From: imdb.com
Former Star Trek: The Next Generation actor Patrick Stewart has praised director Jj Abrams for successfully resurrecting the franchise - insisting he "loved" the new movie.
Abrams brought the sci-fi franchise back to cinemas this year with Star Trek, a prequel to the original 1960s TV show, featuring a new cast of young actors.
Stewart played Captain Jean-Luc Picard in the Star Trek: The Next Generation TV series for seven years and brought his character to the big screen in four spin-off films, including 2002's Star Trek Nemesis.
And the British star insists he is delighted the original show has been resurrected once again and is full of praise for Chris Pine, who portrays a young Captain James T. Kirk in the new movie.
He says, "He's brilliant, charming, funny and utterly delightful."
And Stewart is adamant he is not bitter about movie bosses' decision to leave him out of the new movie, adding, "I loved it. It was a very odd experience to be in the cinema watching a Star Trek movie that I wasn't in. With the exception of Leonard Nimoy, I didn't know any of the cast but it's still Star Trek. I got a great kick out of it."
Showing posts with label star trek. Show all posts
Showing posts with label star trek. Show all posts
Monday, 15 June 2009
Thursday, 7 May 2009
Video: Stephen Colbert's Three Movies Destroying America
From: worstpreviews.com
On Monday, Stephen Colbert presented three Summer movies that are destroying America on his Comedy Central show "The Colbert Report." The movies were "X-Men Origins: Wolverine," "The Proposal" and Pixar's "Up." Watch the video below for a hilarious explanation.
Colbert also interviewed "Star Trek" director JJ Abrams, who helped him solve a mystery and answered a few questions about the upcoming movie. You can watch that video below as well.
"The Colbert Report" airs Monday through Thursday at 11:30pm EST and "Star Trek" is set to hit theaters tomorrow (May 7th).
On Monday, Stephen Colbert presented three Summer movies that are destroying America on his Comedy Central show "The Colbert Report." The movies were "X-Men Origins: Wolverine," "The Proposal" and Pixar's "Up." Watch the video below for a hilarious explanation.
Colbert also interviewed "Star Trek" director JJ Abrams, who helped him solve a mystery and answered a few questions about the upcoming movie. You can watch that video below as well.
"The Colbert Report" airs Monday through Thursday at 11:30pm EST and "Star Trek" is set to hit theaters tomorrow (May 7th).
| The Colbert Report | Mon - Thurs 11:30pm / 10:30c | |||
| Movies That Are Destroying America - Summer Movie Edition | ||||
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Wednesday, 6 May 2009
Scott Mendelson: HuffPost Weekend Box Office Rundown: Wolverine Proves Mighter Than Piracy, Swine Flu, and Mediocrity!
Scott Mendelson: HuffPost Weekend Box Office Rundown: Wolverine Proves Mighter Than Piracy, Swine Flu, and Mediocrity!
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Overpowering a month-early leak of the work print, theoretical fears of swine flu, and some of the worst buzz of any summer film not named G.I. Joe or Year One, X-Men Origins: Wolverine powered its way to a terrific $85.05 million opening weekend. The film opened to $35 million on Friday, which included $5 million in midnight screenings. So, if you count the midnight screenings as part of the Friday total (as we always do here, since the studio made the choice to hold said midnight engagements), that gives the picture a decent 2.4x opening day-to-weekend multiplier. For comparison, last year's big summer kick-off picture, Iron Man, opened to $102 million with midnight screenings, giving the picture a 2.6x.
So, amazingly enough, not only did the film score a boffo opening day, it actually didn't completely collapse over the weekend. To be fair, I am biased, believing the film to be stunningly not entertaining, but this would-be fourth X-Men picture actually had a comparable multiplier with the previous X-Men pictures. For comparison, X-Men: The Last Stand had a three-day multiplier of 2.3x (to be fair, it opened on the Friday of Memorial Day weekend, so it had an extra holiday Monday to take in movie goers). X2: X-Men United opened at 31/85, giving it a 2.74x. And the original X-Men ($20 million opening day/$54 million opening weekend), had a 2.62x.
So, the good news is that Hugh Jackman and company weathered an unimaginable storm of bad luck to score a weekend knockout anyway. It is the 8th biggest opening weekend for a comic book adaptation. It is the nineteenth biggest opening weekend of all time, becoming the astounding 21st film to open to over $80 million (all since November, 2001). Remember that pointless figure for 'third biggest opening weekend for a fourth in a series'? Yeah, Wolverine just blew past Fast & Furious to claim that pointless touchstone. Oh, and Wolverine now has the biggest opening weekend of 2009.
Is there bad news? Perhaps. In a marketplace that seems more and more front-loaded, we have now seen almost a year since a film crossed the $200 million mark (that would be The Dark Knight back in July, 2008). In that time, we have seen six $50 million+ openings that have failed to even reach $200 million. Twilight, Quantum of Solace, Madagascar 2, Watchmen, Monsters Vs. Aliens, Fast & Furious... four of those titles opened well north of $60 million. The closest was Twilight, which opened to $69 million and ended up at $191 million. Monsters and Aliens is now at $185 million and has two weeks to get there before Night at the Museum 2 effectively kills it (and 'MvA' will lose many of its IMAX screens to Star Trek this weekend). Point being, $200 million is not guaranteed, especially with this particularly short-term franchise.
Quite frankly, X-Men pictures has the worst legs of any major franchise. The first film, despite getting solid reviews and decent word of mouth from fans and casual moviegoers, still barely made 2.88x its opening weekend. It opened with $54 million and ended with $157 million. And, despite rave reviews, rapturous response from moviegoers, and being considered one of the best comic book movies ever made, X2 opened with $85 million and closed with just $215 million, a downright pathetic 2.5x weekend to total multiplier. As for the 'Last Stand'? That critical and word of mouth turkey opened with a spectacular $122 million in four days (Memorial Day weekend, natch). It closed with just $235 million. If we take the four day number, it gives X-Men: The Last Stand a shockingly poor 1.9x w2t multiplier. But lets play fair and take the three day Fri-Sun portion. Factoring in just the $105 million three-day number still gives the third X-Men picture a poor 2.2x.
