Del Toro. Navarro. Now Guillermo Arriaga, writer of Babel and 21 Grams, is set to get behind the camera for his first feature directing gig, based on his own script The Burning Plain. Call me curious; I’d be less interested in Arriaga if he hadn’t written the amazing Amores Perros and The Three Burials Of … Continue reading →
Those go-getters over at MTV have the trailer premiere for Stop Loss, the flick starring Ryan Philippe as a solider given new marching orders back to Iraq on the day he was meant to be discharged. If you’ve missed the past couple years of news, ‘stop-loss’ is the name for a policy which retains troops … Continue reading →
Lionsgate might be mimicking the Sin City key art with the lashing rain and red title, but, overall, that’s about all I need from a John Rambo: To Hell and Back poster. And since they’ve put the poster out there, I’m going to guess that Rambo is the final title. It’s for the best, really. … Continue reading →
Now that Gavin Hood is almost free and clear of his Rendition duties (unlikely Oscar push notwithstanding), it’s time for the South African filmmaker to get serious about his next project, X-Men Origins: Wolverine. (Yes, they’re going with that dreadfully cumbersome subtitle, which is just Fox’s way of reaffirming their contempt for the intelligence of … Continue reading →
You want to see Rose McGowan take a turn or two in the Excessive Machine. I want to see it. Robert Rodriguez gets to see it every night, but he wants to put it on film…publicly. Universal, however, while interested in paying $19.99 for the homemade DVD or $9.99 for the DRM-free digital download, isn’t … Continue reading →
I’ve been dying to see The Signal ever since it made a big splash at the Sundance Film Festival this January, and now I finally get my chance at Screamfest LA this weekend. What’s The Signal about? Here’s the official synopsis: It’s New Year’s Eve in the city of Terminus and chaos is this year’s … Continue reading →
30 Days of Night is going to be a big hit this weekend. It’s just one of those things everybody knows – it’s October, there’s nothing else (go see Into the Wild, you dumb sons of bitches. Drive as far as you must), and it’s got strong advertising – so thoughts have already turned to … Continue reading →
The quickest way to go broke in Hollywood is to fret about artistic integrity. Conversely, the quickest way to lose one’s voice is to compromise. But without compromise, there is no tending to one’s artistic integrity; therefore, the only way to truly succeed in this business is to adulterate one’s voice to ensure maximum accessibility. … Continue reading →
I am going to make a sweeping statement here: if you don’t want to see Hearts of Darkness, the documentary about the truly fucked up making of Apocalypse Now, you are most likely not a real film lover. You’re a dabbler, a dilettante, which is cool. I was going to say that if you don’t … Continue reading →
Last month I was lucky enough to visit the Budapest set of Hellboy 2: The Golden Army, and I wish I could have brought you back pictures of all the amazing sets and production art I saw. Now you’re going to get a chance to see some of the stuff that I saw, as the … Continue reading →