Will The Eternal find peace?

Another Vampire film but I like the story behind this one. Kind of like Dracula and Highlander mashed up.

Samuel Gradius has lived too long. In his 500 years on earth he has seen empires rise and fall, changed the course of history with his bare hands and experienced countless revolutions first hand. Samuel Gradius is a vampire, perhaps the only vampire, and he’s had enough. He wants to die. No longer content with the idea of simple suicide, he makes the decision to go out in the ways of old. He wants a warrior’s death. The Eternal follows Samuel on the pursuit of his own personal oblivion, he hopes, at the hands of someone worthy.

Apparantly their is a graphic novel prequel:

“The Eternal: Final Dawn tells the life (and undead) story of Samuel Gradius, born in 1463 Scotland as Samhairle Greme. Twelve chapters tell his journey, from birth until 2009, and the first moments of the feature film The Eternal. Set against the backdrop of real history and known myth, the horrific, tragic and humorous collide in The Eternal: Final Dawn. Welcome to Samuel’s world – we can’t guarantee your safety.”

The graphic novel represents the first step in offering a unique immersive experience for an independent film, as out of the twelve total issues, the first six will be offered online in monthly installments, entirely free. The first issue is expected to be offered online later this year, and will be previewed at the upcoming Rue Morgue Festival of Fear in Toronto. You can view the teaser issue here.

Check out the official site.
HOME

300 sequel may have the return of Gerard Butler?

“Frank Miller's working on something,” revealed producer Mark Canton when MTV spoke to him, telling them that he’s onboard to return for Snyder’s 300 sequel. “That, Zack has said.”

“Things are always looking good with ‘300,’ it’s a blessing and a gift. Zack’s a genius, and no matter where you go it’s the one movie that people around the world seem to somewhat identify with the most,” explained Canton “We’re thrilled for [a sequel]; it’ll be a blast. There’s a new Blu-Ray coming out all over again shortly, so that’s great. It’s like the gift that never stops giving.”

“[The key to the sequel] is about getting it right, you know,” the producer said of their dilemma after having killed off virtually the entire cast in the first film. “Frank is a perfectionist, and so is Zack. And I think they set the bar pretty high.”

Canton had the surprising news that even Gerard Butler's King Leonidas could be brought back from the dead. “Never assume anything; never assume anything,” he repeated when I asked if the original cast were gone for good. “It’ll be what it’ll be. But if we really do it, in this case, we have a visionary creator and a visionary filmmaker.”

I loved 300. Thought it was great, but I really don't see any need for a sequel. Especially if they bring characters back whose whole point was to die a warriors death. However, if it was a prequel then of course it would make sense for the characters to return or maybe it will be another tale told to the warriors waiting to go into battle.

I am also a bit fed up with this visionary creator tag continuously being slapped on Zack Snyder. He has not yet created anything visionary. Dawn of the Dead was a remake, 300 and Watchmen were pretty much the comic book on screen - all creations of other visionaries - George Romero, Frank Miller, Alan Moore and Dave Gibbons.

Is Snyder a visionary? How do you think Butler could return as Leonidas? Should he return?

The “Complete Experience” Blu-Ray disc is out on 21st July.

HOME

Star Wars in a notebook

Funny Videos | Funny Cartoons | More Video Clips

HOME

Batman: Arkham Asylum - Paul Dini takes us behind the scenes of the new video game

This new video for the Batman: Arkham Asylum video game features a bunch of new gameplay footage and interviews with the game’s developers, includes some commentary from head writer Paul Dini, who’s made a long career out of scripting Batman’s adventures in both comics and various animated television series

I cannot wait to play it.

Movie Trailers - Movies Blog

It is due out on 25th August on Xbox 360, Playstation 3 and PC.

Anyone else looking forward to it?

HOME

Bruno Movie Quoting Taskforce

Homeland security creates a special taskforce to combat the upcoming threat of Bruno quoting.

HOME

The Collector - Cool poster

The Collector follows a handyman and ex-con who aims to dig up some scratch for his ex-wife by robbing his employer’s country home.