So, if we play best case scenario and give Wolverine 'legs' on par with the first X-Men picture, that gives it a super-solid $245 million. Not gonna happen, but let's pretend. Anyway, an identical performance to X2 gives it $215 million, same as X2. If Wolverine gets hit by word of mouth, stiff competition from the allegedly fantastic Star Trek, genre competion from Terminator: Salvation, and, yes, that bootleg, it could see a quick and brutal collapse (do you think anyone who has the bootleg but still saw it in theaters this weekend is going to spend the time and money for a repeat viewing at a threater?). I'm not saying it's going to be Watchmen-terrible (that one opened to $55 million and closed with $108 million... a terrifying 1.96x weekend-to-total multiplier), but a similar to X-Men: The Last Stand 2.2x performance would bring about a domestic total of $187 million. Nothing to sneeze at, but its not a total that gets X-Men Origins: Magneto or X-Men Origins: Gambit greenlit.
As always, next Friday's numbers will tell the tale. Once again, the culprit is budget versus plausible expectations. Had Fox kept the budget close to the announced $90 million, this would have been a grand slam home run no matter how well it held up. But alleged reshoots and other behind the scenes turmoil ballooned this thing well past the budgets for X-Men and X2. I've said this quite a bit, but at some point studios have to stop budgeting every major franchise picture at such a high cost that they MUST break records to even make their money back.
Ghosts of Girlfriends Past opened to a mildly underwhelming $15.4 million, which is about what the less-star powered Made Of Honor grossed ($14.7 million) against Iron Man's much larger opening weekend (compared to Wolverine) last year. I guess Patrick Dempsey is a bigger rom-com draw than Matthew McConaughey and Jennifer Garner. The Battle For Terra, an ambitious 3D animated sci-fi action film about benevolent aliens and murderous, imperialist humans, completely tanked with just $1 million on 1100 screens. Looks like Lionsgate's hot streak is officially over. Tyler Perry's I Can Do Bad All By Myself (9/11/09) and Saw VI (10/23/09) cannot come soon enough.
Other news? Well, Paramount is now a little nervous, as Star Trek once again sits in the unenviable slot of being the 'second big film of summer', a place that has housed mega flops (Speed Racer, Poseidon), mid-budget performers (Monster In Law, The Horse Whisperer), and an overbudget domestic dissapointment that was saved by overseas muscle (Troy). Since 1995, when Die Hard: With A Vengeance overpowered Crimson Tide in the second weekend of summer, only a single film (Troy - summer 2004) has opened to number one as the second big flick of summer. While Star Trek certainly has the buzz and the reviews to theoretically break the curse, there is no guarantee that non-geeks will show up to sample the updated version of that nerdiest of sci-fi staples (no offense intended, I'm a geek too). Paramount has made not one false move with the advertising campaign since November, so now it's up to fate.
Posted using ShareThis
Overpowering a month-early leak of the work print, theoretical fears of swine flu, and some of the worst buzz of any summer film not named G.I. Joe or Year One, X-Men Origins: Wolverine powered its way to a terrific $85.05 million opening weekend. The film opened to $35 million on Friday, which included $5 million in midnight screenings. So, if you count the midnight screenings as part of the Friday total (as we always do here, since the studio made the choice to hold said midnight engagements), that gives the picture a decent 2.4x opening day-to-weekend multiplier. For comparison, last year's big summer kick-off picture, Iron Man, opened to $102 million with midnight screenings, giving the picture a 2.6x.
So, amazingly enough, not only did the film score a boffo opening day, it actually didn't completely collapse over the weekend. To be fair, I am biased, believing the film to be stunningly not entertaining, but this would-be fourth X-Men picture actually had a comparable multiplier with the previous X-Men pictures. For comparison, X-Men: The Last Stand had a three-day multiplier of 2.3x (to be fair, it opened on the Friday of Memorial Day weekend, so it had an extra holiday Monday to take in movie goers). X2: X-Men United opened at 31/85, giving it a 2.74x. And the original X-Men ($20 million opening day/$54 million opening weekend), had a 2.62x.
So, the good news is that Hugh Jackman and company weathered an unimaginable storm of bad luck to score a weekend knockout anyway. It is the 8th biggest opening weekend for a comic book adaptation. It is the nineteenth biggest opening weekend of all time, becoming the astounding 21st film to open to over $80 million (all since November, 2001). Remember that pointless figure for 'third biggest opening weekend for a fourth in a series'? Yeah, Wolverine just blew past Fast & Furious to claim that pointless touchstone. Oh, and Wolverine now has the biggest opening weekend of 2009.
Is there bad news? Perhaps. In a marketplace that seems more and more front-loaded, we have now seen almost a year since a film crossed the $200 million mark (that would be The Dark Knight back in July, 2008). In that time, we have seen six $50 million+ openings that have failed to even reach $200 million. Twilight, Quantum of Solace, Madagascar 2, Watchmen, Monsters Vs. Aliens, Fast & Furious... four of those titles opened well north of $60 million. The closest was Twilight, which opened to $69 million and ended up at $191 million. Monsters and Aliens is now at $185 million and has two weeks to get there before Night at the Museum 2 effectively kills it (and 'MvA' will lose many of its IMAX screens to Star Trek this weekend). Point being, $200 million is not guaranteed, especially with this particularly short-term franchise.
Quite frankly, X-Men pictures has the worst legs of any major franchise. The first film, despite getting solid reviews and decent word of mouth from fans and casual moviegoers, still barely made 2.88x its opening weekend. It opened with $54 million and ended with $157 million. And, despite rave reviews, rapturous response from moviegoers, and being considered one of the best comic book movies ever made, X2 opened with $85 million and closed with just $215 million, a downright pathetic 2.5x weekend to total multiplier. As for the 'Last Stand'? That critical and word of mouth turkey opened with a spectacular $122 million in four days (Memorial Day weekend, natch). It closed with just $235 million. If we take the four day number, it gives X-Men: The Last Stand a shockingly poor 1.9x w2t multiplier. But lets play fair and take the three day Fri-Sun portion. Factoring in just the $105 million three-day number still gives the third X-Men picture a poor 2.2x.
So, if we play best case scenario and give Wolverine 'legs' on par with the first X-Men picture, that gives it a super-solid $245 million. Not gonna happen, but let's pretend. Anyway, an identical performance to X2 gives it $215 million, same as X2. If Wolverine gets hit by word of mouth, stiff competition from the allegedly fantastic Star Trek, genre competion from Terminator: Salvation, and, yes, that bootleg, it could see a quick and brutal collapse (do you think anyone who has the bootleg but still saw it in theaters this weekend is going to spend the time and money for a repeat viewing at a threater?). I'm not saying it's going to be Watchmen-terrible (that one opened to $55 million and closed with $108 million... a terrifying 1.96x weekend-to-total multiplier), but a similar to X-Men: The Last Stand 2.2x performance would bring about a domestic total of $187 million. Nothing to sneeze at, but its not a total that gets X-Men Origins: Magneto or X-Men Origins: Gambit greenlit.
