the most anticipated...

[Milosh]

Toni i Denzel se ponovo igraju s vozićima...

Unstoppable (2010) Official Full Trailer [REAL][FULL HQ]

[crippled_avenger]

The Oscar-nominated Spanish director is in development on the project with 28 Weeks Later producer Enrique Lopez Lavigne.

The $6.5m (€5m) project will be written and directed by Vigalondo and will be shot in Spain in both English and Spanish with a leading cast.

Lavigne will produce Windows alongside his associate Belen Atienza, and another major company is expected to board the project soon. Further details will be revealed at AFM later this year, but Lavigne told Screen it would be "a thriller in the mould of District 9, reasonably low budget but with impressive effects and the potential to make a huge impact."

Lavigne's other projects in the pipeline include The Orphanage director Juan Antonio Bayona's English-language Tsunami drama The Impossible, starring Ewan McGregor and Naomi Watts, which is set to begin shooting later this month; Juan Carlos Fresnadillo thriller Intruders, starring Clive Owen and Daniel Bruhl, which is currently shooting in Spain; and Eduardo Chapero Jackson's hotly anticipated debut feature Verbo, a dark fantasy film currently in post.

Vigalondo's previous film Timecrimes about a man who travels back in time was a huge hit in Spain and is being remade in the US with United Artists. Vigalondo is also currently shooting a small budget (less than €1m) Spanish-language alien invasion film titled Extraterrestre, starring Michelle Jenner.

[crippled_avenger]

CBS Films has acquired US rights from Millennium Films to The Mechanic starring Jason Statham and directed Simon West.

The company is eyeing a spring 2011 release date on the remake of the 1972 Charles Bronson thriller.

Statham, who stars in Millennium Films' The Expendables that opens via Lionsgate this week, plays a hitman who teaches the dark arts to an apprentice with a connection to one of his victims. Ben Foster and Donald Sutherland also star.

Irwin Winkler, Robert Chartoff, David Winkler and William Chartoff produced and Richard Wenk and Lewis John Carlino wrote the screenplay.

"We look forward to working with the CBS Films team on releasing this movie," Winkler and Chartoff, who also produced the original film, said. "CBS Films possesses a refreshing, constructive energy and we are excited with their game plan to bring this exhilarating film to audiences." 

"We are very proud of The Mechanic and could not be more pleased to be working with CBS Films on this release," Millennium Films' Avi Lerner said.

CBS Films president and CEO Amy Baer called The Mechanic a "strong, intelligent action thriller."

[crippled_avenger]

Dir/scr: Stuart Beattie. Aust. 2010. 103 mins

This is a major surprise — a defiantly Australian teen action movie with all the commercial punch and power of a Hollywood blockbuster. Top Aussie-born screenwriter Stuart Beattie (Pirates Of The Caribbean, Collateral, 3:10 To Yuma) not only supplies the careering script, he also debuts here as director, flexing some impressive muscles.

Adapted from the hugely successful 1993 'young adult' novel by John Marsden that began a seven-book series sold throughout the world, Tomorrow is a movie franchise waiting to happen. If the Australian box office is strong when it opens September 2 — and the buzz is big — expect wide international distribution, especially in the States and Europe, plus talk of a sequel.

    This is breathless action and great stunt work not seen in Australian movies since Mad Max

Beattie's young cast of eight principals are impressive in roles that require significant development before and after critical plot device of the series — the overwhelming sea-and-air invasion of the entire country by a carefully non-specific Asian army while the friends are spending the Australia Day long-weekend holiday in the bush. "Pass the Vegemite", says one before massed warplanes fill the moonlit sky above. Returning to their township, they discover death and mayhem. Their families have been herded viciously into an improvised internment camp. "We have to start acting like soldiers," demands Ellie (Cailin Stasey), the emerging leader of these teen guerrillas; and, sure enough, they start killing an unending supply of the shadowy enemy.

Aimed squarely at a teen-to-early-20s multiplex audience, the adventure will entertain family groups who must accept a modicum of graphic violence and the occasional reminder that some of these 16/17-year-olds are sexually active. Beattie gets maximum fire power from an around-$A30m budget - big by local standards. Warplanes destroy buildings; a bridge collapses spectacularly; multiple cars, racers, industrial trucks and petrol tankers speed, fly through the air, crash and massively explode at every opportunity. This is breathless action and great stunt work not seen in Australian movies since Mad Max and the 70s genre flicks celebrated in the 2008 documentary Not Quite Hollywood.

Where the multitude of well-equipped Asian storm troopers come from is unexplained beyond a radio broadcast that quotes a 'Colonel' saying their aim is to level the wealth of 'The Region' — the crux of Australians' fear of 'The Yellow Peril' ever since Chinese joined the 1850s Gold Rush. Perhaps to balance this, and to ease the way into Asian markets, one of the key gang members is Lee (Christopher Pang), son of the town's Thai restauranteurs, and he does get Ellie in the end.

Camerawork (Ben Nott) and editing (Marcus D'Arcy) are first rate; the soundtrack rumbles with massive explosions and stirring genre music (Johnny Klimek and Reinhold Heil); there are some excellent modelling and special effects. Beattie the established writer supplies many thrills. Beattie the tyro director will definitely be back — so, perhaps, will another Tomorrow.

Production companies: Ambience Entertainment, Omnilab Media, Paramount Pictures

Aust/NZ sales: Paramount

International sales: TBA

Producers:Michael Broughen, Andrew Mason

Executive producers: Christopher Mapp, Matthew Street, David Whealy

Based on the novel Tomorrow, When the War Began by John Marsden

Cinematography:Ben Nott

Editor:Marcus D'Arcy

Production designer: Robert Webb

Music:Johnny Klimek, Reinhold Heil

Website: www.twtwb.com

Main cast: Caitlin Stasey, Rachel Hurd-Wood, Christopher Pang, Andrew Ryan, Deniz Akdeniz, Ashleigh Cummings, Phoebe Tonkin, Lincoln Lewis

[crippled_avenger]

Man On A Ledge

Scribes Erich and Jon Hoeber ("RED," "Whiteout," "Battleship") are in negotiations to rewrite the script for Summit Entertainment's cop thriller "Man On A Ledge" reports Heat Vision.

Asger Leth ("Ghosts of Cité Soleil") entered negotiations to direct the project the other week. Sam Worthington is committed to star while Lorenzo di Bonaventura will produce.

Untitled Aline Brosh McKenna Script

Aline Brosh McKenna ("The Devil Wears Prada") has been hired to pen an untitled romantic dramedy for "Star Trek" and "Transformers" scribes turned producers Alex Kurtzman and Roberto Orci and their Dreamworks-based production company reports Variety.

McKenna's original script deals with the on-off love affairs and friendships among a close circle of friends over two decades.

Untitled Josh Zetumer Script

Warner Bros. Pictures has scored an original and untitled script from Josh Zetumer, the rising scribe who recently worked on a fourth "Bourne" and the "Dune" reboot script reports Heat Vision.

The story is only being described as 'star-driven with a genre component' but not sci-fi. "Zombieland" director Ruben Fleischer is slated to executive produce while Guymon Casady and Darin Friedman will produce.

[crippled_avenger]

Peyton Reed ("Yes Man," "Bring it On") has been linked as director of the upcoming comedy "Ricky Stanicky" for Summit Entertainment reports Pajiba.

The story follows three male friends who use an invented friend named Ricky Stanicky over the past two decades as an excuse to explain their way out of sticky situations.

When their spouses finally demand to meet Stanicky, they hire an actor (James Franco) to portray him.

Jeff Bushell ("Beverly Hills Chihuahua") penned the script. Michael de Luca and John Jacobs will produce.

[crippled_avenger]

Cillian Murphy ("Inception," "Batman Begins") has joined the cast of Andrew Niccol's latest sci-fi feature "I'm.mortal" for 20th Century Fox, New Regency and Strike Entertainment says Heat Vision.

The story is set in a society where people engineered to stop ageing at 25-years-old and time has become the currency of the realm. The wealthy are practically immortal while the majority of the populous struggles to bank what extra time they can.

Justin Timberlake plays a ghetto rebel wrongly accused of murder who is forced to go into hiding with a beautiful and rich hostage (Amanda Seyfried). They soon begin a steamy romance.

Murphy will play a 'Timekeepers' officer described as "precise as the time he keeps." Niccol ("Gattaca," "S1m0ne") directs from a script he wrote and shooting begins in September. Eric Newman and Marc Abraham will produce.

[crippled_avenger]

 Friday August 6th 2010 10:10AM
Tony Scott Up For "Associate", "Hannibal"?

Action director Tony Scott ("The Taking of Pelham 123," "Deja Vu") is tossing up between several projects to do next now that his upcoming thriller "Unstoppable" is almost wrapped.

First on the list is an adaptation of the most recent John Grisham novel thriller "The Associate" reports The L.A. Times.

William Monahan wrote the script, Shia LaBeouf is starring and Lorenzo Di Bonaventura is producing for Paramount Pictures. Scott himself is said to be "a step away" from signing onboard.

Also on the list is Vin Diesel's long-gestating Hannibal the Conqueror biopic as Vin Diesel revealed on his Facebook page that he's had at least one meeting with Scott about the project and hinted at getting Denzel Washington to play Hannibal's father Hamilcar.

Scott has more recently been linked with "Potzdamer Platz", and the Fox 2000 drama "Hell's Angels". 'Platz' follows two soldiers in a New Jersey-based crime family who try to expand internationally, and Mickey Rourke is officially attached.