Naturally, things don’t go according to plan and our anti-hero finds himself trapped by a masked “Collector” who sets a series of traps that the studio describes as “the Spanish Inquisition as imagined by Rube Goldberg,” all while trying to rescue the very family he came to rob.

Producer Mickey Liddell explains: "Marcus Dunstan (Saw IV, Saw V) and Patrick Melton have come up with a unique twist on the home invasion thriller that we think will have people gripping their seats," says Liddell. "With its stylized blend of action and horror, the movie delivers on every level."

Source: MTV

HOME

The Random - Sucker Punch, Predicament, The Wedding Doctor, Transformers 3, Mother's Curse, Kick-Ass, Alien Nation, Asteroids, Resident Evil

Zack Snyder (300, Watchmen) has confirmed that he's trying to tone down his upcoming female insane asylum-set thriller Sucker Punch from an R to a PG-13 - Chud have more

Flying Conchords star Jemaine Clement will to star in the comedy heist film Predicament based on the novel by Ronald Hugh Morrieson - via Stuff

Jonathan Abrams has sold his romantic comedy script The Wedding Doctor to Relativity Media. The story follows a nervous bride with cold feet who seeks the help of a relationship analyst to make sure she's marrying the right person. Trouble is he decides that he is the one she should be marrying - THR)

Ramon Rodriguez, the college roommate of Shia LaBeouf in Transformers: Revenge of the Fallen, will likely have a bigger part in the sequel according to director Michael Bay - LA Times

A road comedy with Seth Rogen and Barbra Streisand in the leading roles? That unexpected pairing may just happen in a film called Mother's Curse - via Hitflix

The world premiere of footage from director Matthew Vaughn's Kick-Ass will be presented at Comic-Con in San Diego on Thursday, 23rd July - Comingsoon.net have more

Sy-Fy is developing another spin-off series based on the 1988 film Alien Nation reports Variety. Sounds like District 9 has kick started the franchise again. The original film was set in 1991, when alien refugees had come to Earth three years before and were now attempting to integrate into Los Angeles. Tim Minear ("Angel," "The X-Files," "Firefly") is penning the update for Fox 21. This new version is set in the Pacific Northwest of the 2020's, two decades after the first alien ship crashed on Earth.

Universal Pictures has won the film rights to the classic 1979 video game Asteroids says The Hollywood Reporter. The game featured a spaceship that had to shoot down incoming asteroids to avoid collision, that's about it which means there's no backstory and a lot of creative freedom for Matthew Lopez who is adapting the script.

ShockTillYouDrop is reporting that a new live-action Resident Evil sequel called Resident Evil: Afterlife is in development for a September 2010 release. They've actually gotten confirmation from Sony that it is indeed happening. And that Paul W.S. Anderson is at least writing the script and that Capcom is on-board.

HOME

Spread - Ashton Kutcher's new film

Set in present Los Angeles, Spread is an iconic look at the lure of sex, money, and access that Hollywood offers to the beautiful people, and the karmic price that Nikki must ultimately pay to live that lifestyle.

HOME

2033 - Trailer for Mexican sci-fi film

It is the year 2033 in Mexico City, now called Villaparaiso (Paradise City). A military government controls society, taking from it its religious faith and freedom of expression. The main characters are Pablo and a “hidden” priest, known as Father Miguel, who transforms his life. Pablo leaves his privileged life in order to aid the helpless and destroy this system which controls the people through an addictive drink called “Pactia.” In this way he fights alongside the “believers’ to bring down the regime. Along the way, he meets Lucía, who gives him a reason to live.

Source: Quiet Earth

HOME

Harve Presnell has passed away

Another day, another death. What a sad time it has been for celebrity deaths. Even Jeff Goldblum, although he got better.

Harve Presnell, whose booming baritone graced such Broadway musicals as "The Unsinkable Molly Brown" and "Annie," has died at age 75.

The actor died Tuesday of pancreatic cancer at St. John's Health Center in Santa Monica, Calif., said Gregg Klein, Presnell's agent.

