The Screengrab : bryan singer

For God So Loved the Human Race That He Brought Keanu Reeves Out of Mothballs...

Phil Nugent — Wed, 22 Apr 2009 19:00:00 GMT

Benjamin A. Plotinsky thinks he's picked up on some recent tendencies in science fiction. " There is a young man, different from other young men. Ancient prophecies foretell his coming, and he performs miraculous feats. Eventually, confronted by his enemies, he must sacrifice his own life—an act that saves mankind from calamity—but in a mystery as great as that of his origin, he is reborn, to preside in glory over a world redeemed. Tell this story to one of the world’s 2 billion Christians, and he’ll recognize it instantly. Tell it to a science-fiction and fantasy fan, and he’ll ask why you’re making minor alterations to the plot of The Matrix or Superman Returns."

The evidence is pretty much right there on the surface, and not just in such moments as the one early in The Matrix where someone tells a not-yet enlightened Keanu Reeves, “You’re my savior, man, my own personal Jesus Christ,” or the later one where Laurence Fishburne's Morpheus tells Reeve's Neo, “Like everyone else, you were born into bondage.” Morpheus also tells Neo, “When the Matrix was first built, there was a man born inside who had the ability to change whatever he wanted, to remake the Matrix as he saw fit. It was he who freed the first of us, taught us the truth. . . . After he died, the Oracle prophesied his return—that his coming would hail the destruction of the Matrix, end the war, bring freedom to our people.” As Plotinsky notes, "We don’t know [whether Neo is the One] until near the movie’s end, when a comrade-in-arms betrays Neo and Morpheus. Neo chooses to save Morpheus’s life by surrendering his own. The machines kill him—but then he mysteriously returns to life and obliterates his enemies, to the grand accompaniment of trumpets and a choir...It takes no great perception to recognize how closely this plot tracks the basic Christian narrative, though it conflates the Passion with the End Days, adding the betrayal of a Judas to a messianic Second Coming."

As for "Bryan Singer’s underrated Superman Returns (2006) sought to answer an age-old question: Does humanity need gods? Lex Luthor, Superman’s eternal nemesis, answers early on. After Luthor compares himself to Prometheus, an accomplice retorts: 'Sounds great, Lex, but you’re not a god.' 'Gods are selfish beings who fly around in little red capes and don’t share their power with mankind,' Luthor snarls. He’s in agreement with Lois Lane, who has won a Pulitzer for an op-ed titled 'Why the World Doesn’t Need Superman.'" When Superman returns, he proves both his archenemy and his old flame (and mother of his son) wrong: he selflessly saves the world, after which he "remains in a coma until his son...restores him to life. He leaves his hospital room empty until a nurse discovers it, just as Mary and Mary Magdalene find Jesus’s empty tomb."

It may be possible to nod appreciatively at all this and still have doubts about whether sci-fi stories are automatically enriched if they mirror religious mythologies. The Christ story parallels underlying the Matrix trilogy definitely got heavier and more explicit as the movies crashed into their second and third installments, and whether this is coincidental or not, there are plenty of people who think that the movies themselves also got progressively worse. There may be even more people who would argue that any position that depends on including the terms "underrated" and "Superman Returns" in the same sentence has to be a non-starter. To his credit, Plotinsky readily acknowledges that when, "As the world knows to its sorrow, [George] Lucas revived the Star Wars franchise in 1999 with The Phantom Menace," any inclination to downplay the religious-mystical aspects of the earlier films, or treat them playfully, were long gone, and the movies suffered because of it: "...where the original movie never deified Luke, The Phantom Menace describes Anakin—the future Darth Vader, Luke’s father—in terms so messianic as to make Neo blush, repeatedly calling him 'the Chosen One.' The source of the term is in Luke—the Evangelist, that is—where Jewish leaders say of the soon-to-be-crucified Jesus: 'Let him save himself if he is the Messiah of God, his chosen one!' The movie is fuzzy about who exactly has done the choosing, however—a failure doubtless rooted in Lucas’s carelessness with plots."

Plotinsky makes a case that religious themes, which he also detects in The Terminator, E.T., and I Am Legend, jumped to the front of sci-fi creators' minds as the Cold War receded and geopolitics, which had once fueled the Star Trek series, became too confusing and gray for easy metaphorical consumption. Certainly it was a bleak day for the Star Trek franchise when Earthlings and Klingons learned to just get along. Incidentally, if there's anything to all this, might it not be true that The Terminator, with its save-the-unborn-savior plot and its very-'80s nuclear-terror tremors, is a key transitional work, about a messiah coming to save us from the bomb? (I just thought I'd drop that in here; I'm sure not trying to suggest that Plotinsky's article needed to be any longer.) In any case, we may have already seen things start to shift back: the recently completed Battlestar Galactica series invoked God and gods and religious prophecy left and right, but in the context of an allegory about 9/11 and the development of post-9/11 morality. Will the new Star Trek movie mark a full return to the thrilling days of intergalactic secular warfare involving aliens with growly accents and exotic facial hair? As the old Vulcan proverb says...

Kal Penn Puts Acting Career on Hold to Mind Obama's Front Door

Phil Nugent — Wed, 08 Apr 2009 15:00:00 GMT

First Joaquin Phoenix, and now this: Kal Penn, the 31-year-old actor best known for his roles in the Harold and Kumar films and the TV series House, has taken what we hope will be a temporary retirement from acting to take a position as President Obama's associate director in the White House office of public liaison, which he describes as an outreach position in what is "basically the front door of the White House." A native of Montclair, New Jersey, the actor was born Kalpen Modi to Indian immigrants in 1977. (He uses the name "Kal Penn" professionally; according to Penn, he originally put the "Americanized" version of his name on his acting resume as an experiment to prove that it wouldn't make a difference to casting directors, then stuck with it when his callbacks instantly rose by fifty percent.) Although the official announcement of Penn's appointment wasn't made until yesterday, savvy House fans first sussed out that something was up on Monday night, when they tuned in to the latest episode and learned that Penn's character, Dr. Lawrence Kutner, had unceremoniously shot himself in the temple. It was a shocking tragedy, not least for special guest sick people Meat Loaf Aday and Colleen Camp, whose storyline had to be awkwardly sandwiched in between extended fits of grieving. It was only the next morning, when Penn broke the story to Entertainment Weekly, that it became clear that TV Land's loss was the White House's gain.

