventual Navy SEAL raid that killed him.

Even before it was released in December 2012, the movie had kicked off a firestorm among both politicians and citizens.

Containing details and narratives that weren't included in previous news reports about the May 2, 2011 raid, "Zero Dark Thirty" also raised questions about the CIA's involvement in the making of the movie.

Declassified documents from 2013 revealed the CIA did indeed work with Mark Boal, the movie's screenwriter, on the script. Boal vetted CIA members for feedback and made changes accordingly, such as removing a scene where an agent drunkenly fires his AK-47 into the air. He also made Maya, the movie's main character, less involved in torture scenes.

Not only did the CIA provide privileged information to Boal, but Leon Panetta, the Director of the CIA under President Obama from 2009 to 2011, personally offered to help Boal with obtaining information from the CIA while writing a screenplay and gave him classified information about the bin Laden raid, according to new documents obtained by Vice. 

Kathryn Bigelow and Mark Boal made "Zero Dark Thirty" with the goodwill and cultural capital that came out of making "The Hurt Locker" in 2009.

Boal's next project after "The Hurt Locker" was supposed to be called "Tora Bora". It was intended to be about the US's failure to capture Osama bin Laden. That was before bin Laden was caught and killed.

He then changed tack and starting writing the script that eventually became "Zero Dark Thirty." For research, he could rely on Panetta, who offered Bigelow and Boal help with the creation of "Tora Bora," according to the documents obtained by Vice.

Days after the bin Laden raid, Boal met with officials in the CIA and other counterterrorist units to discuss ethical violations by CIA officers involved in the raid. Panetta, Bigelow, and Boal had all met earlier — the three sat at the same table at the 2010 Washington Correspondents' Association. Panetta had first met Bigelow earlier that year at another dinner in Washington.

On June 24, 2011, long before the Oscars, the CIA held an awards ceremony of its own — honoring the people who were involved in the hunt to find bin Laden. The organization invited Boal as well, though an internal inspection by the CIA found conflicting information about whether or not Panetta himself approved of the invitation. Panetta gave a speech at the dinner, part of which was classified. Though Boal has no classification status, he was at the ceremony and was therefore exposed to the classified information.

Throughout Boal and Bigelow's research for "Zero Dark Thirty", they met with CIA officials to gather information to maintain accuracy about the events, characters, and atmosphere of the film. They frequently treated officials to meals and drinks totaling more than $1,000 and also purchased gifts for some of them.

Following the release of "Zero Dark Thirty", the CIA changed its procedures for interacting with the entertainment industry. It issues new procedures to insure the protection of classified information and created a new centralized record-keeping system for requests from the industry.

The ethical violations Boal and Panetta talked about shortly after the raid can be traced to the depiction of torture in the film. Many politicians and pundits interpret the film as an implicit depiction of torture because it was successfully used to find information that led to bin Laden's capture. The day "Zero Dark Thirty" was released, Dianne Feinstein, the chair of the Senate Intelligence Committee, penned a sharp letter addressed at Sony, the movie's producer, accusing them of misrepresenting the CIA's use of torture.

"As you know, the film graphically depicts CIA officers repeatedly torturing detainees and then credits these detainees with providing critical lead information on the courier that led to...Bin Laden," Feinstein wrote. "The use of torture in the fight against terrorism did severe damage to America’s values and standing that cannot be justified or expunged ... You have a social and moral obligation to get the facts right."

Feinstein has a long, complicated relationship with the CIA; she dogged them for years until they finally released a truncated and partially censored version of their torture report, recounting in detail their use of torture in the post-9/11 Bush era, last year. The report also says that torture had nothing to do with the finding of Osama bin Laden.

The Senate Intelligence Committee also launched an investigation in January 2013 into contacts between the CIA and the makers of "Zero Dark Thirty", but dropped it a month and a half later.

Peter King, then the chair of the House Committee on Homeland Security (he is still a member of it), also criticized the movie for its depiction of torture and launched a separate inquiry about the possibility of leaked classified information from the CIA to Boal. King is still demanding a public accounting from the Obama administration on the subject, according to Vice.