As always, next Friday's numbers will tell the tale. Once again, the culprit is budget versus plausible expectations. Had Fox kept the budget close to the announced $90 million, this would have been a grand slam home run no matter how well it held up. But alleged reshoots and other behind the scenes turmoil ballooned this thing well past the budgets for X-Men and X2. I've said this quite a bit, but at some point studios have to stop budgeting every major franchise picture at such a high cost that they MUST break records to even make their money back.
Ghosts of Girlfriends Past opened to a mildly underwhelming $15.4 million, which is about what the less-star powered Made Of Honor grossed ($14.7 million) against Iron Man's much larger opening weekend (compared to Wolverine) last year. I guess Patrick Dempsey is a bigger rom-com draw than Matthew McConaughey and Jennifer Garner. The Battle For Terra, an ambitious 3D animated sci-fi action film about benevolent aliens and murderous, imperialist humans, completely tanked with just $1 million on 1100 screens. Looks like Lionsgate's hot streak is officially over. Tyler Perry's I Can Do Bad All By Myself (9/11/09) and Saw VI (10/23/09) cannot come soon enough.
Other news? Well, Paramount is now a little nervous, as Star Trek once again sits in the unenviable slot of being the 'second big film of summer', a place that has housed mega flops (Speed Racer, Poseidon), mid-budget performers (Monster In Law, The Horse Whisperer), and an overbudget domestic dissapointment that was saved by overseas muscle (Troy). Since 1995, when Die Hard: With A Vengeance overpowered Crimson Tide in the second weekend of summer, only a single film (Troy - summer 2004) has opened to number one as the second big flick of summer. While Star Trek certainly has the buzz and the reviews to theoretically break the curse, there is no guarantee that non-geeks will show up to sample the updated version of that nerdiest of sci-fi staples (no offense intended, I'm a geek too). Paramount has made not one false move with the advertising campaign since November, so now it's up to fate.
Monday, 4 May 2009
X-Men Origins: Wolverine Scores Big at Box Office
From: canmag.com
Written by: Fred Topel.
Though X-Men Origins: Wolverine couldn't stand up to the critics, the film, taking advantage of an already-strong franchise and fanbase, enjoyed a Blob-strength opening weekend. Taking in an estimated $87 million, the film has quickly become the best non-holiday bow for 20th Century Fox.
Box Office Report: X-Men Origins: Wolverine
Wolverine also did excellent overseas. The prequel grossed $73 million from 101 territories to bring its worldwide opening to exactly $160 million. The film did so well globally that it represents the best opening ever in plenty of those international markets.
Though strong, the film still couldn't stand up to X-Men: The Last Stand's $102 million opening over Memorial Day weekend back in 2006. In all fairness, Wolverine is the better of the two pictures and, if it did have a holiday to open on, it might have achieved similar domestic numbers.
20th Century Fox has to be relieved to have already made back the film's reported $150 million budget. With Star Trek coming this upcoming weekend, Wolverine's box office glory won't last long.
Written by: Fred Topel.
Though X-Men Origins: Wolverine couldn't stand up to the critics, the film, taking advantage of an already-strong franchise and fanbase, enjoyed a Blob-strength opening weekend. Taking in an estimated $87 million, the film has quickly become the best non-holiday bow for 20th Century Fox.
Box Office Report: X-Men Origins: Wolverine
Wolverine also did excellent overseas. The prequel grossed $73 million from 101 territories to bring its worldwide opening to exactly $160 million. The film did so well globally that it represents the best opening ever in plenty of those international markets.
Though strong, the film still couldn't stand up to X-Men: The Last Stand's $102 million opening over Memorial Day weekend back in 2006. In all fairness, Wolverine is the better of the two pictures and, if it did have a holiday to open on, it might have achieved similar domestic numbers.
20th Century Fox has to be relieved to have already made back the film's reported $150 million budget. With Star Trek coming this upcoming weekend, Wolverine's box office glory won't last long.
Saturday, 2 May 2009
Samantha Blogs: The Hunks of 'Wolverine,' 'Star Trek'
From: theinsider.com
Summer movie madness is reaching a boil, and "The Insider"'s Samantha Harris is blogging her impressions of the hunks of 'Star Trek' and 'X-Men Origins: Wolverine'!
Samantha recently interviewed 'Star Trek''s Kirk and Spock, Chris Pine and Zachary Quinto, and she gushes that "they are going to be, if they're not already, plastered on every school girl's wall when this movie comes out."
But can they out-duel Hugh Jackman's 'Wolverine' in a box-office brawl? Samantha shares her thoughts about that -- and reveals which of her "Dancing" co-stars is a huge Trekkie! Could it be Tom Bergeron?
Plus, Samantha and "Insider" director Miguel take a peek at the TheInsider.com's spoof of the recent PETA ads -- and it appears that the joke's on Miguel!
Summer movie madness is reaching a boil, and "The Insider"'s Samantha Harris is blogging her impressions of the hunks of 'Star Trek' and 'X-Men Origins: Wolverine'!
Samantha recently interviewed 'Star Trek''s Kirk and Spock, Chris Pine and Zachary Quinto, and she gushes that "they are going to be, if they're not already, plastered on every school girl's wall when this movie comes out."
But can they out-duel Hugh Jackman's 'Wolverine' in a box-office brawl? Samantha shares her thoughts about that -- and reveals which of her "Dancing" co-stars is a huge Trekkie! Could it be Tom Bergeron?
Plus, Samantha and "Insider" director Miguel take a peek at the TheInsider.com's spoof of the recent PETA ads -- and it appears that the joke's on Miguel!
[VIDEO]
Thursday, 30 April 2009
'Wolverine' Could Sink Its Claws Into $100M
But New Line will try to lure the ladies away from Hugh Jackman's "X-Men" prequel this weekend with “Ghost of Girlfriends Past."
From: thewrap.com
Written by: Lauren Horwitch.
It’ll take more than a swine flu scare to keep audiences away from “X-Men Origins: Wolverine,” opening in 4,000 theaters this weekend.
The Fox prequel -- the first in a coming onslaught of summer tentpoles including “Star Trek” (May 8) and “Angels and Demons” (May 15) -- is a shoo-in for No. 1. The question is, how big will it be?
According to Marketcast tracking data published in Ad Age last week, “Wolverine” is on track to hit $100 million this weekend, which would make it the biggest opening of 2009 so far. This year's current box-office champion is "Fast & Furious" which opened on April 5 with $72.5 million.