Penn campaigned for Obama in the 2008 campaign and served on his National Arts Policy Committee. More recently, he was one of the featured performers at the Obama Inaugural Celebration at the Lincoln Memorial, where he and George Lopez delivered quotations from Dwight Eisenhower and Barbara Jordan. He has also taught a course in “Images of Asian Americans in the Media” at the University of Pennsylvania. Still, what might be most impressive about the appointment is that Obama wasn't scared off by Penn's stoner movie comedy past. (In addition to the Harold and Kumar movies, he first attracted major attention for his role in National Lampoon's Van Wilder, and starred in the sequel, The Rise of Taj. In a more dignified but possibly less entertaining vein, he also starred in Mira Nair's The Namesake, for which he received the Asian Excellence Award for Outstanding Actor, and appeared as one of Lex Luthor's henchmen in Bryan Singer's Superman Returns. In 2007, Penn also played a terrorist in four episodes of 24; about that role, he's said, "I have a huge political problem with the role. It was essentially accepting a form of racial profiling. I think it’s repulsive. But it was the first time I had a chance to blow stuff up and take a family hostage." The guy's gonna do just fine in Washington. In the meantime, fans needing closure can visit the online memorial to his character that Fox has set up.

Morning Deal Report: Anne Hathaway Over the Rainbow

Scott Von Doviak — Tue, 24 Mar 2009 14:30:00 GMT

Already set for an appearance in Tim Burton’s Alice in Wonderland, Anne Hathaway will go over the rainbow in a Judy Garland biopic from the Weinstein Company. The movie will be based on Get Happy, a biography by Gerald Clarke, that “draws on numerous real-life sources to tell the life story of Garland, who began singing and acting as a toddler and continued doing so all the way through her premature death at the age of 47,” per The Hollywood Reporter.

Nick Cassavettes will visit The Peaceable Kingdom for his next directorial project. “Story is based on the true life and work of Dame Daphne Sheldrick, the leading animal conservationist in Kenya, who has devoted her life to preventing elephant extinction by endeavoring to save baby elephants left orphaned by war, poaching and culling.”

“New Regency has acquired Freedom Formula: Ghost of the Wasteland, an adaptation of the Radical Publishing comicbook series that will be developed as a potential directing vehicle for Bryan Singer,” Variety reports. “The comicbook has a futuristic premise in which fighter jets have been replaced by pilots who battle in racing exo-suits.”

Related:
Anne Hathaway in Wonderland
Improving Moby Dick

Screengrab Salutes The Best & Worst Comic Book Movies Of All Time! (Part One)

Andrew Osborne — Thu, 05 Mar 2009 21:00:00 GMT

It’s Watchmen Week here at The Screengrab as the greater Geek-iverse (and the studio executives who love it) await the opening of Zack Snyder’s much-anticipated, much low-expectations-generating adaptation of Alan Moore & Dave Gibbons’ beloved, game-changing graphic novel about a bunch of asshole “super” “heroes” fighting crime, mental illness and erectile dysfunction in a scary alternate reality where Richard Nixon never went away. (And by the way, does everyone out there already know Silk Spectre II: Electric Boogaloo is portrayed by the same actress who played Valerie Cherish’s little blonde protégé on The Comeback? I just found that out, like, yesterday and was momentarily confused because I thought all the Watchmen were supposed to be kinda middle-aged -- but then I checked the Internet Movie Database and, much to my surprise, Malin Akerman’s actually 31, which is somewhat middle-aged, I suppose)...

Anyway, our own Scott Von Doviak and Paul Clark have already weighed in with their reviews of Hollywood’s latest attempt to wring a little KA-CHING! out of the POW! ZAP! BAM! of the funny book aisle, a strategy that’s been serving the Suits pretty well in recent years. I could pontificate here on the way America’s fascination with caped crusaders panders to infantile, imperialist empowerment fantasies, crowding more intelligent, adult material from the multiplex...but not only would that be annoying, it would also be hypocritical, since (A) I like a good funny book movie as much the next geek, (B) another movie about masked superheroes battling supervillains is a helluva lot better than another movie about masked sadists chopping up teenagers and (C) I keep hoping they’ll someday finally make that Wonder Woman movie I’ve been waiting for since I was 12. Mmm...magic lasso...

In the meantime, though, please enjoy the following list from Nerve.com’s very own Legion of Doom as we salute truth, justice, the American way and THE BEST AND WORST COMIC BOOK MOVIES OF ALL TIME!

The Best:

IRON MAN (2008)

True, it’s only been a few weeks since I wrote about Jon Favreau’s rock ‘em sock ‘em revival of the venerable Marvel Comics rust magnet for my Best of 2008 list...but (unlike certain awards-distributing Academies I could mention), I wanted to make sure this excellent film was recognized among the best of the best!

V FOR VENDETTA (2006)

Don't tell Alan Moore, who has never seen it but took the trouble to bad-mouth it anyway, but this adaptation of his Thatcher-era anarchists' fable, directed by Wachowski brothers proxy James McTeigue, does better than pretty good by its source material. The most important changes the filmmakers made from the original text, notably the transformation of Eve's (Natalie Portman) blokey boyfriend into a sardonic gay TV host played by Stephen Fry, actually work well: Fry's performance gives the film some heart, and film is clearly better suited than the printed page when it comes to paying gratuitous tribute to Benny Hill. The movie even inspired David Denby to apoplexy by seeming to present a terrorist as a political hero. Annoying David Denby is always a public service.

HULK (2003)

Remember how last year’s Edward Norton re-boot of The Incredible Hulk was going to prove that the relatively disappointing box office take of the 2003 Hulk was all Ang Lee’s fault? That audiences would embrace a louder, faster, dumber Hulk movie in a way they never did Lee’s artsy-fartsy one? How’s that working out for ya? The 2008 edition racked up almost exactly the same box office total as the 2003, so maybe it’s just that nobody likes poor ol’ Hulk. Or maybe the 2003 version wasn’t so bad after all, which is what I’ve been saying all along. Yes, it has its flaws; Eric Bana doesn’t exactly light up the screen, the CGI star isn’t quite up to snuff in some scenes, and things do take a little longer to get percolating than was perhaps necessary. But Lee brings a lyrical, haunting tone to the picture that may seem at odds with the whole “HULK SMASH!” ethos, but actually taps into a vein of melancholy the character has always possessed. The innovative editing scheme, with its cascade of digital wipes and split screens, is a far more clever and entertaining cinematic analog to reading a comic than anything Zack Snyder does in Watchmen, and the CGI effects do mesmerize at times. Hell, I could have watched this Hulk bouncing his way across the desert for hours.