SEE ALSO: A US senator walked out of 'Zero Dark Thirty' after 15 minutes because it was so 'false'

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Considering the lastthreeM. Night movies (or four, depending on whom you ask) are so notoriously awful, many critics seem to be getting caught up in heralding"The Visit" as some sort of "return to form." 

It's really, really not. 

The reality is that if "The Visit" were made by a less notable filmmaker, nobody would be talking about it. It's a second-rate, micro-budget found-footage flick and nothing more.

It's set up as a homemade documentary, with two kids (Becca and Tyler) going off to visit their estranged grandparents whom they've never met before. The trip quickly turns into a horror show as the grandparents' bizarre nighttime rituals give the kids reason to investigate.

The film's most glaring problem is that its two child leads are, in a word, unbearable. It's no fault of the actors, and they're actually quite good in their roles, but the script does them zero favors.

15-year-old Becca is an aspiring filmmaker, so naturally every line of her dialogue includes some vague allusion to filmmaking. Tossing around phrases from high-school film courses like "mise en scène" and talking about the ethics of hidden cameras don't suddenly render your film high art. It feels as if M. Night is trying to show off his filmic knowledge, but his shoddy writing ensures that it does exactly the opposite, and boy is it obnoxious. 

Even worse is Becca's slightly younger brother Tyler, an aspiring rapper who isn't embarrassed to spit rhymes in front of anyone who'll listen. It's incredibly awkward to watch him freestyle terribly the first time, and Shyamalan forces the poor kid to do it repeatedly. 

"The Visit" goes for way more laughs than scares which gives the film a tonal imbalance that never skews too far toward either side. The humor would be fine if it were actually amusing, but considering all the "laughs" stem from the rather obnoxious protagonists and their proclivities, it's more loathsome than anything else. 

If you were on the fence about whether or not this was a comedy, the scene splayed over the end credits should answer that question definitively. 

Additionally, all of Shyamalan's attempts to emotionally resonate are squandered by the fact that the entire conceit of the movie is just too half-baked. The flimsy set-up hangs by a thread -- these kids have never met their grandparents before, but why? The film attempts to answer this, but I almost wish it hadn't considering the explanation couldn't be more of an afterthought. 

The film also has terrible storytelling mechanics that fall apart when given any thought. The "plot" makes absolutely no sense and the script sets up rules only to completely disregard them when it's convenient. For example, a big stink is made about the grandparents going crazy at 9:30 PM every night, but when the "twist" occurs and we learn what's really going on, this detail becomes completely irrelevant.

A well-placed MacGuffin is one thing, but purposefully misleading your audience only to pull the rug out from under them with no logical explanation is just lazy storytelling. While the patented Shyamalan twist here is actually a pretty good one, it still hammers home the fact that M. Night is still a one trick pony.

"The Visit" is a bizarre movie with a wildly inconsistent tone. There are not enough scares to recommend it as a horror film, and its sense of humor is too juvenile to skate by on laughs only.

Considering the film was made for only $5 million, it will already be majorly profitable by its opening night. "The Visit" will likely mark the beginning of a new era of shoestring budget films for Shyamalan, but the jury's still out on whether or not that's a good thing.

Watch the trailer below. 

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The name Roger Deakins might not ring a bell, but the movies he's shot are certainly household names.

As a 12-time Oscar nominee for his cinematography, he was behind the visuals of such classics as "The Shawshank Redemption,""Fargo,""A Beautiful Mind," and "Skyfall," to name a few.

His latest project, "Sicario" (in theaters October 2), continues his top-flight work as he takes us across the boarder into Mexico to give us a gritty look at the drug war.

But we couldn't help but reflect with him about his other classics. While talking to Business Insider at the Toronto International Film Festival, he revealed the three titles that stick out for him the most.

1. "Kundun" (1997)

Deakins teamed with Martin Scorsese for this biopic on Tibet's fourteenth Dalai Lama that was a jolt for Scorsese fans who know him for his look at the underworld. With a paltry lifetime box office of less than $6 million in the US, the film has been utterly forgotten. But for Deakins, the experience of shooting the film for Scorsese, which has been the only time the two legends have teamed up, was a memorable one.

"I love the film," Deakins told Business Insider. "There's something very special about it, as it's not strictly literal. There are shots that are so evocative and hit you."