Although he was best known for his roles in musical theater, Presnell also is remembered as William H. Macy's father-in-law in the Coen brothers' 1996 film Fargo.

Among his other movies were "When the Boys Meet the Girls" (1965), "The Glory Guys" (1965) and "Paint Your Wagon" (1969) as well as the TV series "The Pretender" (1997-2000).

Yet it was in "The Unsinkable Molly Brown" (1960) that the rugged, 6-foot-4 Presnell was first noticed by Broadway audiences. In the Meredith Willson musical, he played lucky mining prospector "Leadville" Johnny Brown opposite Tammy Grimes' feisty Molly. Presnell repeated his role in the 1964 film version which starred Debbie Reynolds as the buoyant title character.

Presnell even played the dashing Rhett Butler in a musical version of "Gone with the Wind" (adapted by Horton Foote and with a score by Harold Rome) that was seen in London in 1972.

For a good part of his career, Presnell portrayed the wealthy, follicle-challenged Daddy Warbucks in various incarnations of "Annie." The actor was first offered the role in a tour of "Annie" and thought the title was a show business abbreviation for "Annie, Get Your Gun," the musical in which he had once played sharpshooter Frank Butler.

Then he attended "Annie" and saw a bald, older man instead of a dashing, romantic lead.

It was a big shock, he told The Associated Press in an interview in 1993: "I thought, `What's this? I'm a leading man!'"

But the reality was good for him, Presnell said, adding: "It was a question of saying, `I'm no longer Frank Butler or Rhett Butler or 'Leadville' Johnny Brown. And they were paying good money."

After Presnell did the two-year "Annie" tour (1979-81) he went into "Annie" on Broadway and was still Daddy Warbucks on closing night, Jan. 2, 1983, in New York. In 1990, he played Warbucks in "Annie 2: Miss Hannigan's Revenge," the ill-fated sequel to "Annie" that folded during its Washington tryout and never got to New York.

Another version, titled "Annie Warbucks," surfaced off-Broadway in 1993 for a four-month run with Presnell again portraying Annie's wealthy benefactor.

The actor was born George Harvey Presnell on Sept. 14, 1933, in Modesto, Calif. He went to the University of Southern California on a sports scholarship. After three weeks, the head of the music school heard him sing and offered him the same scholarship for music. He soon quit school and spent three seasons singing in Europe. And it was in Berlin that Willson, the composer of "Molly Brown," first heard him sing.

Source: Yahoo

HOME

Public Enemies - Press Conference Part 3 - Michael Mann

Here is the final part of my Public Enemies press conference report. Be sure to check out the Marion Cotillard and Johnny Depp posts along with my Public Enemies review.

This final part deals with what Michael Mann had to say about the film. He gives some great, detailed responses to the question and was very forthright and informative. It was excellent to hear the thoughts of a great filmmaker like Mann.

Public Enemies features a theme seen in most of your work, that clash of law versus lawlessness. Why are you exploring this, and why choose the life of John Dillinger?

I became fascinated with Dillinger, because of certain mysteries in his life. First of all, he was very bright, and great at doing what he did. And he's regarded as one of the best bank robbers of American history, to whatever extent that's worth. He was very very current, very contemporary. Very sophisticated. He planned his robberies with great precision and forethought, and employed techniques picked up from the military by a guy called Herbert K. Lam - where the expression 'on the lam' came from. He mentored Walter Dietrich, Walter Dietrich - the guy who died at the beginning of the film - mentored John Dillinger. So Dillinger's time in prison is really a post-graduate course in robbing banks. But what really interested me, is he not so much gets out of prison - he explodes onto the landscape, he is determined to have everything right now. And lives the dynamics of maybe four or five lifetimes in one, and that one life is only thirteen months long and it has the intensity and white hot brilliance to it, and an indefatigable brio, that I found stunning in view of the fact that he had no concept of future. That he could plan bank robbery with great precision, but they couldn't plan next Thursday.