X-MEN 2 (2003)

Ushering in the modern age of Marvel superhero films, Bryan Singer’s X-Men helped prove that the sight of men in tights – or, in this case, men and women in leather body suits – didn’t have to doom a comic adaptation to cartoonishness. It was Singer’s 2003 sequel, however, that truly elevated the genre by cannily marrying romantic drama, vigorous action and social-intolerance subtexts (here reconfigured from the source material to address sexuality more than race). Aside from Halle Berry’s still-awful wig and Alan Cumming’s grating Nightcrawler, X2 is sharper, smarter and more exhilarating than its predecessor, remaining true to the spirit of its heroes, villains and Dark Phoenix-ish storyline, buoyed by Brian Cox’s superbly villainous William Stryker, and smartly placing as high a premium on character as on spectacle. Which isn’t, however, to say that the spectacle itself isn’t reason enough to check out Singer’s sequel, since an early Stryker-led attack on Professor Xavier’s school, as well as Wolverine’s climactic throwdown with Lady Deathstrike, more than ably deliver the super-skirmish goods.

BATMAN (1989)

A genuine pop culture behemoth in the summer of '89, Tim Burton's blockbuster comic book movie probably did more than any other to make comics adaptations an accepted Hollywood genre, if only for proving that the success of the first couple of Superman movies hadn't been a fluke. This is not one of those accomplishments that nobody can see a downside to, and despite its hellacious popularity, the movie has always had enough attackers to count as controversial, including those who think it's a clumsy piece of storytelling to comics geeks (including Kevin Smith) who think it blasphemed its source material in any number of ways. But Burton's graphic sense and gothic sense of humor always made it a striking, strikingly funny piece of work, and facts are facts: no actor has ever been more compelling or convincingly haunted in a superhero role than Michael Keaton. The passage of twenty years and umpteen sequels and reboots (including Burton and Keaton's deeply flawed but often lovely Batman Returns) has thrown its defects and pluses into sharp relief: it's hard to remember that, in 1989, when Christopher Nolan was all of nineteen years old, many critics were appalled because they thought this picture was too dark.

SUPERMAN II (1980)

The 1978 Christopher Reeve Superman was an outlier, and probably the earliest example of filmmakers at least trying to make a genuinely good superhero movie. But it wasn’t entirely successful, and one sticking point for a lot of fans was the performance as Lex Luthor by Gene Hackman. The role has as many passionate defenders as detractors, but many thought that it was overly campy and unserious, and a superhero movie is generally only as good as its villain. The 1980 sequel would change all that. Introducing three Kryptonian supervillains escaped from the Phantom Zone – the hulking Non, the ice-cold Ursa, and best of all, the fantastic Terence Stamp as the megalomaniacal General Zod – Superman II gave us villains for the ages, and culminated in one of the most exciting fight scenes we’d seen to date. But it still wasn’t a great movie, and longstanding rumor placed the blame on the firing, when production was nearly complete, of Superman director Richard Donner and his replacement with Richard Lester. Lester, while a talented director, didn’t much care about the job and had little affection for the material, and the results are right there on screen. A few years ago, however, the Richard Donner cut was released commercially, and it finally became clear how good Superman II could have been if its original director had been allowed to pursue his vision all along.

Click Here For Part Two, Three, Four, Five & Six

Contributors: Andrew Osborne, Phil Nugent, Scott Von Doviak, Nick Schager, Leonard Pierce

Screengrab Review: “The Shark Is Still Working”

Scott Von Doviak — Tue, 27 Jan 2009 18:00:00 GMT

As I’ve mentioned here before, Jaws is a movie that’s always been near and dear to my heart. I realize I am not alone in this, especially now that I’ve seen the fan-made documentary The Shark Is Still Working: The Impact and Legacy of Jaws. A true labor of love – maybe even a labor of obsession – the nearly three-hour film has been in the works for four years, which is a good thing since several of the principal participants are no longer with us. (Peter Benchley, author of the novel Jaws, died in 2006, and February 10th will mark the one-year anniversary of the death of Roy Scheider, who played Chief Brody and narrates this documentary.) The Shark Is Still Working is required viewing for any Jaws fanatic, but for the moment, at least, that’s a problem: the documentary has yet to secure distribution, although it seems a no-brainer that Universal should pick it up for DVD release at least.

Wisely, director Erik Hollander and his crew have not made another behind-the-scenes “Making of Jaws” doc, instead confining the familiar production tales to the first fifteen minutes or so. (The film’s title comes from a story Richard Dreyfuss could tell in his sleep by now, about walking around Martha’s Vineyard during production and hearing the constant squawk of two-way radios: “The shark is not working! Repeat! The shark is not working!”) Instead, Still Working is an exhaustive – and occasionally exhausting – scrapbook of Jaws minutiae: along with the expected interviews with Benchley, Scheider, Dreyfuss, director Steven Spielberg and producers Richard Zanuck and David Brown, the documentary goes in-depth with artist Roger Kastel (who painted the famous one-sheet image of shark closing in on nude swimmer), late voice-over talent Percy Rodrigues (who lent his low-key menacing tones to the Jaws trailer) and Carl Gottlieb (the co-screenwriter who penned the influential making-of book The Jaws Log).

But there’s more – much more. Still Working also features some solid gold video footage of Spielberg on the morning the Academy Award nominations for 1975 were announced. (“I got beaten out by Fellini!” a crestfallen Spielberg announces, with indignant character actor Joe Spinell at his side for some reason.) Collectors of Jaws props and memorabilia, attendees at a Jaws fan convention and builders of a replica of the original mechanical shark “Bruce” are also interviewed, as are filmmakers Kevin Smith, M. Night Shyamalan, Bryan Singer, Eli Roth and Robert Rodriguez, all citing Jaws as a huge influence. (I’ll leave it to you to decide whether more good than harm has been done.)

At times, The Shark Is Still Working can be a bit repetitive. I lost track of the number of testimonials to the oft-cited accidental brilliance that led to the shark going unseen for the first half of the film (although it’s nice to hear Spielberg admit that Jaws would be a much worse movie if he made it today, given the ready access to CGI effects). But while a few trims here and there wouldn’t hurt, it’s really the ramshackle enthusiasm for tangential matters that makes the documentary such a joy for Jaws fans. My absolute favorite section of the film centers on the residents of Martha’s Vineyard, many of whom participated in the making of Jaws, either behind the scenes or as local color onscreen. I’m not much of a fan convention guy, but I’m very sorry I missed JawsFest 2005 and its screening of the original movie right on shark beach – and I’m especially sorry I didn’t get there before the rotting hull of the Orca was completely dismantled by overzealous fans. Watching The Shark Is Still Working is the next best thing to being there, however, and here’s hoping everyone gets the chance to see it soon.