2. "The Man Who Wasn't There" (2001)

Deakins has shot almost all of the films made by Joel and Ethan Coen, but one that stands out for him is the black-and-white noir "The Man Who Wasn't There" starring Billy Bob Thornton as a chain-smoking barber who gets caught up in a murder.

"I think of all the films I've worked on, that film, to me, everything fits like a little complex jigsaw puzzle," he said. "The way the [Coens] did it, and how it's structured with a variety of mood. It was the hardest film to do that, and they really succeeded."

3. "The Assassination of Jesse James by the Coward Robert Ford" (2007)

A film that is quickly becoming a modern-day classic thanks to Deakins' poetic shots giving a look we've never seen before from a western. Brad Pitt plays the aging outlaw Jesse James in the final years of his life, leading up to him being killed by a member of his gang, Robert Ford (Casey Affleck).

"I love that movie so much because it really captured the lyricism of the book," Deakins said, referring to the Ron Hansen novel the movie is based on. "It has similarities to 'Kundun' in not being literal. I think films these days have become too literal and too dialogue, plot-driven. 'Jesse James' has shots in it that have nothing to do with the plot, but you can get away with it, and that's what I love about film. It's not always about narrative. There's just things you couldn't express any other way but through film."

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Seeing Jake Gyllenhaal in tears on the big screen over the loss of a loved one is nothing new.

Just earlier this year in "Southpaw" he played a boxer who must start his life over after his wife dies.

But with the actor's newest film, "Demolition," which was the opening night movie at the Toronto International Film Festival, Gyllenhaal handles grief in a much different way.

In the film he plays Davis Mitchell, an investment banker who is going through the motions of his work and his marriage. But suddenly he and his wife get into a car accident and his wife dies.

That's when things get strange.

It all starts with a vending machine.

Still in the hospital after getting the news of his wife's death from his father-in-law (played by Chris Cooper), who is also his boss, Davis walks to a vending machine to get peanut M&Ms. The candy gets stuck in the machine making him unable to retrieve it. Inquiring about the machine he learns that he has to send his complaint to the manufacturer, Champion Vending Company.

Most of us would forget about the M&Ms and move on to bigger things, like funeral arrangements.

Not Davis.

In the middle of the wake, he goes in the other room and begins to write a letter to Champion. But this letter goes beyond his grievance and basically gives us the backstory of his life and why he is relieved that his wife his dead.

Believe it or not the movie is a comedy, a dark one, but you can't help but laugh at the things that transpire.

For one thing, Davis begins to get stalked by Karen (Naomi Watts) the customer service rep at Champion who has been reading Davis' letters (yes, he writes more than that one) and they quickly start a relationship.

Then there's Davis' fascination with dismantling things. Realizing he has a tool set he's never opened, he begins using it around the house.

Like, completely taking apart his refrigerator after being annoyed that it leaks (his wife told him constantly, but he never paid attention). That then leads to him dismantling things at work (his computer, a bathroom stall door that squeaks), and eventually turning in his trailed suits for construction clothes and paying a contractor to let him demolish houses.

The film, directed by Jean-Marc Vallée ("Wild,""Dallas Buyers Club") is a fascinated examination of how people deal with grief differently. Though on the outside Davis looks to now be liberated after the death of his wife (and in some ways he is), this "noticing" of the world makes him understand better what he had with his wife and how it's gone forever.

But to get there Vallée uses a dark comedic tone that Gyllenhaal excels at but might be hard for audiences to grab onto.

What really brings the film home is the relationship Davis builds with Karen's son, Chris (by newcomer Judah Lewis). Their bond proves that Davis is not made of stone and can care for someone. Though, he might have to had gone on this journey to fully realize it.

It's hard to question the choices of roles Gyllenhaal has done within the last decade. With such diversity and all-out effort in the parts, there aren't many other actors giving us such range.

Next up, we'll see him attack Mt. Everest in "Everest" Sept. 25.

Sadly, Fox Searchlight won't be releasing "Demolition" in theaters until April 8, 2016. So for now, you will just have to watch the trailer:

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The hype over Cary Fukunaga's latest project after wowing audiences with directing the complete first season of "True Detective" has been building since word came out that Netflix bought the film and vowed to give it a proper award season push.

