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Since Jeffrey Tambor (aka George Bluth Sr.) said without equivocation last November that an "Arrested Development" feature film "is a go," we've been hesitant to report on details surrounding the project. Despite Tambor's confidence, there has been wave after wave of rumor surrounding the Bluth family's big screen debut. The latest news is centered on Michael Cera, who reportedly has been the lone holdout from the series' original cast. The prospect of an "Arrested Development" film with no George-Michael Bluth is enough to cast doubt on the entire project. So should we believe E!'s inside source claiming that Cera has finally signed on? And if we do, does that mean all this speculation can finally be put to rest?
News about the upcoming sequel to last year's Twilight continues to trickle in as the studio creeps towards a November 2009 release. Today, we have a look at the official title and logo treatment for the follow up, thanks to MTV. Leveraging the $360+ million draw from the original movie and ambitions for tween domination - it is, after all, "one of the most anticipated movies... a worldwide phenomenon" - New Moon gets a commercial-savvy prefix: The Twilight Saga's New Moon. Author Stephanie Meyer often used "Twilight Series" to describe the four-book series, but "saga" sounds so much more important, right?
Back in July amidst a storm of pre-Milk James Franco news, we reported that the current graduate student was set to star as the lead in Howl, an Allen Ginsberg biopic named after the late poet's best known work and focusing on his trial after its publication. According to Variety, that project is a now further along with production and financing being handled by indie studio Werc Werk Works. The studio just launched this past August and has two other small projects in the "werks" (pun intended), The Turin Horse and Forgiveness. Shooting will start on March 16 in New York for Howl, which sounds pretty interesting.
A few outlets caught up with Wes Craven recently at a showcase for the his upcoming remake of The Last House on the Left. Craven directed the original back in 1972 and opted for a redo after the studio's 30-year license expired. A similar situation arose with 2006's Hills Have Eyes, which was a solid trip back the 1977 original. It's yet to be seen if the latest remake of a Craven original - Dennis Iliadis is directing this time around - will perform at the same level of Hills, but the father of Freddy Krueger did talk with JoBlo's AITH about other horror remakes in the works, including Shocker and People Under the Stairs.
Sam Raimi might finally return to his campy Army of Darkness days of old with Drag Me to Hell, as our friend Nick claims, but don't expect that influence to carry over to two new films that Raimi's Ghost House Pictures has acquired. They are remaking two European horror films - Anguish from Spain and Room 205 from Denmark. Ghost House has been behind some decent additions to the genre (30 Days of Night and The Grudge), but they've also brought to the screen duds like Rise and Boogeyman 3. The attached names also don't lead us to believe that either of these two will ascend out of C-grade territory.
Back in August we reported that Peter Jackson's special effects shop WETA had become attached to a small horror project called The Home. While writer/director Kristoffer Aaron Morgan is set to start shooting in New Zealand come spring, Bloody Disgusting tells us today that the project has secured a trio of new producers. The first two are the duo behind the French scare Inside, Franck Ribiere and Verane Frediani, which brings another horror/thriller element to the project. The third to join the team is none other than Elijah Wood, whose involvement is a bit quizzical, but acceptable. BD also nabbed some pretty outstanding early art for the film, which definitely gives me the impression The Home is on the right foundation.
Proving he's not a one-hit badass, Liam Neeson leverages the fisticuffs he picked up as Ra's al Ghul in Batman Begins to beat the sense out of some Algerian thugs who have kidnapped his daughter in Pierre Morel's Taken. Clean-cut and unassuming, Neeson's Bryan Mills is inescapably reminiscent of Matt Damon's Jason Bourne. But anyone hoping for the next sensible spy tale to follow that ground-breaking trilogy should probably continue to hold their breath. Taken is admirably in-your-face, satisfyingly (if not surprisingly) blunt and lensed like the best of them, but it lacks in the nuance and depth that might turn it into a genre mainstay. Nevertheless, Neeson has clearly broken the mold for ass-kicking fathers.