Helming the Heroes

Leonard Pierce — Tue, 11 Nov 2008 17:15:00 GMT

The recent proliferation of superhero movies have taught us that, of all things, auteur theory ain't quite dead yet. Hand your project over to a director of unique vision, a man with deep obsessions and specific stylistic and thematic ideas, and you get The Dark Knight. Hand your project over to a director with big ideas but not enough talent to carry them off, and you get Daredevil. Hand your project over to a director with no ideas and no talent, and you get Elektra. As goes art, so goes action: even in the cinema of capes and cowls, it's all about the director.

So, given that, what can we expect from yesterday's announcements about who will be helming two hotly anticipated comic book projects? The new Captain America flick, the last big Marvel solo adventure until we're treated to the long-awaited Avengers movie, will be directed by Joe Johnston; the new Conan the Barbarian (which isn't based on a comic, but features a character whose prominence in modern-day geek consciousness is more attributable to Roy Thomas' 1970s Marvel comics series than it is to Robert E. Howard's original stories) has fallen into the hands of Brett Ratner.

Neither of these guys are Christopher Nolan-level filmmakers, or even Bryan Singer-level filmmakers. How successful these films will be depends on which director shows up with his A-game; if we get the Joe Johnston who directed the charming, underrated superhero movie The Rocketeer, then Captain America could be a patriotic, nostalgic romp, but if we get the Joe Johnston who directed Jumanji, we could be in for a long wait until The Avengers comes out. Ratner has nothing as good as The Rocketeer on his resume, and he's also single-handedly responsible for trashing the X-Men franchise. Add to that the fact that, instead of legit heavyweights like John Milius and Oliver Stone (who did the original 1982 film version of Conan) providing him with a script, he's got the guys who did A Sound of Thunder, and we don't think anyone will be forgetting Schwarzenegger's version anytime soon.

Benecio del Toro is The Wolfman

Trailer Review: Valkyrie (Trailer #2)

Paul Clark — Wed, 08 Oct 2008 16:00:00 GMT

Last fall, back when Bryan Singer’s latest film was slated to open in July of ’08, I scoffed at the movie’s first trailer as being too high-toned and Oscar-baity. Interestingly enough, now that Valkyrie’s release date is smack dab in the middle of awards season, the new spot looks more like a potboiler than a tradition-of-quality period piece. Frankly, I like the new approach better. The true story of Operation Valkyrie would probably feel heavyhanded as a “courage in the face of ultimate evil” narrative, but as a thriller about a band of rebellious officers trying to bring down Hitler, it sounds a lot more interesting. Sure, it runs the risk of coming off as “Nazi kitsch,” but at least that would have some flavor. Will 2008 be the year that Tom Cruise regains his movie-star mojo? Hard to say, but I’m definitely more curious about Valkyrie than I was before.

Morning Deal Report: Hercules on Elm Street

Scott Von Doviak — Wed, 23 Jul 2008 15:00:00 GMT

It often seems as if the Morning Deal Report would be just as accurate if I had a hatful of Hollywood names and a hatful of recycled ideas, and simply drew randomly from both of them. For instance, from one hat I might produce the name "Peter Berg," most recently director of Hancock, while the other hat offers up "Hercules," yet another character no one really cares about reviving. Yet here it is in Variety: "Berg will produce and will develop to direct Hercules: The Thracian Wars, a co-production of Spyglass Entertainment, Berg’s Film 44 and Radical Pictures. Spyglass and Universal will co-finance the film. Ryan Condal will write the script, based on a five-issue comicbook series by Steve Moore that debuted in May through Radical Publishing." Of course. It goes without saying that I have a third hat, and every slip of paper in it reads "based on a comic book."

Which brings us to Capeshooters, another comic book adaptation forthcoming from Warner Bros. According to Variety, it's about "two slackers become paparazzi who specialize in shooting covert videos of superheroes find themselves on the run after they stumble onto evidence that a revered superhero is actually a villain." Who would be perfect for this? Let me reach into the hat, and...ah, yes! X-Men and Superman Returns director Bryan Singer.

Finally, it must be about time to revive another horror franchise, so let me dig deep into this vintage fedora and...here it is, A Nightmare on Elm Street. Per the Hollywood Reporter, Warner Bros. "has hired veteran scribe Wesley Strick to pen the relaunch of the A Nightmare on Elm Street series, the franchise that helped establish New Line into a movie player in the mid-1980s...The new project will keep the high school setting and delve deeper in the psychology of nightmares and Krueger himself. The plan is to have a dark tone. The company hopes to have the movie ready for the 25th anniversary of the original."

Sweet dreams, everyone.

Related:
Freddy and the Furious Go to Cloverfield

Vanishing Act: Christopher McQuarrie

Scott Von Doviak — Wed, 25 Jun 2008 18:30:00 GMT

It’s rare that the screenwriter for a splashy indie film will get as much or more attention than the director, but that was the case when The Usual Suspects hit it big in 1995. Boyhood friends Bryan Singer and Christopher McQuarrie first collaborated on 1993’s Public Access, which went nowhere despite winning the Grand Jury Prize at Sundance. Their second effort become a modern crime classic, and there was no ignoring the fact that McQuarrie’s twisty narrative and twisted characters contributed greatly to the success of Suspects. In fact, when the Academy Awards were held the following year, it was McQuarrie who walked away with the Oscar for Best Original Screenplay.

It was Singer, however, who used Suspects as a launching pad to a blockbuster career. After the Stephen King misfire Apt Pupil, Singer bounced back with the first two X-Men movies and the semi-successful Superman Returns. McQuarrie went his own way, hoping to realize his dream project: bringing Alexander the Great to the screen. This turned into a long, frustrating odyssey that ended when Oliver Stone made his own much-mocked version with Colin Farrell. McQuarrie’s sole effort as a writer-director, The Way of the Gun, was released in 2000, but it was something of a disappointment, getting lost in the post-Tarantino crime wave. Since then, McQuarrie has worked as a script doctor (doing uncredited rewrites on the first X-Men, among others) and has been involved in a number of aborted projects, including a Bryan Singer remake of Logan’s Run, but he has a grand total of zero screen credits since 2000.

That’s finally about to change. Today McQuarrie’s name popped up in this AP story about yet another controversy surrounding the upcoming Tom Cruise film Valkyrie. It seems Slate has had to retract a claim that the film’s producers altered photographs of German officer Claus von Stauffenberg in order to make them more closely resemble Cruise. This claim turned out to be false, and commenting on the situation was one of Valkyrie’s producers – Christopher McQuarrie. Per the AP: “‘The picture United Artists used of Colonel Stauffenberg can be found all over the Internet,’ said Valkyrie co-writer and producer Chris McQuarrie in a written statement released by a United Artists spokeswoman Tuesday. McQuarrie, who won a screenplay Oscar in 1995 for The Usual Suspects, added that it would have been easier to ‘alter Tom Cruise’ than to doctor ‘every available picture of Claus von Stauffenberg.’”