Well, we've seen the movie at the Toronto International Film Festival and you should believe the hype.

"Beasts of No Nation" is an unforgiving adaptation of Uzodinma Iweala's novel written by Fukunaga that gives a vivid look inside a faction of the rebels who terrorize West Africa from the eyes of a young boy.

Abraham Attah, who plays the lead character, Agu, is a non-actor who was a street vendor in Ghana before Fukunaga cast him in the movie. The director has found a diamond in the rough, as Attah plays the role with such convincing reality you'd swear he had been in front of the camera for years prior.

In the film, Agu is claimed by the rebel's leader who goes by "Commandant" (Idris Elba) after troops kill Agu's father and older brother and he escapes their wrath. He's then brought into the world of the rebels, being taught the basic salutes and how to fight like the rest of the members. Then comes an initiation ritual that includes being beaten by the rebels, forced to lie in an open grave, and blessed by a shaman.

We then follow Agu as he and his fellow rebels (ranging from grown men to teenage kids his age) murder and pillage villages. In time Agu becomes the right-hand man of the Commandant.

Elba as the Commandant is a tour-de-force performance as he plays him with intimidation, compassion, and madness. But it's Attah who wows in the movie. This performance from a non-actor is remarkable.

Then there's Fukunaga's direction. (He's also the director of photography on the film). Having come up with creative visuals his whole career, the film is filled with thrilling crane, handheld, and long single shots.

But one striking visual happens during a gruesome attack on a village. All the leaves and foliage turn a shade of red, symbolizing the bloodbath going on. It's these tweaks to the shots' details that has made Fukunaga stand out among his contemporaries.

And there are also less horrific scenes. Like in the beginning of the movie before Agu loses his family. Just another kid in the neighborhood, he walks around with the outer casing of an old square television. Calling it "imagination TV," he tries to sell the set with its unique programming, which includes his friends on the set side of the TV acting out soap operas and Kung-Fu flicks. Fukunaga gets his camera tight on the set to make it look like we are really watching the kids inside an actual set.

The film, Fukunaga, Attah, and Elba all have very good chances of being nominated for Oscars and other year-end awards. But the bigger story will be before the Oscars come, as Netflix will be doing the unprecedented move of releasing the film simultaneously on their streaming service as well as select theaters (out October 16).

If the film finds the attention Netflix is expecting, the company will have changed how movies get released (as Amazon and others will follow suit).

But if  you can, see the movie in a theater. The visuals and sound mix should be enjoyed in a premium setting.

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In "I Saw the Light," which premiered Friday night at the Toronto International Film Festival, Elizabeth Olsen plays Audrey Mae Williams, the first wife of legendary country singer-songwriter Hank Williams.

Olsen's powerful performance portrays Audrey as someone who is strong-centered, but at a certain point, becomes fed-up with her famous husband's cheating and hard drinking. She ends up divorcing him. Williams (played by Tom Hiddleston) would die tragically at the age of 29.

But, like Hiddleston, who really sings the Williams songs in the movie, Olsen gets to show off her vocal skills, too — but in a different fashion.

Audrey aspires to be a country singer and performs duets with Williams at the gin joints Williams plays at during the early stages of his career.

When Audrey gets increasingly serious about her career and wants to sing with Williams at his radio gigs, things don't go so well. While belting out the songs in a high-pitched wail, even Williams can't defend his wife when she's finally told she can't continue to perform alongside her husband.

Olsen said singing badly on purpose was a lot of fun.

"It was very freeing," she told Business Insider. "[Tom] is trying to sound like someone so iconic, I'm trying to sound like someone who it's even hard to find sound clippings of."

Though Olsen managed to track down some recordings of Audrey singing, she was able to take liberties in how Audrey would sound.

The bigger challenge was making sure not to make Audrey sound too awful.

"In the movie when she sings in the household and in front of people you can enjoy listening to her, so we had to make sure a general person would think she's okay," Olsen told BI. "But when she starts singing for people that work in the industry and who have a musical ear, it had to be like, 'She's never going to be successful.' So that was the balance."

Olsen is no stranger to singing on screen. She did it in "Very Good Girls," an indie film in which she co-starred with Dakota Fanning, that was released last year. 

