Jurassic World Rebirth, the latest dinosaur blockbuster and new entry in the Jurassic World franchise, has proven to be a huge box office juggernaut over its opening weekend. According to the box office intake, the movie earned over $300 million worldwide just five days, with a little under half of that coming from the domestic box office in the US. The summer blockbuster is on track to become one of the highest-grossing movies of the year. As reported by NBC Los Angeles, Jurassic World Rebirth has earned over $300 million at the worldwide box office – $318.3 million, to be precise. $147.3 million was raked in from playing at over 4,000 theatres across the US over the last five days, though the movie didn’t debut in IMAX due to F1 The Movie still playing in its slot. An estimated $91.5 million of its total box office intake over the past five days also came from its traditional “three day” weekend, though the fourth of July holiday pushes it to a five-day forecast. Jurassic World Rebirth is the fourth movie in the Jurassic World franchise and technically the seventh movie in the wider Jurassic saga, following a group of mercenaries who get stranded on a restricted island where “rejected” genetically enhanced dinosaurs reside. Along the way, the mercenaries must protect a family who have also gotten stranded on the island after an encounter with sea-dwelling dinosaurs. The movie stars Scarlett Johansson, Mahershala Ali and Jonathan Bailey. Jurassic World Rebirth is now playing in cinemas worldwide. Source: NBC Los Angeles Original article on GLITCHED

Arkane Studios founder and former studio president Raphaël Colantonio has criticised Microsoft for its Xbox Game Pass subscription service, believing that it has done more damage to the industry than good. While many have championed Game Pass a cheaper, viable alternative to paying for games at full price – something which has only grown more urgent since AAA game prices soared to $70 and now $80 – Colantonio believes it’s an “unsustainable model.” Colantonio, who parted ways with Arkane back in 2019, voiced his opinions about Xbox Game Pass on X. “I think Game Pass is an unsustainable model that has been increasingly damaging the industry for a decade, subsidized by MS’s ‘infinite money’, but at some point reality has to hit,” he wrote. “I don’t think GP can co-exist with other models, they’ll either kill everyone else, or give up.” Colantonio added: “It’s a long game that involves throwing a tsunami at the entire ecosystem of the industry. Only the gamers like it because the offer is too good to be true, but eventually even gamers will hate it when they realise the effects on the games.” This sentiment wasn’t shared with Doom and Quake veteran John Romero, who claimed back in January that Game Pass doesn’t really hurt game companies. “I love it. I mean, who doesn’t love Game Pass? It’s Netflix for games; who doesn’t want that? It’s great because it’s try before you buy… one thing after another thing. Really the barrier for people to play games is just access to those games,” he said at the time. Romero’s company, Romero Games, was recently impacted by Microsoft’s mass layoffs. His studio’s unannounced shooter was cancelled and most of his staff fired. The debate surrounding Xbox Game Pass and its impact on the gaming industry continues to be a hot topic, especially since Microsoft lost a lot of good will last week when it laid off over 9,000 employees in a bet on AI as its driving factor for the future. Source: Raphaël Colantonio on X Original article on GLITCHED

CD Projekt Red has officially announced Cyberpunk: Edgerunners 2, the next chapter in its anime series set in the Cyberpunk 2077 video game universe. The studio has reunited with Japanese animation studio Trigger, which was responsible for animating the first series. Cyberpunk: Edgerunners 2 was unveiled during Anime Expo 2025 over the weekend. Trigger director Kai Ikarashi will helm the new series alongside showrunner, story writer and producer Bartosz Sztybor. There’s currently no release date set for Edgerunners 2 but it will debut on Netflix. However, according to the story description, it won’t be connected to the events of the first anime. Rather, the second season will tell a new story set in the Cyberpunk 2077 world, described as “a raw chronicle of redemption and revenge.” The official blurb reads: “When the world is blinded by spectacle, what extremes do you have to go to make your story matter?” Sztybor explained: “David’s story might be over, but there’s plenty more to discover in Night City. And to again have the legendary animation studio Trigger along for the ride makes us at CD Projekt Red so excited to introduce a raw, real chronicle of redemption and revenge, something unlike what we’ve done before.” Kanno Ichigo (Cyberpunk: Edgerunners, Promare) will return as the character designer alongside Masahiko Otsuka (Gurren Lagann, Promare) who will be handling the screenplay adaptation. Cyberpunk: Edgerunners released in September 2022 and was considered a massive success for Netflix, swiftly prompting a second collaboration with CD Projekt Red. It also went on to win numerous awards, voted as one of the best anime of the year. According to Netflix, Cyberpunk: Edgerunners 2 will also run for 10 episodes, which is the same episode count as the first season. Beyond that, we know very little about the project other than what was shown in the first teaser footage. You can watch the first teaser trailer for Edgerunners 2 below: Source: CD Projekt Red Original article on GLITCHED