Valkyrie is the first full-fledged reunion of Singer and McQuarrie since The Usual Suspects. The duo was also set to re-team for the Harvey Milk biopic The Mayor of Castro Street, but that was before Gus Van Sant went forward with Milk. McQuarrie’s next announced project as a writer-director is The Stanford Prison Experiment, based on the actual psychological study gone awry in 1971. Rumored cast members include Ryan Phillippe and Paul Dano, but given the bumps in the road McQuarrie has already hit, it’s best to take such information with a grain of salt.

Related:
Tom Cruise Career Downward Spiral Update
A Brief History of Milk

A Brief History of “Milk”

Scott Von Doviak — Mon, 02 Jun 2008 14:30:00 GMT

There have been some awkward moments lately for Craig Zadan and Neil Meron, who spent 16 years trying to bring an adaptation of Randy Shilts’ 1982 Harvey Milk biography The Mayor of Castro Street to the screen. There is indeed a Milk biopic set to hit theaters this fall, and Zadon and Meron “have fielded all sorts of congratulatory calls in recent months from people excited to hear that after years of struggle,” that film has finally been made.

But the problem is that film, directed by Gus Van Sant and starring Sean Penn, isn’t their film. According to the L.A. Times, “Zadan and Meron's project is dead in the water, beaten into production by the Van Sant film, which is due for release this fall from Focus Features. To add salt to the wound, several key people involved with Milk, including Van Sant, were once involved with Zadan and Meron's film.”

We’ve seen Hollywood release two near-simultaneous volcano movies and even two Truman Capote biopics within a few months of each other, but don’t count on history repeating in this case. Still, as Times writer Patrick Goldstein notes, “The movie may be dead, but it leaves a colorful corpse behind. During the project's odyssey, Zadan and Meron worked with an impressive set of filmmakers, including Bryan Singer, Van Sant and Oliver Stone, the last having spent a memorable evening with the producers visiting a string of gay bars in the Castro district. Over the years, a host of actors had shown interest in the project, including Robin Williams, Kevin Spacey, Daniel Day-Lewis, Kevin Kline, James Woods, Richard Gere and Steve Carell.”

It’s too bad the Stone version didn’t get made, if only because we’d love to see a DVD extra documenting his Castro tour. This happened before Stone completed JFK, a movie that didn’t exactly endear him to the gay community, “which was infuriated by the film's portrayal of several key assassination conspirators as debauched homosexuals. Never one to back away from a fight, Stone gave an incendiary interview to the gay and lesbian newsmagazine the Advocate, in which he compared Queer Nation to a Nazi group, saying ‘they work through intimidation and fear.’ ” Whoops! Stone then suggested that hey, maybe Gus Van Sant might be a better man for the job, and even though it worked out that way, Zadan and Meron were left behind.

Watching "The Watchman": An Interview with Kent M. Beeson

Paul Clark — Mon, 05 May 2008 19:00:00 GMT

In case you’ve slept through this past weekend, the summer movie season got off to a roaring start with the big-budget adaptation of Iron Man. With many more comic book movies in store this summer, and even more after that, I figured it was about time to catch up with former Screengrab contributor and all around good dude Kent M. Beeson. As a comic-book fan and movie buff of long standing, Kent recently secured a position with the Web site comiXology, writing a bi-weekly column entitled The Watchman. Kent was gracious enough to take time out of his busy schedule- which also includes numerous freelance jobs as well as a wife and 14-month-old daughter- to conduct this interview via e-Mail.

How did you get your position with Comixology?

Dumb luck, if you ask me! Peter Jaffe, the Online Content Editor for Comixology, asked former ScreenGrab editor Bilge Ebiri to recommend someone to cover film and TV for Comixology, and he named me. I'd done some writing for ScreenGrab, including several on comic books, so I suppose that's why name came up. if I had to guess, I'd say that my ScreenGrab posts on the Watchmen and Shazam! movies had something to do with it, but really, I have no idea.

Why do you suppose Hollywood has made so many comic book movies in the past few years?

I suppose the standard reasons are that the executives greenlighting these movies are the ones that grew up in the 70s and 80s, and grew up reading these comics, coupled with CGI that lets filmmakers show just about anything they can imagine. When those two moments in history coincided, it was bound to be a fertile period. What's really interesting to me, though, isn't that so many comic book movies are being made, but just how important fidelity to the source material has become. It still boggles my mind that Zack Snyder is keeping Watchmen in the 80s -- that never would have happened just a few years ago. We've come a long way from the aborted Tim Burton Superman with Nicolas Cage in a freaky black suit. But even this is a bit of a quirk of history -- I don't think we'd be seeing so many faithful adaptations if it weren't for Bryan Singer's X-Men showing it could be done and Raimi's Spider-Man showing just how friggin' huge it could be.

What are your favorite comic books?

Watchmen is my favorite book of all time, comic or otherwise. Paul Smith's run on X-Men -- I think I might prefer it to Byrne's, actually. Ambush Bug was way ahead of its time. One I loved back in the day, that seems to have been forgotten, was an horror anthology called Wasteland. It was written by John Ostrander and, of all people, improv pioneer Del Close. Some really twisted shit -- I can still remember one story called "R.Ab" that is just... soul-crushingly dark. Like Idiocracy without the safety of the comedy. I always thought this is what reading the E.C. comics back in the day must've been like.

Favorite comic book movies?

The stupidly-titled X2 is, fortunately, stupidly awesome. Spider-Man, I can watch over and over. Akira is great, but it's animated, so maybe that shouldn't count. I have a soft spot for Batman Returns, but the unfortunate practice of overloading a film with villains can be laid squarely at its feet.

Best adaptation?

Spider-Man is the best, I think, but it's adapting a character and his world and not so much a single story (other than the origin), so if you eliminate those, I guess that leaves me with Sin City. Visually, it's breath-taking and kind of addictive -- it's hard to look away from it when it's on. More importantly, though, it turned a series of borderline-unreadable books into something pleasing.

Most underappreciated/overappreciated comic book movies?

Let me go ahead and catch hell from two different camps. The first Superman movie is pretty terrific for about forty minutes when dealing with his origin, but once Luthor enters the picture, it gets too jokey and lame. Reeve and Kidder are impeccable, however. And Ghost World is pretty much ruined by Zwigoff's cheap misanthropy. I mean, Clowes isn't exactly Mr. Positive, but it's clear from the book that he's trying to find some kind of hope. Zwigoff buries it under shots of pregnant women smoking and Blockbuster gags that would never have made it past the Mad TV writing room. There's a reason Bad Santa works -- it's all misanthropy.