But singing badly on purpose in "I Saw the Light" was more fun.

"There's so much humor in it," she said. "You need that in a film with a lot of sadness."

"I Saw the Light" opens in theaters November 27.

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Elizabeth Olsen has quickly become a bigger name in Hollywood after taking on the role of Scarlet Witch in "Avengers: Age of Ultron," but the actress told Business Insider at the Toronto International Film Festival over the weekend that she's not looking to build the character into its own brand within Marvel Studios.

When asked if she would ever want to do a Scarlet Witch stand-alone movie the 26-year-old pondered for a second then replied:

"I'm not sure, honestly. I love my character, I just don't know how that would fit in the whole Marvel universe or if it would even be necessary."

Olsen is at TIFF for the premiere of her new film "I Saw The Light," where she plays Audrey Mae Williams, the first wife of legendary singer Hank Williams.

The film, in which her performance could garner her awards consideration later this year, was shot between "Ultron" and the next Marvel movie she's in, "Captain America: Civil War."

Olson feels its critical for her to spend the time between Marvel movies doing projects that aren't related to what she does for the billion-dollar franchise.

"The good thing about Marvel is they have so many other things going on that they have to plan their year so specifically," she told Business Insider. "I already know my block of time for them for the next year, and I have a lot of time until then, so I'm in a position right now where I'm trying to find another film like 'I Saw The Light.'"

Having already completed her scenes for "Civil War" (in theaters May 6, 2016), Olsen said that Scarlet Witch in the movie is "still conflicted and confused" but that there's a progression in her character that she believes Marvel fans will enjoy.

The movie will focus on a rift in the Avengers that leads to members siding with either Captain America or Iron Man, and Olsen is that Scarlet Witch is being depicted as a "wild card" in the movie's marketing. 

But back to that stand-alone Scarlet Witch movie. She would never consider it?

"The pressure of a tentpole movie on my shoulders doesn't feel comfortable," Olsen said with a laugh.

SEE ALSO: Why Scarlet Witch is allowed to appear in both the 'X-Men' and 'Avengers' movies

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The Toronto International Film Festival has always been one of the main platforms where Oscar-worthy films are born, and this year is no exception.

There's the gritty Netflix movie "Beasts of No Nation" that will certainly be in the conversation. And then there's the heart-wrenching "Room" that at the very least will garner nominations for its lead actors.

But one movie this year that has all the makings for a run at the Best Picture prize is Tom McCarthy's "Spotlight."

Based on the Boston Globe's 2002 work in the Massachusetts Catholic Church sex-abuse scandal— the uncovering of the alleged child molestation cover-up by the city's local Catholic archdiocese — it's the kind of well-crafted story Academy members gravitate toward.

A big reason for its success is the ensemble cast McCarthy compiled, which includes Michael Keaton, Mark Ruffalo, Liev Schreiber, Rachel McAdams, John Slattery, Stanley Tucci, and Billy Crudup.

The film has an "All the President's Men" vibe to it as we follow the Globe's investigative department, Spotlight. Spotlight is the oldest, continuously operating newspaper investigative unit in the US, headed by Robby Robinson (Keaton) in the movie. The paper's new editor, Marty Baron (Schreiber), assigns Spotlight a follow-up piece on a column the paper wrote about a priest who was allegedly caught molesting a child decades earlier.

At first the follow-up is thought to be just a good chase. But reporters Sacha Pfeiffer (McAdams) and Michael Rezendes (Ruffalo) discover that this is far from "a few bad apples in the bunch." They begin talking to victims and a tenacious lawyer (Tucci) who represents them. Soon, the Spotlight team discovers that close to 90 priests in the Boston area have been "relocated" or put on "sick leave" after the Catholic Church discovered they were sexually molesting children.

The biggest challenge with these kind of dramatic, newsroom-focused stories is finding the action that keeps the audience involved. But "Spotlight" does this well.

"Spotlight" accomplishes what films like "All the President's Men,""The Insider," and "Good Night, and Good Luck" did so well. It gives a behind-the-scenes look at a story that general audiences know a lot about thanks to years of constant news coverage on the subject, and it brings on actors who lift the stakes through their performances of scenes set in mundane meeting rooms, doorsteps, and back-alleys.

