
The poster art for 1951’s The Day the Earth Stood Still.
In September 1951, 20th Century-Fox‘s sci-fi drama The Day the Earth Stood rolled out in theaters following its premiere opening on Sept. 18 at New York’s Mayfair Theatre (where it grossed $6,500 that day). At the beginning of the month, the film screened at the World Science Fiction Convention in New Orleans, where 250 attendees “universally acclaimed the picture.”
The 92-minute feature, directed by Robert Wise, was released as Cold War fears were at the top of the headlines and was intended as a cautionary tale (decades later, the studio remade the film with Keanu Reeves and an aughts sheen in 2008). The Hollywood Reporter’s original review is below:
In The Day the Earth Stood still, producer Julian Blaustein and director Robert Wise have a highly exploitable, suspensefully entertaining drama that will ride the crest of the current cycle of science films with the ease of a space ship.
Adapted from a story by Henry Bates, the drama is an intriguing science fantasy, made believable by touches of genuine humor and the faint suggestion of a romance between a pretty American widow and a mysterious visitor from another planet. The overtones of social significance are adroitly handled and make real sense in an era of tragic international quarrels.
Physically, the production is all science saga should be — Blaustein supervises the special effects with telling results; the Washington locale is excellently fulfilled; and the thoughtful choice of actors accounts for convincing performances throughout. Wise’s direction imbues the narrative with the compelling atmosphere of the documentary; he creates an illusion of presenting the real thing rather than a fictional motion picture. Inevitably, the Wise technique heightens suspense values and writes terrific punch into the action scenes involving a powerful robot who accompanies the human visitor to the U.S.
Michael Rennie is the visitor, a man who whirls into the center of Washington in a space ship accompanied by his robot. His mission is one of peace — he wants to talk to the President. An hysterical soldier shoots him, Rennie is carried to Walter Reed Hospital. Here, by administering medicine brought from his outer-planet home, Rennie recovers. He tells the President’s secretary that he wishes to speak to representatives of all nations on earth. The secretary informs him this is impossible. Rennie casually leaves the hospital, takes a room in a boarding house where he meets Patricia Neal and her young son, Billy Gray. His adventures with the lad are amusing; one includes a visit to Sam Jaffe’s home where, by working an intricate scientific problem within seconds, he identifies himself as a super-intellect. Jaffe agrees to bring men of science from the four corners of the globe to hear him speak.
Meanwhile the police are searching frantically for him. Though wounded again, he escapes to his ship and before flying off tells those who hear him that the world must solve its petty political problems; otherwise, action by other planets in the universe will destroy the world.
Rennie’s quiet dignity in the part of the space visitor brings conviction to the interesting role. Miss Neal is vibrant and lovely as the young widow, and Hugh Marlowe is vigorous as her ambitious suitor. Jaffe’s scientist is portrayed with the actor’s usual resourcefulness. Gray is fine as the youth. Supporting players include some of Hollywood’s best character actors. Commentators Drew Pearson, Gabriel Heatter, H.V. Kaltenborn and Elmer Davis are on deck to implement the air of authenticity.
Leo Tover’s work in the trick photographic department is exceptional. Lyle Wheeler and Addison Hehr, allowing imagination to run wild, perform a superb job of art direction. Bernard Herrman’s eerie score and the editing of William Reynolds are other outstanding contributions to the success of the production. — Staff byline, originally published on Sept. 4, 1951.

The poster art for 1951’s The Day the Earth Stood Still.

The Hollywood Reporter‘s original review of The Day the Earth Stood Still in 1951.
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EXCLUSIVE: Diablo Cody has lined up familiar faces as partners for her next film project, Always, Roxanne: The film will be produced by Nathan Kahane via his True North banner, as well as Mason Novick, Deadline has learned.
Cody’s script follows Roxanne, an obsessive high school senior who goes to her ex-boyfriend’s college campus to win him back, only to wage war on his new girlfriend and accidentally find the first person who truly understands her.
The film, which does not yet have a director, extends a longstanding creative partnership between Cody and Novick, who have now worked together on over 10 projects: Novick was Oscar-nominated for producing Cody’s Best Picture nominee Juno and is currently working with her on a sequel to her cult classic Jennifer’s Body.
Kahane worked with Cody & Novick on the films Juno and Young Adult during his time at Mandate Pictures. He told us, “I couldn’t imagine a better time to reunite with my former collaborators Diabo Cody and Mason Novick than a moment when younger audiences are rediscovering the joy of the theatrical experience.”
Best known for breakout with Juno, the coming-of-age romance that brought her the Academy Award for Best Original Screenplay, Cody’s filmography also includes titles like Tully, Ricki and the Flash, Lisa Frankenstein and more, in addition to those previously mentioned. She is represented by WME and MXN Entertainment.
While at his previous companies Mandate and Good Universe, Kahane shepherded the Neighbors and Harold and Kumar comedy franchises, as well as films sfuch as This Is the End, Don’t Breathe, Good Boys and Stranger Than Fiction. Prior to launching True North, he was President of the Motion Picture Group at Lionsgate.
Other credits for Novick include (500) Days of Summer and the recent Forbidden Fruits.
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“Thing happen, they change the course of a man’s life,” says Sylvester Stallone‘s Dwight at the opening of the Season 4 trailer for Tulsa King. “If I find out whose fault this is, bad things are gonna happen to bad people,” warns the beaten-down Dwight.
Per the Season 4 logline, Dwight (Stallone) fights to legitimize his empire and protect his crew as corrupt politicians, dangerous new enemies, and a crushing personal loss hit from every direction. However, every hard-won gain comes with even harder truths: about loyalty, leadership and the cost of ambition. Each move drags Dwight deeper into the street instincts he left behind in New York – turning Tulsa into a battleground and Dwight into the one threat no one can afford to underestimate.
“Everything I own is gone,” Dwight laments a bit later in the trailer. “I’m not ready to fold.” he confidently asserts. “I’m gonna get it all back.”
We also see a bit more of new cast member Gretchen Mol in the trailer. Mol plays Amanda Clark, a Tulsa politician. When asked by a reporter, “Has the mob come to Oklahoma?” she replies sternly, “It may have come, but it sure as hell ain’t staying’.”
Terence Winter is head writer and executive producer. Sheridan and Stallone executive produce, along with David C. Glasser, Ron Burkle, David Hutkin, Bob Yari, Thomas Kelly, and Keith Cox.
The series, which premieres Friday, October 16 on Paramount+, is produced by Paramount Television Studios and 101 Studios and distributed by Paramount Global Content Distribution.
Check out the trailer above and see first-look photos here.