Fandango says that by 5 p.m. Wednesday, 65 percent of its ticket sales were “Wolverine,” and Movietickets.com reported Wednesday afternoon that 200 screenings of “Wolverine” already had sold out -- over a quarter of which are for midnight shows on Thursday.
By comparison, Marketcast predicted “Trek” will open with about $50 million.
Indeed, $100 million doesn’t seem unreasonable, considering 2006’s “X-Men: the Last Stand” made $123 million on its opening four-day weekend and “X2” scored 85.6 million in 2003. The three previous “X-Men” films have made more than $1.16 billion worldwide. Fox is already developing an “origins” prequel about Ian McKellen’s character Magneto and other X-Men.
Still, Fox senior VP and general sales manager Chris Aronson is hedging his bets -- he told TheWrap that the studio doesn’t think “Wolverine” will hit $100 million. “That’s not what we’re expecting in a million years,” he said. “If we can gross $70 million or over, it would be fantastic. The expectation bar has to be set at a realistic place. It’s a spin-off of a movie that’s been sequelized twice.”
Marketcast’s report indicated that women under 24 could be a key factor in “Wolverine’s” success -- 38 percent of women in that age group said they have a “definite interest” in seeing Jackman as Wolverine for the fourth time, while only 18 percent expressed interest in seeing “Trek.”
From: thewrap.com
Written by: Lauren Horwitch.
It’ll take more than a swine flu scare to keep audiences away from “X-Men Origins: Wolverine,” opening in 4,000 theaters this weekend.
The Fox prequel -- the first in a coming onslaught of summer tentpoles including “Star Trek” (May 8) and “Angels and Demons” (May 15) -- is a shoo-in for No. 1. The question is, how big will it be?
According to Marketcast tracking data published in Ad Age last week, “Wolverine” is on track to hit $100 million this weekend, which would make it the biggest opening of 2009 so far. This year's current box-office champion is "Fast & Furious" which opened on April 5 with $72.5 million.
Fandango says that by 5 p.m. Wednesday, 65 percent of its ticket sales were “Wolverine,” and Movietickets.com reported Wednesday afternoon that 200 screenings of “Wolverine” already had sold out -- over a quarter of which are for midnight shows on Thursday.
By comparison, Marketcast predicted “Trek” will open with about $50 million.
Indeed, $100 million doesn’t seem unreasonable, considering 2006’s “X-Men: the Last Stand” made $123 million on its opening four-day weekend and “X2” scored 85.6 million in 2003. The three previous “X-Men” films have made more than $1.16 billion worldwide. Fox is already developing an “origins” prequel about Ian McKellen’s character Magneto and other X-Men.
Still, Fox senior VP and general sales manager Chris Aronson is hedging his bets -- he told TheWrap that the studio doesn’t think “Wolverine” will hit $100 million. “That’s not what we’re expecting in a million years,” he said. “If we can gross $70 million or over, it would be fantastic. The expectation bar has to be set at a realistic place. It’s a spin-off of a movie that’s been sequelized twice.”
Marketcast’s report indicated that women under 24 could be a key factor in “Wolverine’s” success -- 38 percent of women in that age group said they have a “definite interest” in seeing Jackman as Wolverine for the fourth time, while only 18 percent expressed interest in seeing “Trek.”
[MORE]
Friday, 24 April 2009
Wednesday, 8 April 2009
A Look at the Alamo's Secret Screenings to Come
From: Cinematical.com
In lieu of last night's hush-hush premiere of J.J. Abrams' Star Trek reboot in Austin, to a crowd fully expecting to see mere clips and then The Wrath of Khan instead, we checked our Inbox of the Future (patent pending) to see what other shenanigans the Alamo Drafthouse might have in store for these coming months...
April 15th -- An admitted sneak screening of X-Men Origins: Wolverine was preceded by the director's cut of Australia, with Hugh Jackman himself collecting money at the door as "a favor to Baz." However, many stayed to take advantage of the opportunity to literally stone Roger Friedman in the parking lot. Several Austinites returned their bongs to their cars when they realized that this didn't mean whatever they thought it meant, while others were commissioned to restrain Hitfix's Drew McWeeny when he took to chucking nearby scooters towards the tied-up Friedman -- a sight which left AICN's Massawyrm in equal awe and fear for his property.
In lieu of last night's hush-hush premiere of J.J. Abrams' Star Trek reboot in Austin, to a crowd fully expecting to see mere clips and then The Wrath of Khan instead, we checked our Inbox of the Future (patent pending) to see what other shenanigans the Alamo Drafthouse might have in store for these coming months...
April 15th -- An admitted sneak screening of X-Men Origins: Wolverine was preceded by the director's cut of Australia, with Hugh Jackman himself collecting money at the door as "a favor to Baz." However, many stayed to take advantage of the opportunity to literally stone Roger Friedman in the parking lot. Several Austinites returned their bongs to their cars when they realized that this didn't mean whatever they thought it meant, while others were commissioned to restrain Hitfix's Drew McWeeny when he took to chucking nearby scooters towards the tied-up Friedman -- a sight which left AICN's Massawyrm in equal awe and fear for his property.
[MORE]
Sunday, 8 March 2009
"Wolverine" and "Star Trek" Running Times
From: WorstPreviews.com
Collider noticed that the Arclight Cinemas website has unveiled the running times of the upcoming "Star Trek" and "X-Men Origins: Wolverine" movies.
After seeing some of the "Wolverine" trailers, fans began to wonder whether so many characters can be used in the movie that can still have a normal running time. Since Fox is behind it, some even assumed that we can expect a film that has been sliced into a 90 minute mess. Not so.
According to the site, "Wolverine" is exactly 120 minutes, which is 2 hours.
"Star Trek" is a bit longer, clocking in at 140 minutes, or 2 hours 20 minutes.
Collider noticed that the Arclight Cinemas website has unveiled the running times of the upcoming "Star Trek" and "X-Men Origins: Wolverine" movies.
After seeing some of the "Wolverine" trailers, fans began to wonder whether so many characters can be used in the movie that can still have a normal running time. Since Fox is behind it, some even assumed that we can expect a film that has been sliced into a 90 minute mess. Not so.
According to the site, "Wolverine" is exactly 120 minutes, which is 2 hours.
"Star Trek" is a bit longer, clocking in at 140 minutes, or 2 hours 20 minutes.
Friday, 6 February 2009
Wolverine gets earlier release date
From: Filmonic.com
According to Den of Geek the release of X-Men Origins: Wolverine has been moved forward a few days.