There was no sense of, as there was with Butch Cassidy and the Sundance Kid and the Hole in the Wall gang, of making a quarter of a million dollars, then go to Brazil for a year and a half, and chill out. There was no endgame. There was this very very intense live for today, and whatever happens tomorrow, it's fated. It's not that by decision making or consciousness it's determined, it's just fated. And it's part of current thinking in the '30s - it's within three years of Hemingway writing Death in the Afternoon, about facing death straight on if you're a matador... Writing that every story ends the same way, with death. And not something that you'll transcend, or go to heaven, or any other fiction - but not something that's depressing, it's just fact. We have Red [John 'Red' Hamilton, Jason Clarke in the film] saying, 'when your time's up, your time's up'... and people had expressions like 'there's a bullet with your name on it'.

The spirit of this guy - for example, even when everybody's dead and gone... and he has the outrageous audacity to walk through that police station. Which didn't happen the day of the Biograph, it actually happened three days before. Well, it was just stunning, so for me to explore it and to try to bring the audience into some real intimate relationship with it, became the challenge of this work. To as much as possible to locate the audience in his shoes, in his skin, looking through his eyes. Y'know - what's he thinking? What's he thinking in the Biograph, when [in Manhattan Melodrama] Myrna Loy - who looked like Billie Frechette - says 'Bye, Blackie', and he's watching Blackie, who's played by Clark Gable - who's derived from Dillinger! So it's Dillinger watching Gable being Dillinger! And Gable seems to be thinking more about the future and how should I look at mortality than Dillinger is. And how did those words fall upon him? He doesn't know that there's 30 FBI agents outside, who are planning to kill him. So that was the real engagement.

Reportedly, Christian Bale was your first choice for Melvin Purvis, what was it about him that made you see him in the role? It says in the production notes that, in between takes, he kept up the Southern accent - is that something you encouraged, or was that his choice?

That's how Christian does it. Every actor's different. Some actors will put on that - being completely in character when they show up for work. A brilliant actor - Stephen Graham, he picked up that Chicago accent [clicks fingers] in two days. And that was just amazing, and then the second I said 'cut', he's back to, you know [Graham is from Kirkby, Merseyside], and I could barely understand him - I need subtitles! Christian, on the other hand, just dives into the deep end of this swimming pool and he's there the whole time.

The character of Melvin Purvis, if you know American culture and patterns of immigration and ethnicity - he was a member of the landed gentry. They were people who settled in the United States in the 1600s, they were from the richer southern counties of England, and they got the best land - Virginia and South Carolina. For example, the people who settled in Appalachia, where [The Last of the Mohicans protagonist] Hawkeye's ancestors would have come from, were the people from the borderlands who got kicked off the land after the union of England and Scotland. And they got what was left over, which was this brilliant piece of real estate, the only thing is, there's a bunch of hostile American Indians who said 'this is our land', so it was dangerous. So that was the tenement slum of the 18th century.

So he emerged as a very rigid young man, with very specific treasured traits, a very specific code. One of which was - in addition to chivalry, not saying no, and loyalty - was conflict resolution through violence is totally acceptable. A kind of a duelling ethic. But he breaches those codes when he drinks J. Edgar Hoover's kool aid, when he embraces the notions of expediency. Which means setting aside habeas corpus, persecuting the innocent, using torture and those kind of things.

So I had to have somebody who could embrace those original values. And Christian, clearly, was the guy for me. When he got the accent down, he would [adopting Southern drawl] talk like this, in this genteel Southern accent, and it made his three year old daughter nuts! She'd say 'daddy, stop talking like that!', and he'd say 'Well, dear, I have to play Melvin Purvis, and I will be doing so for the next...' [drowned out by laughter, laughs] And that was it! He was a dream, though, a dream to work with. He's a great guy, and a great actor.

Is there a sense that, as Dillinger is such an American folk hero, that the film can't help but glamorise him?

Who glamorised him?

Just the film itself, you can't help but sympathise with him...

The media glamorised him?

Yes, in a...