'Angels', about a young cop going undercover in a bike club, would use a Scott Frank script. Rourke and La Beouf are Scott's choices to play the two lead roles.

Scott is expected to make a decision about his next project in coming weeks and filming would likely kick off early next year.

[crippled_avenger]

Early last year came the announcement that Miramax, Focus Features International, EuropaCorp and Spielberg's frequent producing partner Kathleen Kennedy were all set to collaborate on a new English language adaptation of American novelist Harlan Coben's "Tell No One".

Over 12 months on and Miramax has of course dropped out of the project and development on the film continues at a snail's pace and The Los Angeles Times reports today that Aussie filmmaker Andrew Dominik ("Chopper," "The Assassination of Jesse James") has been writing a draft of the script.

Coben's story follows a doctor grieving for his dead wife who then discovers she may still be alive. As he tries to find her, other forces seem to be on the trail as well. The novel is Coben's highest selling title and an international bestseller.

Guillaume Canet directed a French-language film adaptation of the property which was first released in 2006 in France. Two years later the film opened in the US and various international territories and went on to score both critical acclaim and a solid $6 million box-office - making it the highest earning foreign language film of that year.

Since this remake/new adaptation was announced, there has come the inevitable complaints of Hollywood yet again remaking foreign-language films based on bestsellers like their upcoming new adaptations of Swedish hits "Let the Right One In" and "The Girl With the Dragon Tattoo" series.

Indeed, the paper also reports that numerous factors have put a slowdown on the project, including Focus which has been heavily scrutinizing its development slate.

[Tex Murphy]

Njam njam, novi Niccol!

[crippled_avenger]

Based solely on its trailers and the overall coolness of the picture's cast (a habit which often doesn't pay off so well these days), I'm holding a bit of hope for RED (trailer HERE).

And if that film comes together as well as it seems it might? Could be very good and interesting news for a genre project that's currently barreling down the pipeline: R.I.P.D., which is (ewvidently) still set to star Ryan Reynolds.

Seems RED director Robert Schwentke is in talks to replace outgoing director McG on the project- seems Joseph is leaving to concentrate on a rom com called THIS MEANS WAR.

    Schwentke had been in contention with McG for the "R.I.P.D." job. But with the "Terminator Salvation" filmmaker out of the running, Schwentke is back in the "R.I.P.D." mix, sources say. That "Red" is starting to generate some strong buzz hasn't hurt the filmmaker's stock either.

    Universal wants to shoot "R.I.P.D.," a crime movie about dead cops patrolling the underworld, next summer, when Reynolds has an open slot in his schedule. But it wants a director to begin work pretty much right away on the effects- and design-heavy picture, heightening the urgency of the quest.

...says the LA Times HERE.

R.I.P.D., about a dude who comes back from the dead to avenge his own murder, is being adapted from the Peter M. Lenkov written Dark Horse comic property (among his many credits, Lenkov wrote DEMOLITION MAN, produced 24, CSI: NY, and the upcoming HAWAII FIVE-O reset). R.I.P.D. is available HERE.

[Mark]

Black Books star Bill Bailey wants to play a dwarf in The Hobbit.

Bailey, who is bringing his comedy show Bill Bailey Live to Wellington in June, told The Dominion Post he had auditioned for the part of Gloin the dwarf in The Lord of the Rings prequel.

"I went along for a read-through of The Hobbit. The first read-through was for Gloin," he said from London.

Bailey, who can be seen in television series Skins and the movie Nanny McPhee and the Big Bang, joked that he didn't need any makeup to be a convincing dwarf. "I saved myself a few quid over here."

Gloin is the father of Gimli the dwarf, who was played by Welsh actor John Rhys-Davies in Sir Peter Jackson's The Lord of the Rings. In The Hobbit Gloin is one of 13 dwarfs who persuade Bilbo Baggins the hobbit to accompany them to reclaim treasure held by Smaug the dragon.

The comedian, who performs in Wellington on June 24, was still waiting to hear back from the two-part film's director, Guillermo del Toro. "I think The Hobbit is going to be filmed around the time I'm there. But I don't know – you never know with these things. I'll certainly be around."

Coincidentally, six days after Bailey, Sir Ian McKellen – who has said he will reprise his role of Gandalf the wizard in The Hobbit – will be in Wellington to perform in Waiting for Godot.

Former Boyzone singer Ronan Keating said last month that he also auditioned for a part in The Hobbit and it is understood many actors from around the world have auditioned. Neither del Toro or Sir Peter have confirmed or officially announced any of The Hobbit cast, or when shooting will begin.

Andy Serkis, who has said he will reprise his role as Gollum, said this week that he believed shooting would not begin until late this year.

The Dominion Post understands this is partly because of the sale of MGM, one of The Hobbit backers, and a decision on whether to film it in 3-D.

A spokesman for Sir Peter said pre-production on the film was continuing in Wellington, but they had no other announcement to make at this stage.

[crippled_avenger]

Josh Brolin is rumoured to be playing the male lead in Jason Reitman's next film "Young Adult" reports Showbiz 411.

Diablo Cody ("Juno") penned the script about a divorced writer (Charlize Theron) who returns to her hometown to try to reconnect with her old flame (Brolin) who is now married with children.

Meanwhile in slightly more confirmed matters, rising British actor Tom Sturridge ("Pirate Radio") has joined the cast of Walter Salles' adaptation of Jack Kerouac's novel "On The Road" reports Gossip Cop

The actor joins an impressive cast already assembled for the Beat Generation road trip story, names that include Sam Riley, Garrett Hedlund, Kirsten Dunst, Kristen Stewart, Viggo Mortensen and Amy Adams.

Shooting is currently underway in Montreal and will move to both New Mexico and later New Orleans.

[crippled_avenger]

Veteran director Barry Levinson ("You Don't Know Jack," "Wag the Dog") is apparently going to direct the indie sci-fi thriller "Isopod" reports  Production Weekly.

Story details on the project are unknown, but shooting kicks off next month in the Carolinas.

At last report Levinson was attached to direct a biopic on activist Jack Healey and an adaptation of Anatoly Kuznetsov's novel "Babi Yar."

[crippled_avenger]

Newcomer Eve Hewson ("The 27 Club") will star opposite Sean Penn in the indie "This Must Be the Place" for Indigo Film, Lucky Red, Element Film and ARP Selection reports Variety.

Penn plays an ageing rock star who is in pursuit of the Nazi criminal who tormented his father in a concentration camp.

Hewson will play a gothic-punk music fan who is a close friend of Penn's character. Frances McDormand also stars.

Paolo Sorrentino directs from a script he co-wrote with Umberto Contarello. Nicola Giuliano and Andrea Occhipinti are producing

Shooting begins in Ireland and the U.S. later this month.

[crippled_avenger]

Jeffrey Dean Morgan ("Watchmen," "P.S. I Love You") has signed on for the lead role in the action thriller "The Courier" according to Deadline.

Morgan plays a renegade courier who takes on near-impossible assignments but has always succeeded. His latest job is delivering a briefcase to a mysterious crime lord whom no-one can find.

He soon finds cops, FBI agents and rival underworld bosses are in pursuit of both him and the difficult-to-find recipient. Adrien Brody was previously linked to the project a few years back.

Hany Abu-Assad ("Paradise Now") directs from a script by Derek Haas and Michael Brandt ("Wanted"). Shooting kicks off next month in New Orleans.

[crippled_avenger]

Film Reviews
Takers -- Film Review
Stephen Farber, August 16, 2010 02:59 ET
By now there have been so many classic heist movies that it's hard to imagine a fresh variation on the theme, but the genre never quite loses its appeal to filmmakers or audiences. Although "Takers" pales alongside "Rififi"or "The Killing," it's a serviceable B-movie that will do decent business during the dog days of August.

A gang of five high-living bank robbers (Paul Walker, Idris Elba, Hayden Christensen, Michael Ealy and singer Chris Brown) has managed to pull off several lucrative jobs through meticulous planning. But when a former colleague gets out of jail and suggests an armored-car robbery that might be their biggest score, the robbers throw caution to the winds.

You know they are heading for trouble this time, partly because of tensions among the thieves and partly because a pair of cops (Matt Dillon and Jay Hernandez) are hot on their trail. In addition, they have to contend with Russian mobsters -- the villains du jour on TV and at the movies -- who want to get in on the action.

The basic arc of the story is formulaic, but the writers -- Peter Allen, Gabriel Casseus, director John Luessenhop and Avery Duff -- provide enough clever twists and character details to keep the vehicle humming along efficiently.

The cast also helps to enliven the material. Dillon captures the world-weary cynicism of a dogged, sometimes brutal cop who often is in trouble with his superiors. Hernandez is likable as his more laid-back partner, who is harboring a few dark secrets of his own.

Among the crooks, the British-born Elba conveys the right gravitas as leader of the pack, and hip-hop performer Tip "T.I." Harris is convincingly slimy and explosive as the ex-con who threatens the gang's cohesiveness.

Oscar nominee Marianne Jean-Baptiste has a small but juicy role as Elba's drug-addicted sister, who seems sure to cause additional trouble for the band of thieves.

Aside from Jean-Baptiste, there are virtually no women in this caper. It's strictly a testosterone-drenched adventure, which would be fine if the director didn't suffer from the latest affliction in action movies, a form of cinematic ADD. Luessenhop's camera is never at rest, and his frenetic editing style often detracts from the tension.

There's a foot chase through downtown Los Angeles that might have been a classic sequence except that it's been chopped up ferociously, as if it had been spliced by a Benihana chef gone berserk.