According to Den of Geek the release of X-Men Origins: Wolverine has been moved forward a few days.
The original plan was for the film to get its release on Friday 1st May, but thanks to a quick shuffle of the schedules, it’s now moved into April.
The new date that you need to mark in your diaries is Wednesday 29th April 2009.
This isn’t a big shift and a small change in date is quite common (just like reshoots). The following weekend Star Trek is released so Fox will be trying to get more $$$ before the other summer players show themselves. Considering the future direction of the X-Men franchise depends on the success or failure of Wolverine, this is a good move.
Thursday, 10 April 2008
Patrick Stewart rules 'Macbeth'
From: Los Angeles Times.
By Charles McNulty.
Patrick Stewart rules the updated production.
NEW YORK -- Patrick Stewart's suave performance in the Chichester Festival Theatre production of "Macbeth," which opened Tuesday at the Lyceum Theatre on Broadway, can be scored a triumph, but it comes with a few provisos.
Hardly anyone ever gets this most tempting of Shakespearean roles right. By comparison, Hamlet, Othello and King Lear -- tough as they are to pull off -- are more amenable to partial successes. When actors fail in these parts, they tend to fail upward.
The Scottish play, on the other hand, can really be hellish for its leading man. Don't believe me? Ask Kelsey Grammer, Alec Baldwin, Christopher Plummer or any of the other big name Macbeths of the last couple of decades and you'll find out why theater people say the tragedy is cursed.
The play requires a kind of cinematic facility of its director, who must agilely negotiate between close-ups and special effects. Rupert Goold's staging may ride roughshod over the text's subtler psychology, yet it spectacularly captures the moral inversion of a society in which a celebrated military hero can rapidly transform into a fiendish butcher.
The production clocks in at just under three hours, but business is briskly transacted. The upside is that audience members aren't given many opportunities to check their watches; the downside is that there's not always sufficient space for the protagonist's moments of fleeting circumspection.
This is "Macbeth" as arty action movie, beautifully spoken by a cast that seems relatively at home in the modernist whirlwind Goold has conjured. And Stewart, a veteran of Shakespeare as well as sci-fi blockbusters such as the "Star Trek" and "X-Men" franchises, looks like he was born for this sort of adventurous approach to the Bard of Avon.
The setting is a sleekly industrial kitchen. Tougher to pin down is the era, which suggests some crazy mishmash of Stalin's Russia and a timeless Great Britain (more England than Scotland, if the accents are any gauge).
Thankfully, the update doesn't make a mockery of the tale. The set (designed with diabolical flexibility by Anthony Ward, who's also responsible for the costumes) is liberally splattered with gore, as expected. But much of the violence is conveyed through Lorna Heavey's chillingly real video projections of wide-ranging military madness.
The nightmare may have occult trappings, but its horror is only too human. To that end, the three weird sisters are introduced as triage nurses, delighting in the battlefield carnage they'd like to see continue even after peace threatens to put the kibosh on their fun.
Technology's role.
The multimedia treatment of the combat scenes plays out like a thriller in an intensive care unit. Yes, the directorial strokes can be overdone (even the witches grow gimmicky), but the use of technology heightens suspense to the breaking point, and few productions have made the connection between state-sanctioned war and individual homicide so scarily vivid.
The central culinary metaphor is an attempt to reveal what happens when public and private appetites are permitted to run riot. Macbeth slowly decants red wine as he scrutinizes his capacity for committing regicide. Later, he fixes himself a neat little sandwich, chopping and spreading with devilish panache while ordering paranoid hits on Banquo (an accomplished Martin Turner) and his son, Fleance (Emmett White).
Lady Macbeth (Kate Fleetwood, overwrought yet lucid) fetches a cake in honor of Duncan's royal visit in the manner of a terrorist gleefully patting a knapsack freshly packed with explosives. When that troubling young Fleance tries to help himself to a leftover slice, Macbeth whisks the dessert back into the fridge -- the sweets aren't for everyone.
For all the production's scenic ingenuity, however, the old challenge of "Macbeth" remains unsolved -- how are you supposed to stay sympathetically engaged with a hero whose journey is from valor to serial killing?
The Aristotelian emotions of pity and fear aren't easily won, and it's not clear that Goold is even hunting after anything vaguely cathartic. His focus is moral rather than emotional, which in some respects is quite refreshing but still a line of attack that prevents us from registering the enormous loss in Macbeth's debasement.
The banquet scene, where a guilty Macbeth sees Banquo's ghost, is repeated before and after intermission, with different levels of corporeal horror. But the self-conscious flashiness of the replay eclipses any insight into Macbeth's submerged conscience. And the "Tomorrow, and tomorrow, and tomorrow" soliloquy, inspired by the death of Lady Macbeth, is somewhat blunted by the fact their marital bond seems purely lustful.
Haunting portrayals.
Obviously our feelings aren't shut out entirely. But the most haunting aspects of the work -- the vast discrepancy in age between Stewart's Macbeth and Fleetwood's much younger Lady Macbeth or the image of a neighborly Lady Macduff (Rachel Ticotin) and her doomed brood of children -- are more embodied than played.
Still, Stewart's skillfulness is mesmerizing even if it isn't devastating. But there's no denying the nuclear glow he bestows on the figure's faltering humanity. And even more impressive, he possesses the quality that is indispensable to any portrayal of Macbeth -- the glamorous aura of the chosen one. After all, it's proximity to greatness that urges the character to overleap what is permissibly civilized.
Stewart comes close to achieving something extraordinary, and for a play with so many perplexities in performance, that is an exceptional credit in an already exceptional career.
By Charles McNulty.
Patrick Stewart rules the updated production.NEW YORK -- Patrick Stewart's suave performance in the Chichester Festival Theatre production of "Macbeth," which opened Tuesday at the Lyceum Theatre on Broadway, can be scored a triumph, but it comes with a few provisos.
Hardly anyone ever gets this most tempting of Shakespearean roles right. By comparison, Hamlet, Othello and King Lear -- tough as they are to pull off -- are more amenable to partial successes. When actors fail in these parts, they tend to fail upward.
The Scottish play, on the other hand, can really be hellish for its leading man. Don't believe me? Ask Kelsey Grammer, Alec Baldwin, Christopher Plummer or any of the other big name Macbeths of the last couple of decades and you'll find out why theater people say the tragedy is cursed.
The play requires a kind of cinematic facility of its director, who must agilely negotiate between close-ups and special effects. Rupert Goold's staging may ride roughshod over the text's subtler psychology, yet it spectacularly captures the moral inversion of a society in which a celebrated military hero can rapidly transform into a fiendish butcher.