Well, the media didn't glamorise him. Contemporary news reports at the time glamorised him - there was something from the Daily News, a reporter who interviewed him at Crown Point, who wrote this big piece about how genteel he was, how charismatic, how well-spoken. How he didn't conform at all to the stereotype - or archetype that they had in their minds of the criminal class, who they thought was some slothful somebody with dark skin and a low forehead and eyebrows. That was the take. And he would basically be this middle class guy, who was charming, who would be able to make you feel he was your best friend in three minutes.

And with Dillinger, this was absolutely tactical. And when they got this great press, which they did all the time, their heads didn't get large. They planned their robberies with sobriety with great discipline, they had great operational security. And he was popular for [hitting arm of chair for emphasis] a very very good reason. There'd been forty bank failures in this recession in the United States - and the enmity towards the banks is palpable in the United States. And Chicago alone, in 1933, of 166 regional banks - meaning outside the Loop - 140 had failed. Employment wasn't 8%, it was 25%. One out of four were hungry and cold and miserable. And most people blamed the banks.

So Dillinger is stealing from the banks, and he's sharp enough to make sure that he treats female hostages well - because he knows that they're all going to be interviewed. When Saager, the car mechanic who was taken hostage [as Dillinger escaped Crown Point prison] was released, there was a MovieTone newsreel - that's where we got that scene from, it's just a verbatim copy, it's a xerox of the mechanic trying to sing out of tune on MovieTone news. So the attitude in the country, which was very wired. Everybody had only one medium - radio. And everybody listened to it, and the biggest radio commentator in America was Will Rogers, and the way Will Rogers reported what happened at Little Bohemia was like this - he was a very folksie guy - 'well, the FBI had the whole place surrounded, and Dillinger was inside, and some other guys came out, some civilian conservation corps workers, so they just shot them instead. Dillinger and his whole gang got away. They probably will get Dillinger some day, when they shoot down a bunch of innocent bystanders, and they get Dillinger by accident'. That was kind of the media take, there was a begrudging admiration and ridicule heaped on the authorities.

As a person who grew up in Chicago, what part did the story and films inspired by it have in your upbringing and childhood? And, did they influence your filmmaking at all?

Chicago, as a city, it's a very tough-minded, and ironic, and humorous kind of city. It really has a Brechtian kind of wit to it. Which it why Brecht set [The Resistable Rise of] Arturo Ui in Chicago, and movies like The Front Page and His Girl Friday all come from Chicago writers, and are all about the newspaper business in Chicago. You know, hiding a wanted criminal in a roll-top desk - that's very Chicago. I remember driving down Lincoln Avenue with my dad when I was about seven or eight or something, and he said 'oh, there's the Biograph, that's where they killed John Dillinger'. 'Well, who's John Dillinger?' It's all kind of folklore that's embedded in the brown bricks of the city. So it's my neighbourhood physically as well as culturally. My wife and I used to go to the Biograph, because it was an arthouse by the time the early '70s rolled around. So, it's plays a big part.

And, becoming a filmmaker, did watching these gangster movies as a kid, did that inspire you?

Not at all! First of all, I loved the literature of the period: Hemingway, Faulkner, F. Scott Fitzgerald, and particularly someone who's not as well read now, [John] Dos Passos and the USA Trilogy - Big Money particularly, about the Depression. And the '30s is a fascination for me photographically, because of Roosevelt and the WPA [Works Progress Administration], and Dorothea Lange's photography. And the first recordings of folk music, and prison chain-gang music, and blues - we used some of it in the film too, Blind Willie Johnson and the spiritual that's there in the beginning. And it seemed like the rest of the 20th century was given birth in the '30s, not the '20s.

The world becomes streamlined, not just in the shapes that changed from neo-classical, square stuff. But in systems, all systems, centralisation. The commercial airplane is four years old. And Hoover innovatively takes that over, sends agents everywhere - networking, triangulation, none of this stuff had happened. America was very much, outside of the big cities, was absolutely in the middle of the 19th century. If you committed in a robbery in Wisconsin, and crossed the border into Illinois, you were home free. And there was nobody with a badge or any authority to go after you. It was almost like primitive territories. The use of data collecting, and disseminating information, it was all brand new. The highways were brand new - they had been built in the 1920s, they were only four or five years old... So these guys, armed with modern weapons, being innovative, using cars, travelling the highway system, going anywhere they wanted, were just about invincible.