In a movie like "The French Connection," the chase sequences had visual clarity as well as nail-biting suspense. In "Takers," the director never firmly establishes the locations, and the herky-jerky editing further muddies the action.

Nevertheless, the stunt work is amazing, and the pace is breathless enough to keep one watching right up to the somewhat ambiguous conclusion. Michael Barrett's cinematography is suitably slick, and Paul Haslinger's music gets a tad pretentious. Luckily, the actors always help to humanize the mayhem.

Opens: Friday, Aug. 27 (Screen Gems)
Cast: Matt Dillon, Paul Walker, Idris Elba, Jay Hernandez, Hayden Christensen, Tip "T.I." Harris, Michael Ealy, Chris Brown, Marianne Jean-Baptiste
Director: John Luessenhop
Screenwriters: Peter Allen, Gabriel Casseus, John Luessenhop, Avery Duff
Producers: Will Packer, Tip "T.I." Harris, Jason Geter
Executive producers: Glenn S. Gainor, Gabriel Casseus, Chris Brown, Morris Chestnut
Director of photography: Michael Barrett
Production designer: Jon Gary Steele
Music: Paul Haslinger
Costume designer: Maya Lieberman
Editor: Armen Minasian
Rated PG-13, 107 minutes

[Kunac]

I da.

De Palma radi italo ("Toyer")

To se nece propustiti. But then again, kog de palmu ja propustim?

Posle 7 godina limba ponovo su krenule priče da će de Palma raditi triler Toyer. Snimaće se u Italiji, u Veneciji, što će, imajući u vidu temu (serijski ubica) i poznate prefence režisera doprineti giallo vajbu.

[crippled_avenger]

Dirs: Josh Gordon, Will Speck. US. 2010. 101mins

There is a refreshing amount of feel-good charm to The Switch, a delightfully performed rom-com featuring spot-on performances by leads Jason Bateman and Jennifer Aniston that should nicely fill a late-summer gap for offbeat comedy fare that isn't driven by special effects or 3D. Certainly it is the best Aniston vehicle for some time, and proves she can carry a film given a good script and a strong support cast.

    Jennifer Aniston is at her best in a part that is as close to her role of Rachel in Friends than she has taken on before.

That good-old artificial insemination/ticking biological clock storyline is dusted off and given some modest twists by screenwriter Alan Loeb, and with the smart laughs and tender performances delivered with ease by pros like Aniston, Bateman, Jeff Goldblum and Juliette Lewis, this Disney release of a Miramax film (handled by Lionsgate in the UK) should attract reliable box office, with a strong home entertainment life a certainty.

There is an easy charm between Jason Bateman and Jennifer Aniston, playing best pals Wally and Kassie. As expected with such rom-coms, Wall Street worker Wally (never clear what he actually does) has long been in love with Kassie, but never had the confidence or gumption to tell her how he feels. He is provoked into some sort of action when Kassie announces she wants to have a child and is on the hunt for a sperm donor.

When her friend Debbie (Juliette Lewis in suitably exuberant form) throws Kassie an 'insemination party' , Wally arrives and promptly gets drunk after meeting her chosen donor, the seemingly perfect Roland (Patrick Wilson) who is there with his also perfect wife. After locking himself in the toilet, Wally accidentally washes Roland's sperm down the toilet...leaving himself no option (in the world of movies at least) to re-fill the sperm container with his own offering.

He drunkenly admits what he has done to his best pal (Jeff Golbdlum, in sparkling form), but the next day apparently the booze has finally taken its toll and he says he can remember nothing of the party or his actions. Kassie promptly decides to leave New York to raise her child in the countryside. She returns seven years later with an engagingly neurotic son Sebastian who just happens to be the spitting image of Wally.

Bells finally start to ring with Wally the more time he spends with young Sebastian, but just as he is ready to declare his feelings for Kassie the spectre of a now-single Roland arrives on the scene, leading Wally to have to face up to his actions and pluck up courage to finally declare his love to Kassie.

In truth the story offers little in the way of super-clever plot twists or unique dialogue, but it does offer the perfect platform for two comfortable performers to do their best work. Certainly Bateman is at ease and very funny playing the witty and anxious hypochondriac while Jennifer Aniston is at her best in a part that is as close to her role of Rachel in Friends than she has taken on before. She delivers her lines with confident comedy ease, and certainly gives her best performance in a mainstream comedy film for some years.

[Milosh]

127 Hours Trailer

[Ygg]

Uf. Trejler izgleda opako dobro!

[Milosh]

Novi film Denija Bojla, naravno da izgleda opako dobro!

[crippled_avenger]

Jonathan Liebesman ("Battle: Los Angeles") has signed on direct the sequel to "Clash of the Titans" for Warner Bros. Pictures reports Heat Vision.

Liebesman emerged as a candidate back in June to replace the outgoing Louis Leterrier. but money and the negative perception of the first film dragged negotiations out.

Greg Berlanti ("Green Lantern"), Dan Mazeau ("The Flash") and David Leslie Johnson ("Red Riding Hood") have been hired to pen the script for the film which will be shot natively in in 3D. At last report the studio was targeting a start of filming in January.

Sam Worthington and Gemma Arterton are expected to return.

[crippled_avenger]

Darren Aronofsky has emerged as a contender to direct "X-Men Origins: Wolverine 2" for 20th Century Fox according to Deadline New York.

At last report David Slade ("The Twilight Saga: Eclipse") and Robert Schwentke ("RED") were in the running for the job, but now Schwentke has dropped out and Aronofsky has stepped in.

Slade is still considered the favourite to direct, but Hugh Jackman has a major influence on the decision and worked with Aronofsky on "The Fountain" several years ago.

[crippled_avenger]

Brad Pitt has been offered a role while Scott Cooper ("Crazy Heart") is being considered to direct "Brownsville Girl", a film based on the eleven-minute Bob Dylan song for Winkler Films reports Pajiba.

The story follows a man who leads a life of theft and murder over two decades in an effort to hold on to the woman he loves. Jay Cocks ("The Age Of Innocence," "Gangs Of New York") apparently penned the script at the behest of Dylan himself.

Pitt and Cooper were linked to "The Hatfields And The McCoys" earlier this year, Cooper is also considering the family drama "Lie Down in Darkness".

[stale]

Cillian Murphy ("Inception," "Batman Begins") has joined the cast of Andrew Niccol's latest sci-fi feature "I'm.mortal" for 20th Century Fox, New Regency and Strike Entertainment says Heat Vision.

The story is set in a society where people engineered to stop ageing at 25-years-old and time has become the currency of the realm. The wealthy are practically immortal while the majority of the populous struggles to bank what extra time they can.

Justin Timberlake plays a ghetto rebel wrongly accused of murder who is forced to go into hiding with a beautiful and rich hostage (Amanda Seyfried). They soon begin a steamy romance.

Murphy will play a 'Timekeepers' officer described as "precise as the time he keeps." Niccol ("Gattaca," "S1m0ne") directs from a script he wrote and shooting begins in September. Eric Newman and Marc Abraham will produce.

Ovaj zaplet me pomalo podseca ne jednu epizodu neke SF serije koju sam gledao pre dosta godina (moguce da je u pitanju The Ray Bradbury Theater).
Ne secam se bas najbolje price, al uglavnom u buducnosti se sve placa vremenom. Ljudi, cini mi se imaju neku malu napravu koja pokazuje koliko im je vremena ostalo. Glavani junak je valjda neki kockar...
Secam se da je prva scena bila porodjaj gde detetu odmah po rodjenju ugradjuju vajlda nekakav cip...
Da li se neko seca mozda koja je serija/epizoda u pitanju?

[crippled_avenger]

Dir: Darren Aronofsky. US. 2010. 110 mins

Already back on track after Venice Golden Lion winner The Wrestler, Darren Aronofsky soars to new heights with Black Swan, an enthralling drama set in the competitive world of ballet. Alternately disturbing and exhilarating, this dark study of a mentally fragile performer derailed by her obsession with perfection is one of the most exciting films to come out of the Hollywood system this year. Indeed it's the perfect film to open the autumn season with its gala at Venice tonight, a bold display of cinematic fireworks that will leave audiences breathless.

    It's a mesmerising psychological ride that builds to a gloriously theatrical tragic finale

Black Swan will be warmly received in Venice, Toronto and beyond and it should pirouette all the way to the Oscars next Feb. If the film is ultimately too unsettling to snag main prizes, it has at least one nomination in the bag for lead actress Natalie Portman who gives one of "those" performances, transforming herself after ten months of training into an accomplished ballerina, almost uncomfortable to watch as she consumes her difficult role.

Festival buzz and word of mouth will be incandescent in advance of the US opening on Dec 1 and box office response should be suitably strong in arthouse bookings. Courtesy of backer and distributor Fox Searchlight Pictures, whose specialty is crossing upscale films over into the mainstream, it could certainly build into a sizable hit as the awards season progresses. International prospects are just as bright.

If you can imagine The Turning Point run through with the psychological disturbia of Repulsion or Rosemary's Baby, you get the gist of Black Swan.

Portman plays Nina, a dancer in a top New York company run by Machiavellian artistic director Thomas Leroy (Cassel). As Leroy cruelly phases out his aging prima ballerina Beth Macintyre (Ryder), he announces that he will put on a new production of Swan Lake to open the next season and will select one of the younger dancers to dance the difficult dual roles of both White Swan and Black.

Nina is what is known as a "bunhead", a goody-two-shoes dedicated to dance at the cost of everything else in life. She is coaxed and nurtured in her obsession by her former dancer mother (Hershey) who drives her to extremes of devotion, while sheltering her from exposure to real life and interaction with other people.