The production clocks in at just under three hours, but business is briskly transacted. The upside is that audience members aren't given many opportunities to check their watches; the downside is that there's not always sufficient space for the protagonist's moments of fleeting circumspection.
This is "Macbeth" as arty action movie, beautifully spoken by a cast that seems relatively at home in the modernist whirlwind Goold has conjured. And Stewart, a veteran of Shakespeare as well as sci-fi blockbusters such as the "Star Trek" and "X-Men" franchises, looks like he was born for this sort of adventurous approach to the Bard of Avon.
The setting is a sleekly industrial kitchen. Tougher to pin down is the era, which suggests some crazy mishmash of Stalin's Russia and a timeless Great Britain (more England than Scotland, if the accents are any gauge).
Thankfully, the update doesn't make a mockery of the tale. The set (designed with diabolical flexibility by Anthony Ward, who's also responsible for the costumes) is liberally splattered with gore, as expected. But much of the violence is conveyed through Lorna Heavey's chillingly real video projections of wide-ranging military madness.
The nightmare may have occult trappings, but its horror is only too human. To that end, the three weird sisters are introduced as triage nurses, delighting in the battlefield carnage they'd like to see continue even after peace threatens to put the kibosh on their fun.
Technology's role.
The multimedia treatment of the combat scenes plays out like a thriller in an intensive care unit. Yes, the directorial strokes can be overdone (even the witches grow gimmicky), but the use of technology heightens suspense to the breaking point, and few productions have made the connection between state-sanctioned war and individual homicide so scarily vivid.
The central culinary metaphor is an attempt to reveal what happens when public and private appetites are permitted to run riot. Macbeth slowly decants red wine as he scrutinizes his capacity for committing regicide. Later, he fixes himself a neat little sandwich, chopping and spreading with devilish panache while ordering paranoid hits on Banquo (an accomplished Martin Turner) and his son, Fleance (Emmett White).
Lady Macbeth (Kate Fleetwood, overwrought yet lucid) fetches a cake in honor of Duncan's royal visit in the manner of a terrorist gleefully patting a knapsack freshly packed with explosives. When that troubling young Fleance tries to help himself to a leftover slice, Macbeth whisks the dessert back into the fridge -- the sweets aren't for everyone.
For all the production's scenic ingenuity, however, the old challenge of "Macbeth" remains unsolved -- how are you supposed to stay sympathetically engaged with a hero whose journey is from valor to serial killing?
The Aristotelian emotions of pity and fear aren't easily won, and it's not clear that Goold is even hunting after anything vaguely cathartic. His focus is moral rather than emotional, which in some respects is quite refreshing but still a line of attack that prevents us from registering the enormous loss in Macbeth's debasement.
The banquet scene, where a guilty Macbeth sees Banquo's ghost, is repeated before and after intermission, with different levels of corporeal horror. But the self-conscious flashiness of the replay eclipses any insight into Macbeth's submerged conscience. And the "Tomorrow, and tomorrow, and tomorrow" soliloquy, inspired by the death of Lady Macbeth, is somewhat blunted by the fact their marital bond seems purely lustful.
Haunting portrayals.
Obviously our feelings aren't shut out entirely. But the most haunting aspects of the work -- the vast discrepancy in age between Stewart's Macbeth and Fleetwood's much younger Lady Macbeth or the image of a neighborly Lady Macduff (Rachel Ticotin) and her doomed brood of children -- are more embodied than played.
Still, Stewart's skillfulness is mesmerizing even if it isn't devastating. But there's no denying the nuclear glow he bestows on the figure's faltering humanity. And even more impressive, he possesses the quality that is indispensable to any portrayal of Macbeth -- the glamorous aura of the chosen one. After all, it's proximity to greatness that urges the character to overleap what is permissibly civilized.
Stewart comes close to achieving something extraordinary, and for a play with so many perplexities in performance, that is an exceptional credit in an already exceptional career.
Friday, 4 April 2008
Hollywood history auctioned in LA
From: CCTV
[WATCH VIDEO]
Some Hollywood history from "King Kong" to "X-Men" goes on sale this week in Los Angeles. The auction by the memorabilia company, Profiles in History also includes heads of dinosaurs used on-screen in the "Jurassic Park" trilogy.
...
Also up for auction is Mike Myers's costume from "Austin Powers in Goldmember." It's expected to sell for between 6-thousand dollars and 8-thousand. There are costumes from "Star Trek" and "Batman" costumes. Halle Berry's costume from "X-Men" is expected to fetch at least $30,000.
...more
[WATCH VIDEO]
Some Hollywood history from "King Kong" to "X-Men" goes on sale this week in Los Angeles. The auction by the memorabilia company, Profiles in History also includes heads of dinosaurs used on-screen in the "Jurassic Park" trilogy.
...
Also up for auction is Mike Myers's costume from "Austin Powers in Goldmember." It's expected to sell for between 6-thousand dollars and 8-thousand. There are costumes from "Star Trek" and "Batman" costumes. Halle Berry's costume from "X-Men" is expected to fetch at least $30,000.
...more
Sunday, 30 March 2008
X-Men producer praises subsidy for blockbusters
From: Stuff.co.nz
By DAVID WILLIAMS
Government grants are essential for hooking big budget movies into coming back, the producer of the latest Hollywood blockbuster to film in New Zealand says.
X-Men Origins: Wolverine producer Ralph Winter, who cut his teeth on the Star Trek films and has produced the other three X-Men movies, told The Press from Sydney that the New Zealand Government's grant of 15 per cent made a huge difference.
"Particularly when the US dollar is taking a beating around the world and you're spending $15 million to $20m in New Zealand.
"We keep track of those things very, very carefully in our accounting department because those are big dollars."
Economic Development Minister Pete Hodgson said the Large Budget Screen Production Grant ensured New Zealand remained internationally competitive in the film sector.
"Since 2003 the Government has paid out just over $100m, which means that an additional $800m has been brought into the New Zealand economy."
Film New Zealand chief executive Judith McCann said the grants, introduced at 12.5 per cent in 2003 and lifted to 15 per cent last July, were crucial and had been hugely effective.
"Essentially it's to attract production here which generates more than 15 per cent of expenditures - it means you're attracting 85 per cent you wouldn't have had anyway."
McCann said the X-Men blockbuster was the first to be based out of Fox Studios in Sydney and filmed on both sides of the Tasman.