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Upon accepting his career achievement award at an intimate Zurich Film Festival ceremony, beloved U.S. auteur Richard Linklater was swiftly asked for an update on his musical film, Merrily We Roll Along.
Based on Stephen Sondheim’s 1981 show, Linklater’s movie is set to shoot over a 20-year period, similar to his Oscar-nominated Boyhood, with stars Paul Mescal, Ben Platt and Beanie Feldstein aging in real time.
Before a screening of his iconic Before Sunrise, Linklater sat for a 45-minute discussion with Zurich Film Festival CEO Christian Jungen to reflect on his entire career, from his early interest in cinema to making Dazed and Confused with Matthew McConaughey and later, School of Rock with Jack Black.
Toward the end of the conversation, an audience member asked for a status update on Merrily We Roll Along, to which the American filmmaker responded that it’s proving a little trickier to be discreet compared to 2014’s Boyhood (shot over 12 years). “When I was doing Boyhood, we worked in complete anonymity. No one knew about the film. This one, on the other hand, because it’s a Stephen Sondheim musical and it’s very public, I have to answer this question for 20 years while we’re making it,” he laughed.
“But my progress report,” continued Linklater, “is it’s [shooting] nine sections in 20 years. And in a few months, we’re filming the fourth section. So see you in 2040,” he added, the room applauding.
Linklater also dismissed concerns about “tempting fate” with such a long shoot. “It worked on Boyhood, […] and that’s just the way the film should be made and that’s the only way to tell the story. And people were like, ‘Well, what if someone died?’ There’s always an extreme thing that would prevent it from being made. But I was like, ‘Well, that usually doesn’t happen,’ and you gotta believe in collaborating with the future of some kind. So definitely got lucky [with Boyhood] and hoping to get lucky this time. But it’s been so fun so far. It’s very different. I have music already — it’s a great score. We’re adapting it step-by-step. I’ve always made music films. … But it’s fun to be making a full-on musical. But it’s about friendship, long-term.”
Merrily We Roll Along is based on the 1934 play of the same name by George S. Kaufman and Moss Hart, follows Franklin Shepard, a talented composer of Broadway musicals that abandons his friends and career to become a producer of Hollywood movies. The story begins at the height of his Hollywood fame and moves backwards in time, showing important moments in Frank’s life.
Naturally, Linklater was probed on how he came to cast Ethan Hawke and Julie Delpy in the cult Before trilogy, and regaled the audience with anecdotes about making the Vienna-set romance. When Jungen cited an interview with Delpy where she said she’d been “only made a third” of what Hawke was paid, Linklater responded: “That’s not true. I actually remember fighting for it because I knew how hard the actors were going to have to work. And I did have some producers saying, ‘Oh, Julie has no American credits. We don’t have to pay her that much. We can get her for scale. ‘ And I was like, ‘Let’s get them closer.’ It was definitely the most she’s ever made, but it was a little less than he did. But not [by] much.”
Upon receiving his career achievement award, Linklater, director of Hit Man, Nouvelle Vague and, more recently, Blue Moon, told the crowd: “I feel so lucky to be in this world, to work with people in the film culture — not just filmmakers, but the film culture that we all live in too. Film festivals, curators, teachers of film, just film lovers everywhere, film societies,” he said, alluding to his launching of the Austin Film Society in 1985.
He continued: “I’ve been so lucky all these years now to awaken every day in that world where it’s optimistic, because film is optimistic. It’s people who want the best, who want to see something great, who want to make something great, and we try to help each other in that. And it’s the best people, too.”
The evening was celebratory from the moment Linklater walked in to his picking up Zurich’s Golden Eye Award. He joins 2026 honorees Julianne Moore, John Turturro and Naomi Watts. The 22nd edition runs Sept. 24-Oct. 4.
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