I think Hellboy is a bit underappreciated. Considering that the comic isn't very well-written and has one of the most non-sensical origin stories ever -- Mignola came up with the look of the character first and made up everything after, and it shows -- it holds together pretty well. Del Toro's really coming into his own, he's starting to find just what he's capable of, so I'm looking forward to Hellboy II.

When a comic book movie doesn't remain true to its source, how difficult is it for you to turn off your comic book side and simply appreciate it as a movie?

Well, my attack plan for the stuff I'm unfamiliar with -- like Darwyn Cooke's The New Frontier, or the upcoming Wanted -- is to watch the movie first. I want to be able to enjoy the movie -- or not -- as a movie first, without any baggage, which is how most viewers are going to see these things anyway. And then I go back to the comic. The comic is usually going to have more information anyway, and I don't need to bring that into the movie. I actually started watching Persepolis after reading the first 20 pages or so of the comic, and it totally fucked it up for me -- I had to go back and see it again to fully appreciate how well the filmmakers were able to streamline the story for the movie. Luckily, most comic movies are adapting characters and not specific stories, so it's pretty easy to turn off the preconceptions.

Obviously, with something like Watchmen, that's not going to be possible. I'm not sure how that's going to work. I might have to conk myself on the head and induce amnesia just before I walk into the theater.

What big-screen comic book adaptations have actually improved on their sources?

I just finished the original A History of Violence, and wow, what a stinker. The movie pretty much repudiates the source, which, admittedly, is an interesting way to go about adapting something. Sin City -- well, my loathing of Frank Miller runs pretty deep, so it was great to see such a tiring and self-important comic turned into high camp by simply giving the thing motion. Whenever I see Clive Owen float down to the street in his red shoes, I crack up.

In your opinion, what are the keys to making a successful comic book adaptation?

Jesus, I really have no idea. The first thing that comes to mind is balance -- knowing when to be faithful to the source, and when to realize, hey, this has to work as a movie first and foremost, and just go off. A History of Violence is pretty faithful for the first 1/3 of the book, then it jettisons the rest, to its credit. I don't think the adaptation of The New Frontier went far enough -- there were small changes here and there that indicated that they knew the story wasn't going to work as is, but they really should have rethought the whole thing from top to bottom. But, saying that, I bet we'll see (if we haven't already) a movie that either is completely faithful or totally throws everything out but the title and works perfectly well.

Now that Watchmen is being made, what are some of your other dream adaptations?

I want to say FLCL, but the comic came later. Does Cowboy Bebop count? It was a serialized manga first. I could totally see an adaptation with, say, Ryan Gosling as Spike, Selma Blair as Faye and The Rock as Jet. I think The Rock is underrated as a performer -- for someone who was supposed to be Schwarzenegger's heir apparent, he displays more genuine warmth and a sense of humor about himself than Arnold ever did. While Jet is a badass, he's still essentially the mother of the group, and it'd be interesting to see him in a movie where his physicality is in strict contrast to his role. Matthew Vaughn is doing Thor, but I'd kill for a Gilliam version -- nobody does giants better, and I'd love to see them get their ass kicked by a blonde dude with a hammer.

The Watchman runs every other Wednesday on comiXology. Kent’s piece on Iron Man will run this week.

Tom Cruise Career Downward Spiral Update

Phil Nugent — Wed, 09 Apr 2008 14:00:00 GMT

Valkyrie, the Bryan Singer movie starring an eye-patched Tom Cruise as a German general involved in a plot to assassinate Hitler has had its release date pushed back from this October to February 13, 2009. This is the second time that the troubled production, which first generated headlines by upsetting Germans who wanted Cruise to git off their land, has had its release date rescheduled; once upon a time, it was a much-anticipated summer release, and the center of Cruise and producer Paula Wagner's plans to rejuvenate United Artists. (The previous center of that particular campaign, Lions for Lambs, crash landed into theaters last fall.) The reason for the original push-back was that Singer needed additional time to finish the film--and, rather astonishingly, he still does. According to Kim Masters, "Singer will film a scaled-back version of what was originally conceived as a Saving Private Ryan-type opening. According to [Masters's] source, the sequence was abandoned at one time as a cost-saving measure—and this movie is racking up the bucks—but when it became clear that the film was too talky, the battle was reinstated. The sequence explains why hero Claus von Stauffenberg wears that eye patch. A studio source contends that the battle scene was always in. Apparently, it was going to be filmed in Dubai, which tried to lure the production with hopes of a publicity windfall derived from the presence of Tom, Katie, and Suri. Film your next movie in Dubai! That deal fell apart, and no location has been selected."

At this point, Cruise himself may be the least of Valkyrie's problems. The star has reportedly been very well-behaved on the set, and Masters believes that "Cruise has begun to appreciate the magnitude of career damage that he has inflicted upon himself, though he may not completely grasp the cause." He is not alone; as an example of just how unsettling the prospect of the Tomcat in decline is for some of the fans who've grown up thinking he hung the moon over the Hollywood hills, James Wolcott highlighted a deranged rant that somebody stuck in the comments section of David Poland's movie news site, The Hot Blog. The fact that his professional setbacks can inspire such panic attacks in the devoted may not mean that Cruise's career has yet reached the point of no return, but when somebody launches their Internet career by appearing on YouTube shrieking, "Leave Top Gun alone!!", we'll know that it's probably time for lights out.

The Top Ten Uncompleted Movies, Part 2

Phil Nugent — Thu, 03 Apr 2008 20:30:00 GMT

APT PUPIL

Bryan Singer's adaptation was not the first version of this Stephen King novella. In 1987, British Director Alan Bridges had Nicol Williamson and Ricky Schroder in the leads of this story concerning a teenager discovering his elderly neighbor's Nazi past. Unfortunately, the film ran over budget and with ten days of filming left, the financing ran out and the film shut down. Accounts vary of just how much was left to shoot. Stephen King had reportedly seen a 3/4 rough cut and commented it was "really good" while the writers, Ken and Jim Wheat, reported seeing an assemblage of forty minutes' worth of footage. By the time financing was found to complete the shoot a year later, Schroder had grown too too old to continue in his role and there was no way to finish the film short of a full re-shoot. To date, the footage has never been shown to the public, though if there's ever a special edition of Bryan Singer's version, one hopes that the director would be able to snag the rights to include Alan Bridge's version as a bonus feature.