While Leroy thinks Nina can dance the White Swan, he doesn't believe she has the sensuality or sexual experience to bring the Black Swan to life. But when she comes to solicit him for the part and bites his lip when he tries to kiss her, he casts her, believing that she has the potential to explore her dark side.

Helping her indulge her inner Black Swan is the arrival in the company of Lily (Kunis), a sexually confident, laid back Californian with a penchant for booze and drugs. As the pressure from herself and Leroy mounts, she becomes convinced that Lily is trying to steal the starring role for herself. With the opening performance imminent, Nina descends into a state of paranoia, lust, rebellion and violence where fantasy and reality are almost entirely blurred. She becomes a danger to herself and all around her.

Portman is captivating as Nina and not just because of her dancing prowess or her lean, emaciated ballerina's frame. Like Catherine Deneuve in Repulsion or Mia Farrow in Rosemary's Baby, she captures the confusion of a repressed young woman thrown into a world of danger and temptation with frightening veracity.

There is juicy support from Cassel, all arrogance and sexual dominance as Leroy; Kunis, effortlessly charismatic as the apparently friendly Lily, and, best of all, Hershey, who is wonderfully menacing - the unhinged Ruth Gordon of the piece - as the desperate, jealous mother.

Aronofsky and his faithful DP Matthew Libatique work wonders with the dance sequences, bringing them to life through ingenious and diverse camera movements, while keeping Nina's off-stage life grainy, hand-held and claustrophobic. They constantly unnerve us by following Nina from behind or showing glimpses of what might or might not be her double. It's a mesmerising psychological ride that builds to a gloriously theatrical tragic finale as Nina attempts to deliver the perfect performance.

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Dirs: Robert Rodriguez & Ethan Maniquis. US. 2010. 104mins

Machete is a lurid and ludicrous piece of B-movie exploitation action-adventure, packed with death, mayhem, scantily clad women, disposable villains and snarling hero who makes Stallone seem like a bit of a wimp. Its self-knowing drive-in sensibility will help it find a culty late-night audience while young Hispanic audiences will find much to cheer about, though it is unlikely to have the crossover appeal to fill the post Expendables action gap.

    Sleazy and off-kilter while also attracting a strong cast who are game enough to go along with sheer over-the-top nature of the story.

Robert Rodriguez (on-board here as co-director, co-producer, co-writer and co-editor as well as providing music via his band Chingon) has a fine old time trying to keep things gritty, sleazy and off-kilter while also attracting a strong cast who are game enough to go along with sheer over-the-top nature of the story, He succeeds for much of the time, though often the overly layered story lags as you wait for the next gory action sequence.

As is well known, the origin of Machete came when Rodriguez submitted a fake trailer to form part of the film Grindhouse in 2007, creating such a fan buzz that it gathered a momentum all of its own.

But the film would not really exist if it were not for the glowering, lived-in, face of Danny Trejo, a distinctive regular in other of Rodriguez's films (such as Desperado and Spy Kids) who is given his first leading role here. His Machete may not say very much, but as a tough-as-nails anti-hero he is a brutal and powerful presence.

The film opens with Machete, a Mexican Federale intent on rescuing a kidnapped woman, captured by evil drug dealer Torrez (Steven Seagal, sporting the oddest of hair styles) and seeing his wife beheaded in front of him.

Three years later Machete is wandering the streets on the US side of the border, trying to find some work. He is recruited by the mysterious Booth (Jeff Fahey) to assassinate the local anti-immigration senator (Robert De Niro), but after handing over his payment to a group trying to help immigrants is framed for the attempted assassination in finds himself on the run.

He find help and solace in the forms of Luz (Michelle Rodriguez), who runs a taco van but also leads a revolutionary group) and Sartana (Jessica Alba) an immigrations officer torn between policing the law and doing what is right. Women just can't resist our Machete... he also shares a little quality naked time with April (Lindsay Lohan), the wild-girl daughter of Booth.

The film spirals from one action-scene to the next, culminating in Machete leading an army of Mexicans (ranging from gang-bangers to gardeners and chefs) into battle with a vigilante army led by Von (Don Johnson), who happens to be associated to Torrez, Booth and the Senator.

Danny Trejo sensibly plays the whole thing dead straight. Never smiling, Machete is a one-man killing machine (at one point disemboweling on bad guy so he can use his intestine as a rope to swing from one floor to the next), though will still deliver more than a few pithy one-liners. When asked why he hasn't been in touch, he snarls: "Machete don't text".

Michelle Rodriguez is smart, lithe and intelligently sexy as the woman who secretly runs a revolutionary army (plus can handle guns while wearing the snuggest of clothes) while Jessica Alba is nicely feisty as the law enforcement officer who is drawn to the other side. She looks a little  too slight in amongst the on-screen bruisers, but her character gets more interesting as the story develops.

Robert De Niro has a fine old time as a rabble-rousing anti-immigration senator, while Cheech Marin has a splendid cameo as Machete's brother, now a priest but still happy to wield shotguns if the need arises. And it does. Steven Seagal and Don Johnson are old-fashioned caricature villains, only really there to boos and hiss as Machete goes about slicing and dicing his way through the roster of bland villains' minions.

For part of the film Rodriguez tries to replicate the scratched and juddery nature of badly made exploitations films (the subtitles are a lurid yellow), but despite the washed-out look, it feels rather half-hearted, and when Machete functions best it is as a tongue-in-cheek action romp.

The end credits announce that Machete will be back in two sequels (Machete Kills and Machete Kills Again), but whether that is a filmmakers' joke or a planned reality is unclear.

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Jamie Bell has joined the cast of the crime drama "Man on a Ledge" for Summit Entertainment reports Deadline.

Aussie spunk Sam Worthington plays a cop falsely imprisoned who escapes after being let out for his father's funeral and stands on a hotel ledge threatening suicide.

Bell plays his brother, the planner of a heist of a jewellery store across the street while his brother's actions are keeping everyone occupied. It was reported earlier that Anthony Mackie is in negotiations to play the disgraced cop's ex-partner.

The role of the female psychiatrist who tries to talk the cop down from his precarious perch has yet to be cast, though Amy Adams is rumoured to be interested.

Erich and Jon Hoeber are presently re-writing Pablo Fenjves's script. Shooting kicks off in November in New York.

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Liam Neeson is in negotiations to reteam with his "The A-Team" director Joe Carnahan for survival drama "The Grey" for Inferno Entertainment and Scott Free reports Heat Vision.

Neeson will play the lead of an oil drilling team who find themselves struggling to survive in the Alaskan wild after their plane goes down. They're soon hunted by aggressive wolves intent on killing the human intruders.

Neeson will replace another "A-Team" member, Bradley Cooper, who was slated to star in the project which Carnahan and Ian Jeffers penned. Carnahan, Jules Daly and Bill Johnson are producing.

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Bleeding Cool  reports that Chin Han ("The Dark Knight") and Hong Kong actress Josie Ho ("Exiled," "Street Fighter: Legend of Chun-Li") have joined the cast of Steven Soderbergh's pandemic thriller "Contagion".

Ho would play the sister of Patient Zero, the first diagnosed case who is a casino worker who spreads a deadly virus to passengers on an airplane leaving for the United States.

Matt Damon, Kate Winslet, Marion Cotillard, Laurence Fishburne, Gwyneth Paltrow, Jude Law and John Hawkes also star. Shooting kicks off in Hong Kong later this month for a release next October.

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The Town

A Warner Bros. release presented in association with Legendary Pictures of a GK Films, Thunder Road Film production. Produced by Graham King, Basil Iwanyk. Executive producers, Thomas Tull, Jon Jashni, William Fay, David Crockett. Co-producer, Chay Carter. Directed by Ben Affleck. Screenplay, Peter Craig, Affleck, Aaron Stockard, based on the novel "Prince of Thieves" by Chuck Hogan.

Doug MacRay - Ben Affleck
Claire Keesey - Rebecca Hall
FBI S.A. Adam Frawley - Jon Hamm
James Coughlin - Jeremy Renner
Krista Coughlin - Blake Lively
Dino Ciampa - Titus Welliver
Fergus "Fergie" Colm - Pete Postlethwaite
Stephen MacRay - Chris Cooper

The behind-the-camera talent Ben Affleck displayed so bracingly in "Gone Baby Gone" is confirmed, if not significantly advanced, in "The Town." Again proving a fine director of actors (this time with himself in a starring role), Affleck delivers another potent, serious-minded slice of pulp set on Boston's meanest streets, where loyalty among thieves runs thicker than blood. But while it pulses with atmosphere, this tale of grand larceny, unlikely romance and betrayal sacrifices some of "Baby's" troubling ambiguity and emotional force in pursuit of broader, more action-driven appeal. Results should bag Warners an appreciably large payday in wide release.

From Martin Scorsese's "The Departed" to the Dennis Lehane adaptations "Mystic River" and "Gone Baby Gone," the past decade has been a strong one for pictures set in and around certain violent enclaves of Boston. Without skimping on the flavorsome accents, pungent atmosphere and fatalistic undertow that come with the territory, "The Town," with its suggestion of the possibility of escape from a life of tribally ordered violence, represents a slightly more optimistic example of this crime-movie subgenre.

