Disney delayed the releases of more than a dozen major films Friday, but has not given up on a summer blockbuster with “Mulan” now penciled in for a July launch despite the coronavirus pandemic.
The revised schedule confirmed eagerly awaited Marvel movies “Black Widow” and “The Eternals,” as well as the latest “Thor” and “Doctor Strange” sequels, have all been pushed back as the virus shutters theaters around the world.
“Black Widow” starring Scarlett Johansson, the first of the new “phase” of the record-breaking superhero franchise, will now debut in November, causing most subsequent installments to move later in a domino effect.
One untitled Marvel film previously set for summer 2022 was removed from the schedule entirely.
But in a note of optimism that North American movie theaters could reopen sooner rather than later, “Mulan” — a mega-budget live action remake of the tale of a legendary Chinese warrior — is now tentatively set to launch July 24.
That chimes with positive notes from National Association of Theatre Owners officials, who told a webinar on Friday that theaters could reopen in late May or June with social distancing measures in place to seat audience members far enough apart.
However, Disney’s “Artemis Fowl” became the latest major studio film to skip theaters entirely and move directly to streaming — a trend that has triggered alarm among movie exhibitors.
The children’s book adaptation will debut on Disney+ at an undisclosed date.
The next Indiana Jones film, currently untitled, was pushed back an entire year to July 2022, while a confirmed “Captain Marvel” film bucked the trend by moving to an earlier slot that same month.
Disney delays Marvel blockbusters but hopes for July ‘Mulan’ launch
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Disney delays Marvel blockbusters but hopes for July ‘Mulan’ launch
Review: ‘Sorry, Baby’ by Eva Victor
- Victor makes a deliberate narrative choice; we never witness the violence of what happens to her character
There is a bravery in “Sorry, Baby” that comes not from what the film shows, but from what it withholds.
Written, directed by, and starring Eva Victor, it is one of the most talked-about indie films of the year, winning the Waldo Salt Screenwriting Award at Sundance and gathering momentum with nominations, including nods at the Golden Globes and Gotham Awards.
The film is both incisive and tender in its exploration of trauma, friendship, and the long, winding road toward healing. It follows Agnes, a young professor of literature trying to pick up the pieces after a disturbing incident in grad school.
Victor makes a deliberate narrative choice; we never witness the violence of what happens to her character. The story centers on Agnes’ perspective in her own words, even as she struggles to name it at various points in the film.
There is a generosity to Victor’s storytelling and a refusal to reduce the narrative to trauma alone. Instead we witness the breadth of human experience, from heartbreak and loneliness to joy and the sustaining power of friendship. These themes are supported by dialogue and camerawork that incorporates silences and stillness as much as the power of words and movement.
The film captures the messy, beautiful ways people care for one another. Supporting performances — particularly by “Mickey 17” actor Naomi Ackie who plays the best friend Lydia — and encounters with strangers and a kitten, reinforce the story’s celebration of solidarity and community.
“Sorry, Baby” reminds us that human resilience is rarely entirely solitary; it is nurtured through acts of care, intimacy and tenderness.
A pivotal scene between Agnes and her friend’s newborn inspires the film’s title. A single, reassuring line gently speaks a pure and simple truth: “I know you’re scared … but you’re OK.”
It is a reminder that in the end, no matter how dark life gets, it goes on, and so does the human capacity to love.