So, that part of it. But it's really the magic of trying to be intimate to Dillinger, trying to live in the '30s, to place the audience - as much as I'm able to do that - in 1933, rather than look at 1933, and be inside the frame of reference of Dillinger with his period psychology. And that was the real traction for me. One other thing, the movies of the '30s that I relate to aren't those movies. It's more Zero de Conduite [Jean Vigo film], and some French movies, than it is those pictures. Or if I went to those pictures, it would be to see [actor, star of original Scarface] Paul Muni do acting that's directly from Stanislavsky, not filtered through the Actors Studio, so I wasn't really a huge fan of the gangster pictures from the period.

How easy was it for you to get access to the locations you wanted in Chicago? And, how difficult was it to dress them up to fit the period?

It was very difficult. Well, there were obvious things, where you'd have a building from the 1920s, and then you'd have three others that weren't. And when we did the Biograph... they took down the authentic marquee about a year before we got there, which was a great tragedy. So we had to put that back. And then we had to change the ground level of all those buildings and put facades on all the buildings, and put cobblestones down, and put trolley tracks in the middle.

But there exists in the south-western quarter of Wisconsin a very unusual area. Wisconsin had a boom economy at the turn of the century, from around the 1860s, after the Civil war, all the way to about 1910 - it was lumbering, and iron ore. And so it was fabulously wealthy, so leading families in town, like Black Falls, Wisconsin, always went to Europe in the summer. It was like Silicon Valley in the '90s.

But when lumbering was over, the south west quarter of Wisconsin doesn't have rich agricultural land like the rest of the state did. So their economy just trickled along. Consequently, there were these fabulous towns and small cities that were built up, they were very well maintained, but they never got their Walmarts, or their Burger Kings, or their McDonalds. So the silhouette of these towns is perfect - exactly the way they would have been in the '30s. They've got this beautiful county court house, county square, and at the end of the main street, the forests and the hills begin. So we did a lot of shooting up there, and also in Oshkosh, Wisconsin. The small town, where they escape the Crown Point jail, that whole town is a town called Columbus, Wisconsin - it's gorgeous - but we still had to change the ground for it.

The film has been praised for its fidelity to the truth, but how important is that for you? And when do you decide to take dramatic licence?

I hope I don't have a slavish adherence to actuality. It's only when it's magical, or when it means something, do you go there. So the magic of being able to shoot in the real Little Bohemia, in Manitowish, Wisconsin, for example, was superb. For Johnny Depp to be in the same bed John Dillinger really was in, for him to be shocked awake by gunfire, and see the ceiling that Dillinger saw, and to look out the window to see where this attack was coming from, was phenomenal. Same too with the Crown Point jail, it had been abandoned in '74, was falling in on itself.

There's some stuff on the Internet now, that has some footage of what that looked like when we first went there. We restored it, because you couldn't invent a place that was like that. He didn't take six or seven people hostage, he took seventeen guards hostage with that little wooden gun he'd carved. It wouldn't have been credible if we'd put that in the movie, so we had to tune it down. The Biograph, for him to die on the same piece of real estate that the real Dillinger did. I'm most interested in how you think and how you feel if you're an actor. So if it's those things that provoke that belief, or the suspension of disbelief in the moment for the actor. And so too with the text.

The periodicity of the courtroom, just to take a lighter scene, the feeling of zeal in Purvis. I think that audiences are quite brilliant perceptually, we're smarter than we even know. And we spot things that are wrong, we feel wrongly about them, and sometimes the intellectual conclusion doesn't even land. We perceive the patterns, and things in the far distance, we recognise truth-telling style in the visual, even though we don't know it.

Where licence comes in, like I said, he didn't go into the Detective Bureau the day of the Biograph, he went into it three days ahead. Baby Face Nelson didn't die at Little Bohemia, he died exactly that way, with exactly those people in exactly the same shootout, but it happened about a month later I believe. Or I might conflate characters, Makley is really two characters who did the same job, Charles Makley and Russell Clarke. The key thing for me is authenticity - how they thought, why they thought the way they did. And with that, we do a lot of work with period psychology. How to come onto a woman. How did Dillinger know how to come onto a woman? We imagine he went to movies to try and find out.