This weekend should prove particularly fun for sci-fi fans. Underworld: Rise of the Lycans takes us back to the beginning of the shadowy battle between vampires and lycans, while Outlander presents an altogether new conflict between ancient Vikings and what may be "the next big thing" in monsters of the genre, Moorwens. While each film maintains an engrained appeal for any fan of the category, it's Underworld that proves the better breed, thanks in large part to leads Bill Nighy and Michael Sheen. Outlander has the capable James Caviezel and John Hurt, sure, but neither do particularly well with the half-hearted story; whereas the origins tale for Underworld serves as a deft complement to the series.
The production company Stone Village Pictures, which was recently behind Love in the Time of Cholera and Turistas, has acquired a concept thriller called The Field, authored by TV support staff Josh Dobkin ("Scrubs") and Sean Wathen ("House"). The thriller is set in an endless field, where a group of strangers wake up with seemingly random items and must find a way out. Adding a taste of horror is the production company Benderspink (The Ring series, The Ruins), which will also executive produce. Not much else is known of the project at this time, nor is there insight into Dobkin and Wathen's foray into film.
Universal Pictures and Imagine Entertainment most recently optioned Nobel Prize-winner John Steinbeck's novel "East of Eden" back in 2004 (you can thank Oprah for that) and are finally hoping to begin production on the big-screen adaptation later this year. The studios have secured both a director and writer for the project -- Tom Hooper of HBO's "John Adams" and Christopher Hampton of Atonement -- despite earlier reports that Ron Howard and Paul Attanasio (The Good German) were involved. The 1952-published story spans 728 pages and, to crudely summarize, centers on life of the Trask brothers, Charles and Adam, drawing heavy inspiration from the Biblical story of Cain and Abel.
Back in November we were a bit confused about Vertigo's adaptation of Preacher, due in no small part to Variety's occasional quick-draw reporting wherein they claimed Sam Mendes was, in fact, directing the upcoming project. The truth is, a big-screen version of the tale of Jesse Custer, a preacher possessed by the offspring of an angel and demon, is still very much in development, and Sam Mendes is still very much in decision mode. MTV recently caught up with the Revolutionary Road director at the Golden Globes to set the record straight. In the interview, Mendes tells them, "Whether or not I have the skill to make it into a movie, I don't know... as soon as the script is there, I'll know whether I want to do it or not."
Confirmation of another installment to the Scream franchise (aka Scream 4) first came our way last summer. My dislike for the Dimension Films' project has grown today, considering a few possibilities that escaped onto the web, thanks to Bloody-Disgusting. The biggest point of mental upset is that the third sequel will attempt to reboot the franchise using a younger cast. My brain churns and groans at the thought of a glossy teen take with the likes of Chace Crawford. He immediately comes to mind, maybe because he stepped into scares last year with The Haunting of Molly Hartley. Can this really be any good?
Well before the release of writer/director David Goyer's The Unborn, the Dark Knight-scribe talked of a possible sequel to the dybbuk scare -- an opportunity, he said, to go deeper into the origins of the spirit haunting lead Odette Yustman (Cloverfield). Now that the film has come forth, any idea of continuing the story should be aborted posthaste. With its impaired speech, unusual movements and awkward sense of sexuality, The Unborn is a deformed film unbecoming of Goyer. While his directing background is limited, Goyer has some formidable writing credibility. However, none of that talent is inherited by The Unborn; and despite an intriguing premise, would have been better not to have been born at all.
A wedding is usually one of the hardest passages a couple can expect to weather in a relationship. Having just gone through one myself, I can readily attest. But you don't expect that trial to hold true for best friends -- that is unless said friends plan simultaneous dream weddings at New York City's Plaza Hotel. Such is the premarital pickle confronting Liv (Kate Hudson) and Emma (Anne Hathaway) when wedding planner extraordinaire Marion St. Claire (Candice Bergen) manages to botch the bookings. While the ensuing shenanigans are fun at times, Bride Wars tries to craft meaning out of marzipan, creating a spectacle that is at best a saturated imitation, and through sugary cliché, all around bad for you.