Though all the actors bring their A-game, standouts in the movie are Ruffalo and Keaton.

Keaton is no stranger to the newsroom. He was perfect as an editor of a New York tabloid in Ron Howard's "The Paper" in 1994. Here he's the Boston native who slowly realizes he'll have to ask a lot of tough questions of people he's known for most of his life to get to the bottom of the story.

Ruffalo, who plays the tenacious reporter Rezendes, is a go-getter so engrossed in his career that his marriage is falling apart. Even when he can step away, say for a jog, he finds himself right back at the newsroom.

Don't be surprised if either — perhaps both — get nominations on Oscar night.

McCarthy, who you'd recognize as an actor in countless movies (a memorable one is playing Dr. Bob in the "Meet the Parents" movies), has had success as a director in the past with indie titles "The Station Agent" and "The Visitor." But "Spotlight"— he also co-wrote the screenplay — is a well-crafted, easy-to-understand drama that shows his elevation as a storyteller. There could be an Oscar nomination in his future as well.

"Spotlight" opens in theaters November 6.

Watch the trailer:

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There's no doubt that "Everest," based on a true story, is a bleak, harrowing experience, but something gets lost in translation.

The film follows twenty-plus individuals, portrayed by the likes of Jason Clarke, Jake Gyllenhaal, John Hawkes and "House of Cards" star Michael Kelly, as they prepare to summit Mt. Everest. 

The climbers range from experts and Sherpas to uninitiated amateurs paying tens of thousands of dollars for the opportunity, and their journey is every bit as arduous and deadly as it sounds.

It centers on the real-life infamous 1996 Everest disaster of which there are many first-hand accounts. The film features John Krakauer, who wrote probably the most most well-known take on the events "Into Thin Air," but the screenplay is actually based on Beck Weathers' “Left for Dead: My Journey Home from Everest” and an article written by Peter Wilkinson titled "The Death Zone." And therein lies the problem.

While watching the film, it becomes clear that it's very much an amalgam of source material rather than one, through narrative. 

"Everest" is so overstuffed with characters that at times it's impossible to tell who is who. It doesn't help that everyone on screen looks the same (so many beards), and they're all covered head-to-toe in climbing gear, which makes it all the more confusing. 

There's simply not enough time in a 2 hour film to explore the back stories and get to know all of these people. This makes it hard for the audience to become completely invested, which is disappointing considering this story is so ripe for it.

The screenplay does hone in on the familial lives of a couple key players and really tugs at the heartstrings, but these moments come off as disingenuous when spliced into a narrative otherwise entirely set on the mountain.

It's bizarre to see the filmmakers pick-and-choose which characters they deem worthy of caring about, and the writers may have been better off consolidating multiple real-life figures into one fictionalized person instead of several. 

Visually, the film is quite stunning. It was shot in the mountains of Italy as well as the actual base of Everest in Nepal, and the sly use of CG combined with the location shooting gives the mountain a seriously imposing presence. Anytime the camera pans down during an intense traverse, it's hard to not feel the sheer terror deep in your bones.

The performances are also quite good, with Jason Clarke and Josh Brolin getting the meatier roles and really delivering. Besides one female climber, the women on screen (including A-listers Keira Knightley and Robin Wright) are relegated to waiting by the phone for bad news. These sequences are quite manipulative, but will certainly have plenty of moviegoers reaching for some Kleenex, which is their intention. 

"Everest" is a completely serviceable film, but it falls short of being the must-see experience it could have been. The great performances make it easy viewing, as does the larger-than-life imagery, but the film is ultimately too busy trying to give its enormous cast ample screen-time to emotionally resonate. A film this steeped in human tragedy should be easier to connect with.

Watch the trailer below. 

Everest opens in theaters nationwide Friday, September 18th.

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Lionsgate just released a new trailer for "The Hunger Games: Mockingjay — Part 2," and it's a very different type of teaser.

We see an entire flashback of the relationship between Katniss (Jennifer Lawrence) and her younger sister Prim's relationship throughout the course of the franchise. 

Typically, trailers for every installment of "The Hunger Games" focus on Katniss' journey to take back the Capitol from the villainous President Snow (Donald Sutherland) with help from Peeta (Josh Hutcherson) and Gale (Liam Hemsworth).