Part 1: Marion Cotillard

Part 2: Johnny Depp

Part 3: Michael Mann

Public Enemies review

HOME

The Predators have a leader

Robert Rodriguez is producing the new Predators sequel/reboot. News was he had seven directors in mind including Neil Marshall (Doomsday, Dog Soldiers, Descent), but most recently we had the news that Nimród Antal was the favourite for the job.

Turns out that the favourite is the winner. Rodriguez spoke to AICN and confirmed that Antal will be directing Predators. This is what Rodriguez had to say about him.

First of all, on a personal level I found him to be an outstanding presence, a great communicator full of ideas, and upon meeting him you can immediately understand how he is able to wrangle cast and crew and get the best out of everyone. I always loved Kontroll, where he proved himself to be a very resourceful and original filmmaker. When I saw Armored, I could tell he's also great with action and has a keen eye for casting. He reminded me of Quentin with how he was able to work with a group of very strong, singular actor talents and make it look effortless. I know he'll be able to get the most out of what we want to be an outstanding cast. We really want to go with a character driven action movie, because that's what we all remember about the original Predator, and we want to take it even further with this.

He also gave us an idea as to what we can expect to see in the film.

I can't go too much into the story right now, because we're still writing. But it still involves a very intense group of people stranded on a Predator planet discovering unspeakable horrors (that are not always from outside their group). So like the original movie, the title does have a double meaning.

Aliens was a different take on the Alien idea, and an original movie in it's own right, and that's what we want to do with this.

As to how this movie will be viewed, one of the guys at Fox told me "No one is ever going to talk about AVP again after this film, I will stake my life on it."

And he's a really nice guy, so I don't want to see him dead. Now that lives are at stake, it's no longer a job it's a mission.

Failure is not an option.

HOME

Has B.A. Baracus got Game?

Who will be brave enough to don Mr. T's chains? Blackfilm has learned that rapper The Game is being considered for the role of B.A Baracus.

Recent word was that Common was going to take on the part, but with his recent casting opposite Queen Latifah in Just Right, he may not finish filming before 'The A-Team begins filming in August.

Common and The Game appeared in Street Kings last year.

The A-Team will be directed by Joe Carnahan (Smokin' Aces)

Liam Neeson was in negotiations to star as Hannibal Smith, while Bradley Cooper, after repeated denials, told MTV News that he will be playing the role of Templeton Peck.

I've not seen The Game acting in anything other than a music video so I can't really comment on how good a choice he would be. To be honest I would rather they went with a great actor as opposed to going the rap star route. Strange that there is still no word on who will be playing Murdoch. Who would you like to see as B.A.?

It is due for release on 11th June 2010.

HOME

Planet 51- Trailer

American astronaut Captain Charles "Chuck" Baker, lands on Planet 51 thinking he's the first person to step foot on it. To his surprise, he finds that this planet is inhabited by little green people who are happily living in a white picket fence world reminiscent of a cheerfully innocent 1950s America, and whose only fear is that it will be overrun by alien invaders--like Chuck! With the help of his robot companion "Rover" and his new friend Lem, Chuck must navigate his way through the dazzling, but bewildering, landscape of Planet 51 in order to escape becoming a permanent part of the Planet 51 Alien Invaders Space Museum.

Director: Jorge Blanco

Starring Dwayne Johnson, Jessica Biel, Justin Long

Released on 24th July 2009

HOME

Deadgirl - Bootleg trailer

Marcel Sarmiento and Gadi Harel's film scripted by Trent Haaga is a horror/thriller about two teenagers who make a shocking discovery that not only threatens their friendship but also their lives. In a forgotten room of an abandoned asylum, they find a beautiful woman tied to a bed, and soon come to realize she is anything but dead.

This is a bootleg copy of the trailer via Bloody Disgusting so watch it quick before it gets pulled.

HOME