Based on Chuck Hogan's novel "Prince of Thieves," the film informs us at the outset that Charlestown, Mass., though only one square mile in size, has produced more bank robbers and armored-car thieves than any other part of the U.S. One of these is cool-headed Doug MacRay (Affleck), who -- along with his screw-loose best friend, James Coughlin (Jeremy Renner), and two other partners -- pulls off the efficient, unnerving bank job that opens the picture. The sequence is distinguished by its fastidious attention to detail, from the bandits' use of bleach to remove DNA traces to the ghoulish masks they wear, and ends with an agitated James taking bank employee Claire Keesey (Rebecca Hall) hostage, only to release her, unharmed, after a few hours of driving.

An FBI team led by Adam Frawley (Jon Hamm) quickly fingers the four crooks -- all repeat offenders who have skillfully evaded capture -- but struggles to find evidence that will make a conviction stick. Meanwhile, in the story's most intriguing development, James' ongoing paranoia about how much Claire saw leads Doug to seek out the traumatized young woman; after some awkwardness in a laundromat meet-cute, Claire warms to this handsome stranger, unaware he's the same guy who coaxed her into cracking open a vault.

It's not hard to see why Claire would be charmed by Doug; we're charmed by him, too. That speaks well of Affleck's natural likability but leaches some complexity and danger from his conception of this supposedly hardened but terribly romantic criminal. By contrast, Renner's James seethes with barely repressed violence; his reaction to seeing Doug and Claire together for the first time has an edgy, unpredictable tension the picture as a whole could use more of.

And so the love of a good woman becomes the catalyst for Doug's decision to ditch his life of crime, but Charlestown doesn't surrender its own easily, and neither James nor their rigid crime boss, Fergie (Pete Postlethwaite), intends to let Doug make a clean getaway. Doug's efforts to extricate himself from his bloody destiny -- inherited from his father and tied to a childhood trauma that doesn't feel dramatically well integrated -- power the film's eventful second half, during which the team attempts two more armed robberies, leading to explosive standoffs with the police and the FBI.

If Doug already seems too far down the road to redemption to lend "The Town" much traction as a character piece, it has outstanding virtues as a straightforward crime procedural. As in "Gone Baby Gone," Affleck conveys the ferocity of violence onscreen without resorting to gratuitous excess, and the frenzied gunplay of the multiple action sequences -- aided by Robert Elswit's rough-and-ready cinematography and Dylan Tichenor's agile editing -- strikes an ideal balance between kineticism and clarity.

Pic has a real feel for the neighborhood and uses it inventively; a car chase at the midway point derives much of its impact from the claustrophobia of Charlestown's narrow lanes and high walls. Local slang peppers the tangy script (credited to Affleck, his "Baby" co-scribe Aaron Stockard and Peter Craig), which revels in the sort of satisfying monologues and well-timed comebacks that tie it to an older, more classical storytelling tradition.

Hall, a sympathetic presence from the get-go, is eventually sidelined in a role that grows more conventional as the film proceeds, while "Gossip Girl's" Blake Lively, almost unrecognizable here, has fierce, pained moments as the moll and single mother Doug has tossed aside. Postlethwaite, wrapping his lips around an Irish accent, radiates a sadistic malevolence, and Chris Cooper makes a brief, somewhat pro-forma appearance as Doug's father, emerging from the shadow of a jail cell to impress upon us the steep price of a life of crime.

Camera (Technicolor, Panavision widescreen), Robert Elswit; editor, Dylan Tichenor; music, Harry Gregson-Williams, David Buckley; production designer, Sharon Seymour; art director, Peter Borck; set designer, George R. Lee; set decorator, Maggie Martin; costume designer, Susan Matheson; sound, David J. Schwartz (Dolby Digital/DTS/SDDS); supervising sound editors, Aaron Glascock, Curt Schulkey; re-recording mixers, Steve Maslow, Gregg Landaker; special effects supervisor, Allen Hall; visual effects, Hydraulx, Invisible Effects; assistant director, Donald Murphy; second unit director/second unit camera, Alexander Witt; casting, Lora Kennedy. Reviewed at Warner Bros. Studios, Burbank, Aug. 25, 2010. (In Venice Film Festival -- noncompeting; Toronto Film Festival -- Gala Presentations.) MPAA Rating: R. Running time: 124 MIN.

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"The Hurt Locker" hunk Jeremy Renner and Swedish actress and "The Girl With The Dragon Tattoo" star Noomi Rapace are apparently set for the titular roles in the comedy/horror/fantasy "Hansel And Gretel: Witch Hunters" for Paramount Pictures.

Twitchfilm uncovered an interview with Renner conducted at the Venice International Film Festival where he let slip their casting. The pertinent quote: "I think Hansel and Gretel will be awesome. I play him and Noomi Rapace plays Gretel. They have become adults, are damned and going on witch hunting."

Norwegian filmmaker Tommy Wirkola ("Dead Snow") makes his English-language debut on the film which is set 15 years after the original Grimm's fairy tale. Having killed the witch who tried to cook them as kids, the siblings are now grown-up, shotgun wielding witch slayers.

Dante Harper helped flesh out the script, while the tone is said to be aiming for a horror/satire along "Evil Dead 2" and "Shaun of the Dead" lines.

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Jeremy Renner ("The Hurt Locker") is reportedly in talks to replace his "S.W.A.T." co-star Colin Farrell in the indie drama "Virtue Fall" says The Press Association.

Scribe Sheldon Turner makes his directorial debut on the project which follows a federal agent just released from five years imprisonment who sets out to get revenge on his former partner who framed him and has since risen in the police ranks. Eric Bana also stars.

Complicating things is Renner's commitment to several other projects, most notably the forthcoming fourth "Mission: Impossible" project. He's also attached to appear in Paul Thomas Anderson's "The Master," James McTeigue's indie period thriller "Raven," Marvel's ensemble superhero film "The Avengers," and the horror/comedy "Hansel and Gretel: Witch Hunters".

Nicolas Chartier ("The Hurt Locker") will produce the $20 million-budgeted 'Virtue'.

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Dir/music: Clint Eastwood. US. 2010. 123mins

Clint Eastwood takes a bold change of pace with Hereafter, a compelling and thoughtfully structured delve into the world of the supernatural, weaving together three separate storylines that all finally converge to satisfying effect. This is no spooky chiller though...instead a fascinating look at how death affects a series of completely different people.

    Cecile de France is thoroughly enchanting as the glamorous TV presenter who finds her life unraveling.

The film is scripted by Peter Morgan – whose impressive track record includes The Queen and Frost/Nixon) - and he has set Eastwood a rather different directorial challenge. This is not a film dominated by action or effects, but instead a complex interwoven story of people trying to deal with the traumas and find solace rather than solutions.

That being said, Hereafter does open in quite spectacular fashion. Successful French television reporter Marie (the spectacularly good Cecile de France) is on holiday with her TV director boyfriend at a tropical beachside resort and one morning she wanders into the nearby town to look for trinkets to take home to Paris.

The resort is then hit with a massive tsunami, and she finds herself swept away in the terrifying torrent of water. She is plucked from the water, and while two men try and save her she finds herself mentally seeing 'the other side', strange shadowy white figures against a misty backdrop. She is miraculously brought back to life, but cannot forget or totally comprehend her near-death experience.

Meanwhile in San Francisco, factory worker George (Matt Damon) is trying to hide away from his previous career as a psychic who could communicate with the dead. For him his power is a terrible curse rather than a gift, and he tries to hide himself away and not get close to people.

Taking a night school course in Italian cooking – Damon is engagingly clumsy chopping tomatoes – he meets a woman trying to start her life over (Bryce Dallas Howard), but when they start to get close she asks him to 'read' her. He delves into her past and tells her truths which drive her away.

In England young twins Marcus and Jason (Frankie and George McLaren) try to protect their druggie mother from the local social service, but when Jason is killed in a car accident Marcus finds himself taken away from his mother and also haunted by the loss of his brother.

The threesome of George, Marie and Marcus are all touched by death in different ways, and each struggle to find ways to deal with the ways that their memories and emotions drive them to find answers.

Marie takes a leave of absence from her job and writes a book about her experience in the tsunami and about the afterlife – after taking a side trip to Switzerland to talk to an academic who ha studied the hereafter (Marthe Keller in a nice cameo) – while young Marcus visits fake psychics and doctors as he looks to find a way to communicate with his brother. While searching the net he comes across an old website detailing George's abilities.

The three finally come together in London. George is there on a holiday – and a way to escape his brother (Jay Mohr) and his plans for George to go back into the psychic business – and Marie is in the city on a book tour. The three meet by accident at a book fair, where George is drawn to Marie at a reading and where Marcus spots George and follows him back to his hotel.

Eastwood ends the film with no crash-bang effects or profound announcements. Simply that these three very different people find ways to deal with their brushes with death. George helps Marcus to let his bother go, and in a low-key moment at the end George and Marie find the possibility of love.

Clint Eastwood does not resort to any clever editing to tell the three parallel stories, instead opts for a linear style switching between each storyline in 10 minute bursts, and allowing each of the characters to develop gradually. He does a great job in reflecting the socio-economic circumstances of each character (Marie is wealthy and glamorous, Marcus has a tough housing estate life and George lives modestly and along and works in a local factory) and with no fuss of grandstanding elegantly weaves the parallel storyline together.

Cecile de France is thoroughly enchanting as the glamorous TV presenter who finds her life unraveling after the tsunami (a brilliantly staged effects sequence), while Matt Damon underplays impressively as a man trying to hide from life. Young Frankie McLaren has a tougher job as the tormented youngster, called on largely to look doe-eyed and sad for most of the film, but he holds his own a his storyline develops.

It is good to see Clint Eastwood trying something very different. Fans expecting to see a supernatural thriller will be disappointed....but those interested in a shrewdly made and well-scripted drama about loss and compassion will be intrigued and impressed.