Location shooting in New Zealand for Wolverine finished at Easter. Filming will continue in Sydney until June, when post-production will move to Los Angeles.
Winter said he would love to work in New Zealand again.
Before filming, he talked to Wellington-based visual effects companies Weta Digital and Weta Workshop, co-owned by Peter Jackson, about working on Wolverine after using them on Fantastic Four and Rise of the Silver Surfer.
However, the companies were busy making Avatar and The Lovely Bones.
The producer said he could tell why the Narnia movies and Lord of the Rings were shot in Kiwi landscapes.
"The stuff in New Zealand is just extraordinary - it is unlike any other place on the Earth," he said.
X-Men Origins: Wolverine will be released in May 2009.
By DAVID WILLIAMS
Government grants are essential for hooking big budget movies into coming back, the producer of the latest Hollywood blockbuster to film in New Zealand says.
X-Men Origins: Wolverine producer Ralph Winter, who cut his teeth on the Star Trek films and has produced the other three X-Men movies, told The Press from Sydney that the New Zealand Government's grant of 15 per cent made a huge difference.
"Particularly when the US dollar is taking a beating around the world and you're spending $15 million to $20m in New Zealand.
"We keep track of those things very, very carefully in our accounting department because those are big dollars."
Economic Development Minister Pete Hodgson said the Large Budget Screen Production Grant ensured New Zealand remained internationally competitive in the film sector.
"Since 2003 the Government has paid out just over $100m, which means that an additional $800m has been brought into the New Zealand economy."
Film New Zealand chief executive Judith McCann said the grants, introduced at 12.5 per cent in 2003 and lifted to 15 per cent last July, were crucial and had been hugely effective.
"Essentially it's to attract production here which generates more than 15 per cent of expenditures - it means you're attracting 85 per cent you wouldn't have had anyway."
McCann said the X-Men blockbuster was the first to be based out of Fox Studios in Sydney and filmed on both sides of the Tasman.
Location shooting in New Zealand for Wolverine finished at Easter. Filming will continue in Sydney until June, when post-production will move to Los Angeles.
Winter said he would love to work in New Zealand again.
Before filming, he talked to Wellington-based visual effects companies Weta Digital and Weta Workshop, co-owned by Peter Jackson, about working on Wolverine after using them on Fantastic Four and Rise of the Silver Surfer.
However, the companies were busy making Avatar and The Lovely Bones.
The producer said he could tell why the Narnia movies and Lord of the Rings were shot in Kiwi landscapes.
"The stuff in New Zealand is just extraordinary - it is unlike any other place on the Earth," he said.
X-Men Origins: Wolverine will be released in May 2009.
Thursday, 27 March 2008
Macbeth to Offer Final Dress Rehearsal as Benefit for Actors Fund; Previews Begin March 29
From: Playbill.com
By Adam Hetrick
The Broadway revival of Macbeth starring Patrick Stewart will offer theatregoers the chance to catch its final dress rehearsal as a benefit performance for the Actors Fund of America
The March 28 final dress rehearsal, originally scheduled as the first day of previews, is currently on sale as a benefit for the non-profit organization. Select orchestra and front-mezzanine seats, priced $100, are available by visiting www.actorsfund.org.
Macbeth, which arrives on Broadway following an acclaimed engagement in the West End and a current BAM run, will now officially begin previews March 29 with an opening on April 8 at the Lyceum Theatre. The limited engagement will run through May 24.
Stewart stars in the title role of Shakespeare's bloody drama with a British cast that includes Kate Fleetwood (Lady Macbeth), Paul Shelley (Duncan), Scott Handy (Malcolm), Ben Carpenter (Donalbain), Martin Turner (Banquo), Michael Feast (Macduff), Mark Rawlings (Lennox), Tim Treloar (Ross), Bill Nash (Angus), Christopher Knott (Old Seyward), Oliver Birch (Lady Macbeth's servant), Christopher Patrick Nolan (Seyton), Hywel John (Bloody Sergeant), Suzanne Burden (Lady Macduff), Polly Frame, Niamh McGrady and Sophie Hunter (Witches).
Macbeth features direction by Rupert Goold and is set in a "subterranean kitchen that serves as a military hospital in a timeless and nameless country." The production's West End engagement recently won two Olivier Awards: Best Lighting Design and Best Director for Rupert Goold.
The design team for Macbeth comprises Anthony Ward (production design), Howard Harrison (lighting design), Adam Cork (composition and sound design), Lorna Heavey (video and projection design), Georgina Lamb (movement director) and Terry King (fight director).
Patrick Stewart starred in the Broadway revival of Harold Pinter's The Caretaker. His additional stage credits include A Christmas Carol, The Ride Down Mt. Morgan, The Tempest as well as recent turns in the RSC's Antony and Cleopatra and The Tempest, which was also directed by Goold. Stewart is well known for his screen work as Captain Jean-Luc Picard in "Star Trek" as well as his performances in the "X-Men" movies. Stewart is slated to return to the RSC stage as Claudius in Hamlet later this year.
The Broadway engagement is produced by Duncan C. Weldon & Paul Elliott, Jeffrey Archer, Bill Ballard, Terri and Timothy Childs, Rodger Hess, David Mirvish, Adriana Mnuchin and Emanuel Azenberg with BAM.
Macbeth will play the following schedule at the Lyceum: weeks beginning March 31, April 14, April 28, May 12: Tuesday-Saturday at 8 PM, Wednesday and Saturday at 2 PM and Sunday at 3 PM; weeks beginning April 7, April 21, May 5: Tuesday-Friday at 8 PM, Saturday at 2 PM and 8 PM, Sunday at 3 PM; and week beginning May 19: Tuesday-Saturday at 8 PM, Wednesday and Saturday at 2 PM.
Tickets, priced $50-$100, are currently available to AmEx card-holders by phoning (212) 239-6200 or by visiting www.Telecharge.com. Tickets go on sale to the general public March 22.
The Lyceum Theatre is located at 149 West 45th Street in Manhattan.
By Adam Hetrick
The Broadway revival of Macbeth starring Patrick Stewart will offer theatregoers the chance to catch its final dress rehearsal as a benefit performance for the Actors Fund of America
The March 28 final dress rehearsal, originally scheduled as the first day of previews, is currently on sale as a benefit for the non-profit organization. Select orchestra and front-mezzanine seats, priced $100, are available by visiting www.actorsfund.org.
Macbeth, which arrives on Broadway following an acclaimed engagement in the West End and a current BAM run, will now officially begin previews March 29 with an opening on April 8 at the Lyceum Theatre. The limited engagement will run through May 24.