IN GOD'S HANDS

It is a tragic fact that many early feature films have been lost forever due to negligence and poor preservation. What's horrifying is to find out that even in the 21st Century, an entire feature film can be lost due to an accident, especially when its not the new Eddie Murphy comedy but it comes from someone like filmmaker Lodge Kerrigan. In God's Hands was produced by Stephen Soderbergh's Section Eight outfit and starred Peter Sarsgaard and Maggie Gyllenhaal as a couple who've lost their child. Unfortunately, the entire camera negative of the film was damaged, causing it to be lost. I'm still stunned that someone on the film didn't realize something was wrong after the first few days of shooting just by checking the rushes, but the damage had been done. Kerrigan, who bounced back with Keane, has expressed no interest in trying to re-shoot In God's Hands. This is one of those cases that could be used as a backhanded argument for abandoning film to shoot digital.

THE THIEF AND THE COBBLER

This British animation has the distinction of having had the longest production phase ever. Renowned animator Richard Williams started the project in 1965, animating it part time and financing the project through the odd commercial jobs and work on other films, such as Murder on the Orient Express, The Charge of the Light Brigade, and the credit sequences on some of the "Pink Panther" films. After endearing himself to the powers that be by serving as animation director on Who Framed Roger Rabbit, Williams was finally able to get financing to complete the film, but a variety of factors resulted in its being taken away from him by Mirimax and handed over to television animator Fred Calvert. Despite numerous promises from various parties to try and complete the film according to Williams's original design, this probably won't be happening anytime soon. The original workprint of the film can be found on YouTube. The "completed" bastardisation edition can be bought from your local Blockbuster Bargain bucket, hidden under a couple hundred copies of Norbit.

MY BEST FRIEND'S BIRTHDAY

Unofficially considered by those in the know as Quentin Tarentino's directorial debut, this is a far cry from Reservoir Dogs. Shot on Super 16mm over a few years, the completed 70-minute cut was lost in a fire, and so what survives is about 30-40 minutes of rough footage. Is it watchable? It has certainly has had a cult following grow around it, and despite its technical issues, it is in, IMHO, a far more enjoyable time waster than Death Proof.

ARRIVE ALIVE

Jeremiah Chechik is one unlucky man. His second film was supposed to be a comedy featuring Willem Dafoe as a hotel manager who falls for Joan Cusack as one of the guests. It was co-written by National Lampoon and Saturday Night Live veteran and self-styled "dangerous comedian" Michael O'Donoghue and produced by Art Linson. Unfortunately after two weeks of shooting, Linson pulled the plug and wrote off a couple of million dollars. Why? Apparently, it was due to Dafoe's performance, an attempt to bring "edge" to a romantic-comedy leading-man part that Linson, in his book A Pound of Flesh, described as "terrifying". Chechik managed to bounce back with Benny & Joon before his career was nearly destroyed with The Avengers, one of those productions where 50% of the production ended up on the cutting room floor.

QUE VIVA MEXICO

This was to be Sergei Eisenstein's first film made outside Russia, co-produced by renowned American novelist, Upton Sinclair. Unfortunately, after cost-overruns and other problems, Eisenstein was summoned back to the Soviet Union by Stalin (who can refuse an invitation like that?) leaving behind over 200,000 feet of unedited footage. Despite promises to send the footage to the USSR for the director to edit, this never came to pass, and instead several different edited versions of the film have appeared under different titles over the years, most of them falling into obscurity. None of the versions come close to what Eisenstein may have wanted but the film is still inspiring people to take a shot at it. (This YouTube clip is a trailer to promote the latest attempt at a restoration from Lutz Becker).

--Phil Nugent; Faisal A. Qureshi

Click here for Part 1.

Marvel Comics Is Ready for Its Close-Up

Phil Nugent — Tue, 11 Mar 2008 16:00:00 GMT

A long time ago when the world made sense, there were two kinds of comic books: DC comics and Marvel comics. And while Marvel reigned supreme at the comics shop, the company dearly wanted to break into the lucrative and ego-stroking business of licensing it characters for major motion pictures, and it was there that DC pantsed Marvel and took its lunch money. While DC was the home of Superman and Batman, Marvel was the home base of Howard the Duck. For years, Marvel's role in the Hollywood fod chain was epitomized by the 1994 Fantastic Four movie, a cheesy, cheap-looking affair that Marvel put into production without bothering to inform the people who worked on it that they had no intention of releasing it to theaters or even home video but were contractually obliged to make something if they wanted to hang onto the film rights to their own characters. All that started to change in 2000 with Bryan Singer's X-Men, whose success the director was unable to duplicate with his later stab at rebooting Superman. A couple of years later, Sam Raimi's take on the Marvel flagship hero Spider-Man launched a major franchise and proved that Marvel could sire a blockbuster movie without Singer or Hugh Jackman modeling a haircut that could open bottles and cans. Since then, Marvel has had varying degrees of commercial success with a for-real Fantastic Four movie and its sequel, as well as Ghost Rider, Daredevil, and Elektra, a bust in theaters but more of an earner as a DVD release that allowed film connoisseurs to conduct a close study of Jennifer Garner's moist eyes and washboard abs in the tranquil setting of their own fortress of solitude. Even The Punisher managed to make it into theaters with John Travolta on the poster, which helps to set it apart from the 1989 straight-to-video version, with Dolph Lundgren grunting his lines as if his tight skull-face T-shirt were cutting off his circulation.

Stage two in Marvel's renewed campaign to take over the film industry goes into effect on May 2 when Iron Man, the first official production of Marvel Studios, is released to theaters. As reporter Geoff Boucher puts it, this marks "the first step in the company's quest to go from intellectual-property fount to a stand-alone Hollywood player that can greenlight big-time popcorn movies." Studio chairman David Maisel crows that "We're the first since DreamWorks started 14 years ago that can greenlight its own $100 million movies. It doesn't happen very often." In some ways, Marvel might still look pretty small to the big guys: the "studio" is modestly staffed and will rely mostly on Paramount to distribute their finished films. What they do have is the backlist of established characters, many of them created back in the golden days when the legendary Stan Lee and the uber-legendary Jack Kirby were striking sparks together, despite Marvel founder-publisher Martin Goodman's attempts to rein in his brainstorming boys by reminding them that their reading base consisted of "children and a few illiterate adults." (Boy, the more things change, the more things stay the same, huh?) As Maisel puts it, "We're not in the movie business, we're in the Iron Man business right now. Marvel owns the intellectual property. We have an Iron Man video game coming, the toys, the comics, we have an animated television show coming, a direct-to-DVD animated Iron Man movie last year. We're going to have an Iron Man ride at an amusement park in Dubai in a few years." They're also in the Ant-Man business--Edgar Wright, the director of Shaun of the Dead and Hot Fuzz, is said to be ready to direct a film about the wee fellow--and of course, they're still in the Spider-Man business, with plans by Julie Taymor (Across the Universe) to launch a Spider-Man musical on Broadway. What may be most impressive is that they're in the Hulk business, too. Ang Lee's 2003 The Hulk movie was perhaps the highest-profile misstep of the new Marvel movie era, an ambitious, poker-faced effort that confused critics and disappointed audiences, though it did have the dignity of being a flop of the misguided-art-house variety instead of the underfunded direct-to-video sort. Now, just five years later, Marvel is going to reboot The Hulk with Ed Norton in the lead. The fact that Marvel is taking a second crack at the "property" so soon after the release of a film whose reception might have encouraged lesser mortals to sweep the Hulk under the rug for a generation or three shows an impressive degree of faith in their own product. Can another run at Howard the Duck be far behind? Has anybody run any tests to see how Hugh Jackman would look with an orange beak?