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Matthew McConaughey and Emile Hirsch are starring in Voltage Pictures' black comedy "Killer Joe."

William Friedkin is directing the picture, which will start shooting in Nov. 8 in and around New Orleans.

The script, by Pulitzer Prize- and Tony Award-winning writer Tracy Letts, centers on a brother (Hirsch) and sister combo who plot the death of their mother for the insurance money and hire "Killer Joe" Cooper, a cop and contract killer (McConaughey) to do the deed.

Producing are Scott Einbinder of ANA Media and Voltage's Nicolas Chartier.

Voltage, which is also financing, is handling foreign sales at TIFF.

McConaughey, repped by WME and Gus Gustawes, was last seen on the big screen in 2009's "Ghost of Girlfriends Past."

Hirsch, repped by WME and the Collective, recently wrapped sci-fi movie "The Darkest Hour" for Summit.

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EXCLUSIVE: Gary Ross is in early talks to direct The Hunger Games, the first installment of the novel trilogy by Suzanne Collins. The film is a joint production between Lionsgate and Color Force's Nina Jacobson. Filming will start next year with a script by Billy Ray, who rewrote a draft by the author. The huge sales of the trilogy make the film adaptations a potential game-changer for Lionsgate, the way that Twilight was for Summit Entertainment. It has been a coveted job among directors (Three More Directors Circle 'The Hunger Games'), and Lionsgate picture chief Joe Drake and Jacobson spent the past two weeks meeting candidates that included Sam Mendes, David Slade (also a contender for the X-Men Origins: Wolverine 2 job), Andrew Adamson, Rupert Sanders, and Nanny McPhee Returns  helmer Susanna White. There was also talk about Francis Lawrence. It's unclear who stayed in or out as Lionsgate focused on Ross, who directed Pleasantville and Seabiscuit.  He isn't set yet, but he is the choice. Let the negotiating games begin. Mendes, for instance, bowed out of contention last Friday, and I'm told it was because the MGM picture is clearing up and it looks like production on 007 could begin by late summer or early fall, 2011 with Mendes at the helm and Daniel Craig back in the Aston Martin.

The Hunger Games takes place in the futuristic ruins of North America, which crumbled and was replaced by a Capitol and 12 districts. Each district is forced to supply 2 teenagers, between 12 and 18. They participate in The Hunger Games, a televised reality series that pits the contestants against one another in a battle to the death. The heroine is 16-year old Katniss Everdeen, a skilled hunter who's adept with a bow and arrow. She replaces her younger sister, who was chosen in a lottery. She is joined by a baker's son who is also chosen from her dirt poor home district. The subject matter is dark, but book has become a juggernaut: the final installment, Mockingjay, has sold over 450,000 since being published August 24 by Scholastic.

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Saoirse Ronan and James Gandolfini have joined the indie drama "Daisy and Violet" for Magic Violet/GreeneStreet Films reports Variety.

The story centres on a pair of teenage female assassins who are lured into what is supposed to be just another quick and easy job, only to find complications as the man they're supposed to kill is not what they expected.

"Precious" scribe Geoffrey Fletcher makes his directorial debut on the project and is producing with Bonnie Timmerman. Filming kicks off September 27th in New York.

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Comedian Kevin James will star in an untitled mixed martial arts movie which has just been greenlit at Sony Pictures reports Deadline.

The story centers on an affable physics professor (James) who moonlights as a mixed martial arts fighter in order to score enough money to save his friend's job and his school's music program.

His path takes him all the way up to the Ultimate Fighting Championship circuit. Allan Loeb penned the script.

James and Todd Garner will produce, but no director is yet set. Production aims to kick off sometime next year.

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David Fincher's "The Social Network" may be the quintessential story of young Machiavellian entrepreneurship in an age of streamlined communication, but it is also a story of the social disconnect that can be as galvanizing as any other source of ambition...for better or worse.  The Mark Zuckerberg of Fincher's film uses the sting of that disconnect to spark a fire of creativity, and the film very much concerns itself with the gauntlet of his motivation.  (The New Yorker's profile, culled from rare extensive interviews with the 26-year-old billionaire, is a wonderful primer for the dramatization.)

In some sense, the film could be viewed as a distant cousin of Darren Aronofsky's "Black Swan," both presenting protagonists flawed by their own aggressive drive.  But while Nina is a tragic figure of self-destruction, Zuckerberg is a tragic figure of self-alienation.


The veracity of the events depicted might be in question, but the portrait is actually somewhat flattering of Zuckerberg.  One can't help but respect his shrewdness in the jungle of "business is business," until the line is crossed.  And in that moment the film becomes something else entirely, a cold, stirring reflection of psychological frailty at its honest, authentic worst.

Andrew Garfield breathes captivating life into this scene and every emotional beat leading up to it.  He is, for so many reasons, the stand out of a perfectly cast ensemble at every step.  Justin Timberlake, meanwhile, as Napster founder and Facebook advising creator Sean Parker, also excels with a performance of energy and charisma.  Given the obvious music industry ties, it might seem like merely brilliant stunt casting, but Timberlake adds a palpable edge.

And then there is Jesse Eisenberg, whose anchored, skilfully navigated portrayal of an incredibly complex individual will hopefully not be a thankless contribution to the fall movie season.

Fincher and cinematographer Jeff Cronenweth shot the film digitally and directly to memory cards — no film, no tapes, no hard drives.  It's a brave new world for the technology and this effort couldn't look any more gorgeous, light kissing the dark, crisp imagery in just the right places throughout.  Moreover, the chilly nature of the tale (and Fincher's propensity to that kind of material) lends itself nicely to the cool hues.  The structure of the film, meanwhile, presents an opportunity for dazzling editing from Angus Wall and Kirk Baxter, and the unconventional score from Trent Reznor and Atticus Ross is a mesmerizing treat that sucks you right into the narrative.

But the biggest star of the show should stand up and take a bow.

Aaron Sorkin's way with words has gone unnoticed by the Academy to date.  The man hasn't even received a nomination.  But for this, he deserves the statue itself.  The dialog, as one would expect, crackles and pops, but beneath that Sorkin trademark is the strong thematic pulse of a very human story.

And if I haven't mentioned Fincher it's because this film is more free of his signature than any in his career.  That's not to say there is an anonymous quality to the helming, but Fincher smartly lets his tonal sensibilities step in for his penchant for stylistic flourishes.

I think it may be reaching for grandiose sentiments to say "The Social Network" is a film that "defines a generation."  However, I will say this: it is the most culturally relevant film Scott Rudin has produced since 1998′s "The Truman Show." But while that film was a potent forecast of where we were heading as an entertainment-hungry society, this one is no less significant for its depiction of the here and now.

[Mark]

Coen je filmski Freddy Mercury

Britanski glumac Sacha Baron Coen igraće Freddya Mercurya u filmu o grupi Qeen, izjavio je gitarista Brian May.
Foto: Wikimedia Commons
Foto: Wikimedia Commons

"Uzeli smo Saschu Barona Coena što će verovatno šokirati mnoge ljude, ali mi odavno razgovaramo s njim o tome", rekao je May.

Autor scenarija je Peter Morgan, koji je pisao scenario i za film "Frost/Nikson". Novi projekat josš nema naslov.

Početak snimanje filma koji će biti fokusiran na nastup benda Queen na humanitarnom koncertu Live Aid 1985. godine u Londonu, zakazan je za iduću godinu.

Njihov nastup na tom koncertu na stadionu Wmbley, u trajanju od 21-og minuta, na kojem su izveli "Bohemian Rhapsody", "We Are The Champions" i "Radio Ga Ga" smatra se jednim od najboljih rok nastupa.

Brian May i bubnjar Roger Taylor biće zaduženi za muziku u filmu u kojem će biti i numere benda i iz Mercuryeve solo karijere.

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Anchor Bay Films has acquired North American, UK and Australian rights to John Bonito's thriller Carjacked set to star Maria Bello and Stephen Dorff.

Principal photography is scheduled to begin in Baton Rouge, Louisiana, on November 15, on the story about a single mother who helps her son escape from a carjacking and must free herself when the villain drives her vehicle into a lake.

This is the company's second acquisition on a film starring Maria Bello following this week's seven-figure deal on Toronto entry Beautiful Boy. Dorff is currently riding high on the Venice Golden Lion success of Somewhere.

Daniel Grodnik and Mass Hysteria Entertainment produced. Eric Gozlan, Murray Rosenthal, Richard Iott and Mike Greenfield served as executive producers. Ed Noeltner's Cinema Management Group is handling sales on all available territories.

Anchor Bay Entertainment president Bill Clark, Anchor Bay Films's executive vice-president of worldwide acquisitions and co-productions Kevin Kasha and Richard Turner for Anchor Bay Films negotiated the deal with the producers.

"One of the best aspects of my job is working with producers and directors that I truly like and admire," Kasha said. "Daniel and John are exactly that, and we are glad they are part of the Anchor Bay Films family."

[Mark]

Woody Allen: The Director's Cut
By DAVE ITZKOFF
Woody AllenSuzanne DeChillo/The New York Times The nervous guy from those Woody Allen movies: Woody Allen.

Boy, if life were only like this: on Tuesday morning, this reporter (who always regrets he never had the "Star Wars"-themed bar mitzvah party depicted in "Deconstructing Harry") found himself ushered into a New York hotel office suite to speak with Woody Allen about his new film, "You Will Meet a Tall Dark Stranger." And while Mr. Allen, 74, characteristically complained about the air conditioning in the chilly suite, he did not accuse his interlocutor of knowing nothing about his work, and spoke at length about the themes in his latest movie, his filmmaking process and his thoughts on getting older – not to mention his next feature, "Midnight in Paris," whose ensemble cast happens to include the first lady of France.