Stewart stars in the title role of Shakespeare's bloody drama with a British cast that includes Kate Fleetwood (Lady Macbeth), Paul Shelley (Duncan), Scott Handy (Malcolm), Ben Carpenter (Donalbain), Martin Turner (Banquo), Michael Feast (Macduff), Mark Rawlings (Lennox), Tim Treloar (Ross), Bill Nash (Angus), Christopher Knott (Old Seyward), Oliver Birch (Lady Macbeth's servant), Christopher Patrick Nolan (Seyton), Hywel John (Bloody Sergeant), Suzanne Burden (Lady Macduff), Polly Frame, Niamh McGrady and Sophie Hunter (Witches).
Macbeth features direction by Rupert Goold and is set in a "subterranean kitchen that serves as a military hospital in a timeless and nameless country." The production's West End engagement recently won two Olivier Awards: Best Lighting Design and Best Director for Rupert Goold.
The design team for Macbeth comprises Anthony Ward (production design), Howard Harrison (lighting design), Adam Cork (composition and sound design), Lorna Heavey (video and projection design), Georgina Lamb (movement director) and Terry King (fight director).
Patrick Stewart starred in the Broadway revival of Harold Pinter's The Caretaker. His additional stage credits include A Christmas Carol, The Ride Down Mt. Morgan, The Tempest as well as recent turns in the RSC's Antony and Cleopatra and The Tempest, which was also directed by Goold. Stewart is well known for his screen work as Captain Jean-Luc Picard in "Star Trek" as well as his performances in the "X-Men" movies. Stewart is slated to return to the RSC stage as Claudius in Hamlet later this year.
The Broadway engagement is produced by Duncan C. Weldon & Paul Elliott, Jeffrey Archer, Bill Ballard, Terri and Timothy Childs, Rodger Hess, David Mirvish, Adriana Mnuchin and Emanuel Azenberg with BAM.
Macbeth will play the following schedule at the Lyceum: weeks beginning March 31, April 14, April 28, May 12: Tuesday-Saturday at 8 PM, Wednesday and Saturday at 2 PM and Sunday at 3 PM; weeks beginning April 7, April 21, May 5: Tuesday-Friday at 8 PM, Saturday at 2 PM and 8 PM, Sunday at 3 PM; and week beginning May 19: Tuesday-Saturday at 8 PM, Wednesday and Saturday at 2 PM.
Tickets, priced $50-$100, are currently available to AmEx card-holders by phoning (212) 239-6200 or by visiting www.Telecharge.com. Tickets go on sale to the general public March 22.
The Lyceum Theatre is located at 149 West 45th Street in Manhattan.
Saturday, 16 February 2008
Greg Dean Schmitz about upcoming comic book movies.
From: 
WOLVERINE: SNIKT, BUB, SNIKT!
Filming of the 4th X-Men movie, X-Men Origins: Wolverine, starring Hugh Jackman, is well underway down in New Zealand, pretending to be Japan and Canada (which is funny, considering how often Canada pretends to be other places; this time Canada doesn't even get to play itself), and the first official image was released this week. Logan's secret past and adventures will be featured this time around, with various X-related characters expected to show up, though most of them are being kept under wraps for now, except Sabretooth, who we can expect to look a lot different than the Tyler Mane version in X-Men. The plot is being kept under relative wraps, but judging from this image, Wolverine's time in Japan (a very central part of the character's history in the comics) will be covered, which is good news. I love it when Wolverine fights ninjas. Expect your next dose of mutant mayhem in early May, 2009 roughly around the same time as the CGI adaptation of G-Force (AKA Gatchaman) and J.J. Abrams' revisualized Star Trek (which got bumped back several months this week).
BRIAN COX COULD READ A POP TART BOX AND IT WOULD CREEP ME OUT
Brian Cox is reuniting with the director of his creepy pedofile drama, L.I.E. for an adaptation of Edgar Allen Poe's The Tell-Tale Heart, shortened down to just Tell-Tale. Josh Lucas costars in this version of the tale (which sounds a bit like The Eye), which follows a recent heart transplant recipient who must find the killer of the heart's original owner, or he will die. In other words, it's not really anything like Poe's story. Oh well. Brian Cox and Josh Lucas also have the distinction of belonging to the small club of actors who have played military officers in movies based on Marvel super heroes.
SHAKING OUT THE REST OF THE KETCHUP IN THIS WEEK'S BOTTLE
- Sam Raimi is returning to his horror roots with Drag Me to Hell, starring Ellen Page (Juno) in a story about a curse.
I've just focused on news focusing on the X-Men spin off and actors, so for more info about other movies, go HERE.
WOLVERINE: SNIKT, BUB, SNIKT!
Filming of the 4th X-Men movie, X-Men Origins: Wolverine, starring Hugh Jackman, is well underway down in New Zealand, pretending to be Japan and Canada (which is funny, considering how often Canada pretends to be other places; this time Canada doesn't even get to play itself), and the first official image was released this week. Logan's secret past and adventures will be featured this time around, with various X-related characters expected to show up, though most of them are being kept under wraps for now, except Sabretooth, who we can expect to look a lot different than the Tyler Mane version in X-Men. The plot is being kept under relative wraps, but judging from this image, Wolverine's time in Japan (a very central part of the character's history in the comics) will be covered, which is good news. I love it when Wolverine fights ninjas. Expect your next dose of mutant mayhem in early May, 2009 roughly around the same time as the CGI adaptation of G-Force (AKA Gatchaman) and J.J. Abrams' revisualized Star Trek (which got bumped back several months this week).
BRIAN COX COULD READ A POP TART BOX AND IT WOULD CREEP ME OUT
Brian Cox is reuniting with the director of his creepy pedofile drama, L.I.E. for an adaptation of Edgar Allen Poe's The Tell-Tale Heart, shortened down to just Tell-Tale. Josh Lucas costars in this version of the tale (which sounds a bit like The Eye), which follows a recent heart transplant recipient who must find the killer of the heart's original owner, or he will die. In other words, it's not really anything like Poe's story. Oh well. Brian Cox and Josh Lucas also have the distinction of belonging to the small club of actors who have played military officers in movies based on Marvel super heroes.
SHAKING OUT THE REST OF THE KETCHUP IN THIS WEEK'S BOTTLE
- Sam Raimi is returning to his horror roots with Drag Me to Hell, starring Ellen Page (Juno) in a story about a curse.
I've just focused on news focusing on the X-Men spin off and actors, so for more info about other movies, go HERE.
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