Brad Renfro, 1982 - 2008

Phil Nugent — Wed, 16 Jan 2008 15:00:00 GMT

Brad Renfro has died, at the age of twenty-five. The cause of death has not yet been determined. Born in Knoxville, Tennessee in 1982, Renfro was discovered by director Joel Schumacher and made his debut playing the title role in Schumacher's 1994 The Client, based on a John Grisham best-seller. The movie was a hit, and Renfro's impressive performance quickly led to starring roles in a string of movies, including The Cure; Tom and Huck, in which he played Huckleberry Finn to Jonathan Taylor Thomas's Tom Sawyer; Telling Lies in America; and Bryan Singer's Apt Pupil, in which he co-starred with Ian McKellan. That last one in particular showed his willingness to tap into something dark and ugly lurking behind a mask of adolescent banality, a quality that he fully embraced when he played a teenage murderer in Larry Clark's 2001 Bully, a project on which Renfro served as associate producer. That same year, he also displayed his sweeter side in a supporting role in Terry Zwigoff's Ghost World. But for the last ten years of his life, he was also involved in several brushes with the law, most of them alcohol- or drug-related. In December of 2005, Renfro was arrested in the Skid Row area of Los Angeles for trying to purchase heroin from an undercover cop and ended up serving ten days in jail. Through it all, he managed to keep working, but most of his films since Ghost World received little or no attention. His last completed film was The Informers, an adaptation of the Bret Easton Ellis novel that was directed by Gregor Jordan (Buffalo Soldiers), and which co-stars Billy Bob Thornton, Kim Basinger, Brandon Routh, Winona Ryder, and Mickey Rourke. Its release date has not yet been announced.

Morning Deal Report: Bruce Willis to Play Robot

Peter Smith — Mon, 19 Nov 2007 16:00:00 GMT

Well, the unthinkable has happened. The Writer's Guild strike has pushed back the start of production on the Da Vinci Code sequel Angels & Demons and Oliver Stone's Vietnam drama Pinkville.

Bruce Willis will star in The Surrogates, a sci-fi thriller directed by Jonathan Mostow, about a future where people stay indoors all the time and only venture out to interact in the form of robot doppelgangers better-looking than they are. That sounds almost metaphorical.

Gus Van Sant's Harvey Milk biopic, Milk, has beaten Bryan Singer's Harvey Milk biopic, The Mayor of Castro Street, to the punch.

— Peter Smith

Trailer Roundup: Valkyrie, Atonement, Meet the Spartans

Peter Smith — Wed, 14 Nov 2007 19:00:00 GMT

Valkyrie

Despite the movie's late June release date, a high-toned thriller set in Nazi Germany would not appear to be summer movie fodder. But based on the trailer, Valkyrie looks typical of Hollywood’s approach to the Third Reich, boiling it down to the Ultimate Evil in charge and the morally-just "traitors" who have history on their side. Why else would they mount a big-budget telling of the story of the man who tried to kill Adolf Hitler, starring Tom Cruise, who, with a handful of exceptions, has made his reputation playing morally uncomplicated heroes? Perhaps director Bryan Singer and his collaborators could have taken a cue from Paul Verhoeven’s Black Book, whose breakout star Carice Van Houten is cast here as Cruise’s arm candy — in the shadow of the Nazi regime, things were rarely so simple as black and white.

Atonement

Normally, when I write my blurbs for Trailer Roundup, all I have to go on are the trailers themselves and the advance buzz for the movies. So it’s a little different to take on Atonement, which I had the chance to see at this year’s Toronto Film Festival. As far as trailers for prestige pictures go, this one’s pretty good, especially for the way it uses Dario Marianelli's score, a kind of concerto for typewriter and orchestra. But while the trailer for Atonement does a good job summarizing the plot and showing some of the film’s more visually impressive moments, I’m not sure I would have found this trailer particularly inspiring had I not already seen the movie itself. I also think it was a mistake to show Vanessa Redgrave, who doesn’t turn up until the very end of the film, for reasons that will become clear if and when you see the movie. All the same, Atonement should be catnip for awards-season voters, as its trailer makes abundantly clear.

Meet the Spartans

You know, I like many different kinds of movies, and even when I don’t like something I can usually see why others might. But occasionally a phenomenon will arise that makes me feel like Pauline Kael did when she claimed she didn’t know anybody who voted for Nixon. So it is with the recent wave of chintzy spoofs: who actually LIKES these things? Someone must enjoy these if they keep making them, right? Well, not necessarily. All it takes is for enough people to visit Blockbuster on a slow night and say, "Epic Movie might be okay," and boom, the studio greenlights Meet the Spartans. Now, I know I’m one to talk here, but don’t you think there are better ways to pass two hours than to watch a movie that will be, at best, "okay?" Read a book. Talk a leisurely walk. Try out a new sexual position or two. Or if you absolutely must rent a movie, try venturing inland from the outside walls of the local video emporium. Once you get over the old-timey movie stars and the black and white images and maybe even subtitles, you just might see something better, or at least more interesting, than the time-waster you passed over on the new release wall. Of course, it would be hard to be WORSE than Date Movie. . .

— Paul Clark

Morning Dealbreaker Report: Gosling De-Boned

Peter Smith — Mon, 22 Oct 2007 15:00:00 GMT

Ryan Gosling gained twenty pounds for Peter Jackson's adaptation of The Lovely Bones, but he left the production on Friday with shooting starting today. Creative differences, they say. That Gosling is a mysterious cat. Mark Wahlberg quickly signed on to fill his space.

MTV is adapting the story of the Alaskan high school student who got suspended for putting a sign that said "Bong Hits 4 Jesus" outside his school. His father defended him at the risk of losing his job. A heartwarming free-speech tale that only MTV could tell, eh?

The next Superman will apparently reboot the franchise, oddly enough. But Bryan Singer's still on board — they're not throwing out the baby with the bathwater. Of course, Superman Returns only made $200 million in the U.S., so something's clearly not working.

— Peter Smith