A version of this interview appeared in Wednesday's edition of The New York Times. These are longer excerpts from that conversation.
Q.

Should I wish you a happy Jewish new year?
A.

No, no, no. [laughs] That's for your people. I wish I could get with it. It would be a big help on those dark nights.
Q.

But there's an undercurrent, isn't there, in the new movie – not of religion, but of spirituality and supernatural phenomenon?
A.

Well, I link them together. To me, there's no real difference between a fortune teller or a fortune cookie and any of the organized religions. They're all equally valid or invalid, really. And equally helpful.
Q.

The ideas of psychic powers and past lives, or at least people who believe in them, are central to "You Will Meet a Tall Dark Stranger." What got you interested in writing about them?
A.

I was interested in the concept of faith in something. This sounds so bleak when I say it, but we need some delusions to keep us going. And the people who successfully delude themselves seem happier than the people who can't. I've known people who have put their faith in religion and in fortune tellers. So it occurred to me that that was a good character for a movie: a woman who everything had failed for her, and all of a sudden, it turned out that a woman telling her fortune was helping her. The problem is, eventually, she's in for a rude awakening.
Q.

What seems more plausible to you, that we've existed in past lives, or that there is a God?
A.

Neither seems plausible to me. I have a grim, scientific assessment of it. I just feel, what you see is what you get.
Q.

Among the leading men you've worked with, Josh Brolin would seem to go at the more rugged end of the spectrum. What got you interested in working with him for this film?
A.

Interestingly, he was the one person that I thought of while I was in the middle of writing it, the one actor I thought of. I'd worked with him once briefly before, and I saw him in "W." and thought he was just a fabulous actor. I wanted some guy who would be sitting home, embittered, unable to live up to his promise – desperate to try and succeed in some way. And I felt Josh could play all those characteristics. He could play a lug, but he could bring a sympathetic quality to him. He gained weight for the part, deliberately. And then he could sit home and dissipate and drink beer and try and write but not make it, and become distracted by an attractive woman in a window.
Q.

The woman-in-the-window scenario, I suppose it could happen in other cities as well, but that's such a classic New York fantasy, isn't it?
A.

Yes, I have that, but I don't see a woman. I live in a house on the Upper East Side, and I can see out my back window. But I always see guys who work in an office and I'll see them at their computers. I often think, my God, if there was a beautiful woman there, it's such a romantic thing. You'd make up so many stories about her, and then if she was married, you'd be wondering about her and husband, and when you went down in the neighborhood to shop for your groceries, would you see her? There's so much material there. But it is New York.
Q.

There's a motif that reoccurs in your films, including this one, of the talented person who is concerned that his abilities are fading. Why does that idea still intrigue you?
A.

It's been one of the few fears in life that I've never had myself, but it gets brought up to me all the time and has been for decades. There are people who say, Do you ever think you'll wake up one morning and just not be funny? No. I never thought that, it never occurred to me. Apparently there are people that do suffer from writers' block, and I know there have been jazz musicians who were quite wonderful at one time and then never achieved that again. Something went out of them in some way. But I don't identify with that at all.
Q.

Going back to 1982, I don't think there's been a year where you haven't released at least one new film. Does your filmmaking ever feel like an obligation, like you've got to do it just to keep your streak alive?
A.

Oh, no, no, I never think of it in those terms. When a project is finished – last week I finished editing this film I shot in Paris last summer – then I'll fondle for a week or two, or a month, put in a little music and play around with it. But there's not much more to do on it really. So you sit around, and then what? What is the next thing you do? I start to write. I have a lot of ideas, some of them are good, some of them are less good, and I just make them.
Q.

But there are other filmmakers who share your drive, and they can get lost for five years in a project, or long periods where we don't see any output from them.
A.

I work on a small budget. I have always had the money before I wrote the script. So when I pull the script out of the typewriter, the next day I give it to my production people and we go into production with it. Whereas some other person writes a perfectly wonderful script, and then they've got to raise $30, 40 million to make the film. So they bring it to Harvey Weinstein and they bring it to Columbia. And they say, well, yes, if you can get Brad Pitt we'll do this. I've never done that in my life. I've never ever waited for anybody. It's who I want and who's available at the time. If the ideal person for the part is Jack Nicholson and he's not available but he will be available in eight months or four months or something, I don't wait. Now, that's because I'm less an artist.
Q.

Why do you say that?
A.

I don't have the patience. When I first started to make films, I made "Take the Money and Run" and "Bananas," and every second you had to be working. Everything was the film, the film. And I said to myself, This is crazy. I have other priorities that are more important. I don't sit there and do 14 takes till I get just the perfect one. Because I want to go home and watch the Knicks or the Yankees. I don't care enough about my work to be that exacting.
Q.

How do you feel about the aging process?
A.

Well, I'm against it. [laughs] I think it has nothing to recommend it. You don't gain any wisdom as the years go by. You fall apart, is what happens. People try and put a nice varnish on it, and say, well, you mellow. You come to understand life and accept things. But you'd trade all of that for being 35 again. I've experienced that thing where you wake up in the middle of the night and you start to think about your own mortality and envision it, and it gives you a little shiver. That's what happens to Anthony Hopkins at the beginning of the movie, and from then on in, he did not want to hear from his more realistic wife, "Oh, you can't keep doing that — you're not young anymore." Yes, she's right, but nobody wants to hear that.
Q.

Has getting older changed your work in any way? Do you see a certain wistfulness emerging in your later films?
A.

No, it's too hit or miss. There's no rhyme or reason to anything that I do. It's whatever seems right at the time. I've never once in my life seen any film of mine after I put it out. Ever. I haven't seen "Take the Money and Run" since 1968. I haven't seen "Annie Hall" or "Manhattan" or any film I've made afterward. If I'm on the treadmill and I'm scooting through the channels, and I come across one of them, I go right past it instantly, because I feel it could only depress me. I would only feel, "Oh God, this is so awful, if I could only do that again."
Q.

You recently told the European press that shooting movies in New York had become too expensive. Do you think you've made your last film here?
A.

My first choice would always be New York. It would be my fondest wish — to work where you live is of course the most luxurious privilege, and I'm sure I will film here again. But the few dollars I have go further in certain places. The cities I'm talking about — London, Paris, Barcelona — these are very cosmopolitan, and they're like New York. I can afford it a little bit easier. To me it's a privilege to shoot in New York, and I don't mind it being extra. I just have to have it, to be able to afford it. I would always make the picture in New York for $15 million that I could make elsewhere for $12 million, if I had $15 million. But if I don't have the money, then I can't do it.
Q.

It's not a situation in which these European cities have rolled out the red carpet for you, whereas New York took you for granted?
A.

New York has always been cooperative and helpful and a pleasure to shoot in. But the European countries do give you an enormous amount of cooperation. I still occasionally have to make cuts in my film to work there, too. I'm always working with less money than I need. It's axiomatic.
Q.

At some point you end up making the movie for free.
A.

Actually, very, very often it costs the actors money to be in the film. Because we pay union minimum. And really no frills. In order to come to New York or Barcelona or wherever, it costs them money to do it. And I make so little myself, really, when you think that I write the script and sometimes would be in the film, and then spend all the time working on it, in the editing room and the music and the color correction and the mix. I get much less for it than many of my contemporaries get for just writing the script or directing the picture.
Q.

Were you prepared for the firestorm of media coverage you set off by casting Carla Bruni-Sarkozy in your next movie, "Midnight in Paris"?
A.

I was very surprised at the level of journalism that occurred in relation to her. She has a small part in the movie — a real part, but it's a small part. And I shot with her the first day, and then all the papers said she was terrible, and I did 32 takes with her. Of course I didn't even do 10 takes with her. This was just a magical number that some guy created in a room. Then they printed that her husband came to the set and was angry with her. He came to the set once, and he was delighted. He felt she was a natural actress and couldn't have been happier.
Q.

That would make a good blurb for the movie poster.
A.

For some reason, the press wanted to say bad things about her. I don't know if they had something against the Sarkozys, or it was a better way to sell papers. But the fabrications were so wild and so completely fake, and I wondered to myself, Is this what happens with Afghanistan and the economy and matters of real significance? This is a trivial matter. That's a longwinded answer to your question: I was not prepared for the amount of press that was attached to the picture because of Madame Sarkozy.
Q.

When you've got down time between projects, as you do now, how do you spend it?
A.

I do the usual stuff. I take my kids to school in the morning. I go for walks with my wife, play with my jazz band. Then there's the obligation of the treadmill, and the weights, to keep in shape, so I don't get more decrepit than I am. I generally don't see the big Hollywood movies. I saw "Winter's Bone" the other day and liked the movie very much, loved all the performers. And when I was in Paris, I got a chance to read a certain amount, Tolstoy and Norman Mailer. Things that had slipped through the cracks over the years.
Q.

I half-expected to see you at that 12-hour performance of Dostoyevsky's "Demons" that Lincoln Center Festival produced over the summer.
A.

No, no, I'm a lowbrow. I read that material, more out of obligation than enjoyment. For enjoyment, for me, it's a beer and the football game.