It’s certainly no secret that the Predator franchise has not exactly spawned what one would describe as “cinematic masterpieces” – the original 1987 movie (and first sequel, released three years later) instead now residing firmly within the realm of cult classic certification, with most of the subsequent offerings falling well short of expectations. 2022’s Prey, on the other hand, proved to be the shot in the arm the series desperately needed – putting a fresh spin on the standard formula while showcasing the future potential and direction Predator-related media could take. And if the most recent addition to the main movie line is anything to go by, the future is looking mighty bright indeed. Directed by Dan Trachtenberg (also known for the aforementioned Prey, the upcoming Predator: Badlands, and 10 Cloverfield Lane, among other television credits), scored by Benjamin Wallfisch (Blade Runner 2049, Alien: Romulus) and written by Micho Robert Rutare, Predator: Killer of Killers is an animated anthology movie that chronicles major events in the lives of three prominent “warriors”, all centred around various Yautja (or Predator) appearances/attacks – set within three distinct periods of human history: the Viking Age, Japan’s Edo period, and the tail end of the Second World War. There’s a surprising amount of weight carried within each tale, with more emotionally impactful scenes than I was expecting, in all honesty - between the deliciously brutal, fast-paced, and stylish action sequences, of course. Which is what we’re all ultimately here for at the end of the day. These diverse historical backdrops are a massive breath of fresh air, providing appropriately striking visuals (the frozen Scandinavian landscape, or an imposing Japanese castle, for example) and grabbing your attention for the entire length of the film. In addition, the small cast of characters introduced as the storylines unfold are all fleshed out superbly with excellent voice acting (including the likes of Predators’ Louis Ozawa Changchien, Reaper’s Rick Gonzalez, notable anime dub/video game actress Cherami Leigh, and Lauren Holt of Saturday Night Live fame) and boast incredible amounts of character development for such a small amount of screen time – the end result being that Killer of Killers manages to achieve a hell of a lot with basically zero drawn-out exposition or plotline bloat. There’s a surprising amount of weight carried within each tale, with more emotionally impactful scenes than I was expecting, in all honesty. Going the fully animated route here was also a fantastic idea, utilising Unreal Engine to deliver a final product that simply would not be anywhere near as atmospheric, fun to watch, or visually impactful if it was done through live action with real world actors. The same can be said for the action-heavy scenes, where avoiding stepping into the realm of ultra-realism ends up lending a lot more personality and excitement to the moments in question. Each Predator encounter likewise feels special, almost tailor-made to fit the historical period (and humans they go after) in which they appear. I’m purposefully not going into any details regarding story events here because, quite frankly, I believe these kinds of movies should be experienced as blindly as possible. If you’ve seen any Predator films before, you’ll know what you’re in for here as far as plot format goes. Plus, half the fun of watching these movies is witnessing how the creatures, characters, and settings come together in gloriously violent fashion – although I will mention that there is a central overarching narrative connecting all three Killer of Killers arcs that comes to a head in the final act. Each Predator encounter likewise feels special, almost tailor-made to fit the historical period (and humans they go after) in which they appear. A final act which is, unfortunately, easily the weakest part of the entire movie. I genuinely would have been completely fine with Killer of Killers rolling credits after the third story, but instead we’re given what feels like a tacked-on, unnecessarily comedic, rushed, deus ex machina-fuelled ending sequence that concludes on a purposefully open-ended note (with a small nod to Prey thrown in for good measure). It’s not terrible by any means, nor does it ruin the overall viewing experience, but it does feel noticeably less grounded or believable than everything preceding it – which I am well aware is saying something, as far as Predator titles are concerned. As an added note, for those unsure as to whether this should be their first Predator movie, I’d highly recommend at least watching Prey beforehand – though you will absolutely benefit more from watching the first two releases as well (Predator 2 is an entirely different beast from the first movie, however). In my opinion, everything between 1990’s Predator 2 and 2018’s The Predator is totally optional viewing. While not as consistently strong as Prey, and nowhere near as amazingly cheesy as classic Predator, Predator: Killer of Killers takes a refreshing concept and executes it remarkably well, save for an admittedly underwhelming closing sequence – all while confidently standing out from the prior cinematic instalments by being the first animated mainline entry. With its visceral action, diverse selection of settings, and great vocal performances, Killer of Killers is a highly entertaining and worthy continuation of the Predator legend.