But this new trailer places a big emphasis on family and the importance of the sisters' relationship, all culminating with President Snow reminding Katniss that "it's the things we love most that destroy us." 

As the trailer scrolls through loving images of Katniss and Prim, it's very ominous. I won't say much more, but if you're a fan of the books, the trailer pulls at a few heartstrings because you know where the final film is heading.

"The Hunger Games: Mockingjay - Part 2" is in theaters November 20, 2015.

Watch the trailer below.

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Warning: There are spoilers ahead if you haven't read the book.

"The Martian," the sci-fi bestseller praised for its exhaustive attention to scientific detail, has a movie adaptation coming out on Oct. 2.

The movie closely follows the novel and, like the book, is chock full of science — and emphatic, curse-ridden one-liners.

The story follows astronaut Mark Watney, played by Matt Damon, and his struggle to survive on Mars after his crew is forced to leave him behind. How do you survive on an inhospitable planet when you're stranded there alone?

"In the face of overwhelming odds, I'm left with only one option — I'm gonna have to science the s--- out of this," Damon says in the trailer for the movie.

And that's exactly what he does. Keep scrolling to see 12 feats of science that Damon's character pulls off on the red planet in hopes of staying alive.

In the opening scene, a Martian dust storm breaks off a communications antenna and part of it gets lodged in Watney's body.

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Blinded by the storm, Watney's crew believes he died and escapes without him. Watney wakes up with no choice but to "science the s---" out of Mars to survive.

FEAT OF SCIENCE #1: Watney has to pull out the antenna piece lodged in his torso. He uses a pair of medical pliers, and then staples the wound closed like a professional surgeon.

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Ethan Embry admitted something to Business Insider when we talked to the actor at the Toronto International Film Festival earlier this week — he hasn't always been a fan of "Can't Hardly Wait."

"If we did this interview two or three years ago, and you brought up the movie, my reaction would have been 'Uuuggggghhhh," Embry told BI.

But things have changed.

At TIFF to promote his new movie, the horror “The Devil’s Candy,” the 37-year-old actor admits he’s finally come to terms that his role in the late 1990s teen comedy is one many know him from.

“I now enjoy the celebration of it,” Embry told BI. “It was just work, but I so remember fighting really hard for the role. I feel lucky that I have it as a piece of my past.”

“Can’t Hardly Wait” follows a night in the lives of a group of recent high school graduates as they all coverage at a year-end party. One of the main threads is awkward loner Preston Meyers (Embry) who spends most of the evening trying to profess his love to the school hottie Amanda Beckett (Jennifer Love Hewitt) by attempting to give her a letter her wrote.

The movie was a disappointment at the box office its opening weekend, coming in fourth. It’s lifetime gross is only $25.6 million. 

But over the years thanks to home video and constantly playing on paid-cable channels, the film built a cult status that has followed the actors in the film to this day.

Embry said he finally began to acknowledge the movie being a major milestone in his career when he thought of the bigger picture.

“I can appreciate it more now,” he said. “Who the f--k doesn’t want, when they are nearing middle age, to look back on their youth in a celebratory way? So it’s really a nice gift that has been given to me.”

Though Hewitt took to Twitter earlier in the year trying to get momentum for a sequel to “Can’t Hardly Wait” off the ground (Embry since then has said a sequel is only “hypothetical”), it doesn’t seem like Embry has time to worry about it.

Along with “The Devil’s Candy” he’s in pre production on another horror and will be seen next year in the Netflix series “Grace and Frankie,” starring Jane Fonda and Lily Tomlin.

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The 40th Toronto International Film Festival is currently underway, and it seems all of the A-list stars are taking over the town. 

From Johnny Depp and Matt Damon to Kristen Stewart and Sandra Bullock, tons of celebrities are north of the border to premiere their new films.

See who is already getting Oscar buzz and who's dominating the red carpet.

Let's go stargazing.

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TIFF takes place in September for 10 days and premieres many of the movies that will contend at year-end award shows like the Golden Globes and Academy Awards.

Because of that, the stars come out in full force. And where they go, so do the photographers.

Jake Gyllenhaal kicked off the festival with his new movie "Demolition."

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