[crippled_avenger]

Dir: David Fincher. US. 2010. 123mins

An intensely rendered account of how a group of young webpreneurs gave the world Facebook, director David Fincher and screenwriter Aaron Sorkin's The Social Network is almost as clever and emotionally distant as its central character, digital age iconoclast Mark Zuckerberg. The Scott Rudin-produced drama has been generating blogosphere buzz for months and looks set to be a contender in awards season. But even with its hot young cast it could prove a bit chilly and impenetrable for mainstream moviegoers, especially those who haven't yet bought into the Facebook phenomenon. 

    Surprisingly, given his reputation for fancy visuals in films like Fight Club and The Curious Case of Benjamin Button, Fincher plays it fairly straight here.

The Sony release opens the New York Film Festival this week and goes wide in the US on October 1, backed by a stylish and ubiquitous ad campaign. Sony's marketing task - in the US and perhaps even more so when the film has its international roll out through October and November - will be to play up the universal themes of power, status and loyalty that underlie the cyber business story.

As portrayed in Sorkin's script, based on Ben Mezrich's non-fiction book The Accidental Billionaire, Zuckerberg (played by fast-rising Jesse Eisenberg, from last year's Zombieland) was a brilliant but socially inept and dislikable 19-year-old Harvard student when he came up with the web site that would soon lead to the launch Facebook.

In the film, Zuckerberg's only friend, Eduardo Saverin (new Spider-Man Andrew Garfield, from Never Let Me Go), provides him with seed money for his fledgling company. But Zuckerberg clashes with the Winklevoss twins (Armie Hammer and Josh Pence), wealthy and handsome Harvard rowing stars who think the new web-based social network was their idea.

As Facebook takes off, the idealistic Zuckerberg and more businesslike Saverin begin to have different ideas about how to develop the company. Then Napster co-founder and cyber rock star Sean Parker (played by singer-actor Justin Timberlake) enters the picture, bringing serious money into the venture, introducing Zuckerberg to the high life in California and pushing Saverin aside. Parker becomes the villain of the story, Saverin the hard done by foil and Zuckerberg the tragic hero, though the film gives him only the briefest of sympathetic moments at the very end of the story.

Surprisingly, given his reputation for fancy visuals in films like Fight Club and The Curious Case of Benjamin Button, Fincher plays it fairly straight here, using only subtle visual touches to steer the mood of the film while keeping the pace as rapid fire as the characters' minds.

It's Sorkin - best known, of course, for dissecting power and ego in the likes of A Few Good Men and TV's The West Wing - who sets out to reflect the Facebook phenomenon, with its emphasis on self-creation, by presenting the story from the main characters' differing perspectives. Much of the action is presented as flashbacks from the deposition hearings that result when Saverin sues Zuckerberg for a bigger share of Facebook's success and the Winklevoss twins sue over their claim to have had the original idea.  The deposition scenes - like the film overall - are very talky, but they produce some terrific moments and give the film emotional ballast that would otherwise be entirely missing.   

Though the film is very much Sorkin and Fincher's show, Eisenberg is very impressive as the quietly tortured Zuckerberg and Garfield is likable without getting syrupy. Timberlake (previously seen in Alpha Dog and The Open Road) confirms his acting credentials.

Among the film's other classy elements, former Nine Inch Nails rocker Trent Reznor and Atticus Ross provide a standout music score.

Production companies: Columbia Pictures, Relativity Media
Worldwide distributor: Sony Pictures
Producers: Scott Rudin, Dana Brunetti, Michael De Luca, Cean Chaffin
Executive producer: Kevin Spacey
Screenplay: Aaron Sorkin, based upon the book The Accidental Billionaires by Ben Mezrich
Cinematography: Jeff Cronenweth
Production designer: Donald Graham Burt
Editors: Angus Wall, Kirk Baxter
Music: Trent Reznor, Atticus Ross
Website: www.thesocialnetwork-movie.com
Main cast: Jesse Eisenberg, Andrew Garfield, Justin Timberlake, Armie Hammer, Josh Pence

[crippled_avenger]

Guy Pearce, Catalina Sandino Moreno and Virginie Ledoyen will star for producer Doug Claybourne in the original comedy Mis-Fits.

Make It Happen Productions will produce the project and has set novelist, playwright, and film-maker L D Napier to direct from her own screenplay.

ICM is representing North American rights to the film about a detective who searches for people's dead relatives, set to commence principal photography in May 2011. The cast includes Seymour Cassel and Cloris Leachman

"It's a wacky comedy in the tone of Harold And Maude and we have an amazing cast," Claybourne said. I can hardly wait," Claybourne said.

Claybourne's producer credits include Rumble Fish and The Mask Of Zorro and he served as executive producer on Nights In Rodanthe, North Country, Duma, and The Fast And The Furious.

[crippled_avenger]

Steven Spielberg himself is said to be considering the film "Robopocalypse" as one of his next projects for Dreamworks Pictures says Vulture.

Based on Daniel H. Wilson's unpublished manuscript, the cautionary tale explores the fate of the human race after a robot uprising. Wilson, who has a Ph.D. in robotics, has grounded his tale in a heavy degree of authenticity derived from real robot technology.

Drew Goddard ("Cloverfield") has just handed in a new draft of the script which the studio is keen to check out. Spielberg still hasn't made up his mind about which project he'll next helm after "The War Horse".

[crippled_avenger]

Jodelle Ferland, Samantha Ferris, William B. Davis and Teach Grant are joining the $15 million suspense thriller "The Tall Man" reports Bloody Disgusting.

Pascal Laugier's first English-language feature stars Jessica Biel as a mother whose child is kidnapped by a shadowy figure known only as The Tall Man. She begins an intense hunt to find and retrieve her child.

Laugier wrote the script and will direct. Shooting kicks off shortly in Vancouver.

[Albedo 0]

[HD]Wall Street: Money Never Sleeps (2010) - Trailer 2

[Mark]

Zanimljivosti sa UHM-a:


SAW VII

    *  A moving version of the poster can be found here.
    * Originally had an October 22nd 2010 release.
    * Said to be "more violent" than its predecessors.
    * This is confirmed to be the final installment in the long-running franchise.
    * The film reportedly features 11 booby traps, which nearly doubles the average for the previous films.
    * The film was re-edited and submitted six times to the MPAA to bring it down from an NC-17 to an R rating.
    * Began filming in Toronto on February 8th and ended on April 12th 2010.
    * Cary Elwes as "Dr. Gordon" from the first film makes his return.
    * It's said that this is the "most expensive Saw film".
    * Saw VI director Kevin Greutert was initially attached to helm Paranormal Activity 2 for Paramount, but in a surprise turn of events was brought back to direct this film by Lionsgate, replacing David Hackl.
    * VH1's Scream Queen winner Tanedra Howard returns.
    * Will be in 3D.
    * Saw V director David Hackl (production designer for the second, third and fourth films) was once attached to direct.
    * Actor Tobin Bell had reportedly signed on to do up to seven Saw films.
    * Tobin Bell returns as "Jigsaw".
    * Writers Marcus Dunstan and Patrick Melton (Feast, Saw IV through VI) return.



***


Jeepers Creepers III

    Set 23 years after the previous film, we follow Trish Jenner (Gina Phillips), who is now a mother. Realizing that the return of the Creeper is just around the corner, she begins to have terrible recurring nightmares of her own teenage son confronting the creature and suffering the same fate as her deceased brother. Now a rich and powerful woman, she's determined to finally put an end to the Creeper once and for all.

    *  Originally thought to be titled Jeepers Creepers 3: The Creeper Walks Among Us and Jeepers Creepers 3: Cathedral.
    * MGM originally inteded this to go straight to DVD, but writer/director Victor Salva hopes it'll go theatrical like the previous two.
    * The film's subtitle "Cathedral" plays an important role in the story.
    * Writer/director Victor Salva promises new surprises in the story and claims that this will be the biggest of the three films.
    * We will see the return of the infamous truck the Creeper drove in the first movie.
    * Gina Phillips returns as the character "Trish" from the first film.
    * Actor Ray Wise reprises his role as "Jack Taggart Sr." from the previous film.
    * Jonathan Breck returns as the "Creeper."
    * Victor Salva will once again write and direct.
    * Various characters from the previous two films may have roles or make cameo appearances.
    * It's said that we will be given more background on the "Creeper."
    * The film will serve as a prequel and sequel, starting off in the "Old West" and then switching to twenty years after the events of the previous film.
    * This film has been in talks since before the sequel was released back in '03.



***

Night of the Demons

Angela Feld is throwing the Halloween party to end all Halloween parties at the infamous Broussard Mansion in New Orleans, where dark events transpired almost a century ago. But when the packed party gets busted by the police, Angela and her friends Maddie, Lily, Suzanne, Colin, Dex and Jason are the only ones left behind. Soon Colin and Angela make a grisly discovery in the basement and inexplicable events start to take place. With the mansion gates mysteriously locked, the seven find themselves trapped for the night...and soon they're fighting ancient demons for their very souls.

    *  Going straight to DVD via E1 Entertainment.
    * Originally had an October 9th '09 release.
    * Premiered at the UK's Frightfest on July 30th.
    * Filmed New Orleans.
    * You can read about the progress of the production here.
    * Linnea Quigley returns for a brief cameo appearance, which will play homage to the original film.
    * Actress Shannon Elizabeth plays "Angela."
    * Not much is known about the project except it'll be a modern take on the first film, but also still offer the same stuff we saw in the original, I.E. blood, guts, breasts, demons, etc..
    * Written by Adam Gierasch and Jace Anderson (duo behind Mother of Tears: The Third Mother, Autopsy).
    * A remake of the original 1988 film.

[Ygg]

    * The film was re-edited and submitted six times to the MPAA to bring it down from an NC-17 to an R rating.