In 1966 Kathryn Leigh Scott, fresh out of acting school and working part time as a Playboy bunny, was was cast as Maggie Evans the waitress-turned-governess on the ABC-TV cult serial Dark Shadows. In its prime, the Dark Shadows daytime series (which ran from 1966 to 1971) attracted 20 million viewers. The spooky, literate, romance and horror-driven show had universal appeal and came to be known as the program kids ran home from school to watch. Reruns and DVD releases of all 1,225 episodes have spawned new generations of Dark Shadows fans, who attend annual Dark Shadows Festivals where cast members reunite to celebrate the show’s unending popularity. During her tenure at the show, Kathryn Leigh Scott played several roles including Josette du Pres, the ghostly lover of Barnabas Collins (Jonathan Frid), who was killed at Widow’s Hill in the 18^th-century flashbacks. After leaving the series, she co-starred in THE GREAT GATSBY (1974), and THE GREEK TYCOON (1978) and worked steadily on television in shows such as Police Squad!, Magnum, P.I., Space:1999, The Incredible Hulk, The A-Team, and Star Trek: The Next Generation.

Kathryn Leigh Scott has written several books about the series: Dark Shadows Memories to coincide with the show’s 20th anniversary, The Dark Shadows Collectibles Book about all of the merchandise associated with the show, Dark Shadows Companion as a 25th anniversary tribute, The Dark Shadows Almanac: 30^th Anniversary Tribute, and Dark Shadows memories: The 25^th Anniversary Edition. Her newest book, Dark Shadows: Return to Collinwood, co-written by Jim Pierson with a forward by Jonathan Frid, includes hundreds of rare photographs and behind-the-scenes anecdotes from Kathryn Leigh Scott (Josette DuPres), Jonathan Frid (Barnabas Collins), Lara Parker (Angelique Bouchard) and David Selby (Quentin Collins), who all appear in cameo roles with Johnny Depp, Helena Bonham Carter and Michelle Pfeiffer in the new feature Dark Shadows to be released May 11th.

Kathryn Leigh Scott’s website with information about ordering her book can be found HERE

http://www.kathrynleighscott.com/

We Are Movie Geeks caught up with Ms Scott recently to talk about her new book and her appearance in Tim Burton’s film.

Interview conducted by Tom Stockman April 9th, 2012

We Are Movie Geeks: How are things in New York?

Kathryn Leigh Scott: Things are really good.

WAMG: And you’re getting ready for Monsterpalooza?

KLS: Right, I am indeed. Lara Parker and I are going to do that one together.

WAMG: They get a big crowd at that one. I’m going to follow the structure of your book a bit and talk about the new Tim Burton DARK SHADOWS movie first. Have you seen it?

KLS: I have not. I was invited to a screening but it coincided with the day I was flying to New York.

WAMG: The trailer premiered and I think most people, including myself, were surprised how much of a comedy it looks to be?

KLS: Yes, but I’ve said this all along, there’s a lot of inherent humor in DARK SHADOWS as we all recognize, but the show was certainly not a comedy, we didn’t play it for laughs but the humor was there, it’s always been there. I think that Tim Burton is going in that direction to bring in the audience so they wouldn’t think it was just another vampire movie. Burton always does films that are tough to categorize. If you think about it, there’s a bit of fantasy in all of them, there’s a bit of the macabre. I think it’s going to be a handsome mix.

WAMG: I think it looks great.

KLS: Everybody who has seen it says you don’t know what you’re in for.

WAMG: What can you tell us about your cameo in the new DARK SHADOWS movie?

KLS: We’re (Kathryn along with original series regulars Lara Parker, Jonathan Frid, and David Selby) guests at a party. It’s the same party where Alice Cooper is performing. It was really fun. We’ve got two little segments that were in. We worked with Johnny Depp and Michelle Pfeiffer.

WAMG: There’s a wonderful photo in your book with you, Lara Parker, Jonathan Frid, and David Selby on the set. How long has it been since the four of you were last together?

KLS: Oh, fairly recently because we’re doing these Big Finish radio dramas and those are on CD so every once in a while we all get together and out on our headphones and go to studio and do one of these dramas together.

WAMG: Jonathon Frid is 88. How is he doing?

KLS: He’s doing just fine for an 88 year old. He’s showing his age though. (Jonathan Frid died four days after this interview)

WAMG: I’ve always wondered this about Frid. When he left DARK SHADOWS in 1971, it seems like he could have become a big horror star along the lines of Vincent Price and I’m sure he was offered horror roles. But he chose to move to Canada and not make films (with the exception of Oliver Stone’s 1975 shocker SEIZURE). Do you know why?

KLS: He just wasn’t interested. First of all, I don’t think he liked the genre at all. He came on DARK SHADOWS to do a Gothic drama and it became what it became but I think he really created something that was remarkable, but I don’t think the horror genre was something he cared about. He didn’t even want to do the second DARK SHADOWS movie (NIGHT OF DARK SHADOWS) in 1972. He though the first one was too violent and he fought against that the whole time, he made no bones about that with Dan Curtis. He was very disappointed with HOUSE OF DARK SHADOWS which was quite a successful film. It saved MGM the year it came out, it was a huge success.

WAMG: They hired Dick Smith for the makeup on that one, which probably wasn’t cheap and they wanted to get their moneys worth.

KLS: Smith and Rick Baker were the go-to guys for good prosthetic effects but the film was done on a miniscule budget. We had a tiny budget.

WAMG: Where was that mansion where the movie was filmed?

KLS: In Tarrytown New York in the old Jay Gould Estate, and that is where we’re having the Dark Shadows festival.

WAMG: When is that?

KLS: The weekend of July 28^th.

WAMG: Is Jonathan Frid going to be there?

KLS: I believe so, that certainly is the plan now, we’ll see what happens.

WAMG: I’ve read that Christopher Lee has a small part in the new film. Did you meet him?

KLS: We didn’t work with him but he’s in the same scene we’re in.

WAMG: How would you compare being on the set of the new film with being on the set of the TV show over 40 years ago?

It’s the difference between a 46-year old daytime soap opera shot in a cramped studio and working at Pinewood on a lavishly budgeted film where an entire city of Collinsport has been built. When I was on Widow’s Hill searching for Barnabas and so on, it consisted of about five square feet of dirt, gravel, and rock and when you’re doing a big budget feature, you’ve got everything.

WAMG: Why does the script for the new film take place in 1972?

KLS: Jeff Graham Smith does a good job of explaining why johnny Depp and Tim Burton felt so strongly about doing that. They said that it was just a very interesting year. And it happens to coincide with the year after Dark Shadows went off the air.

WAMG: Did you meet Bella Heathcote who is playing Victoria Winters/Jossette in the new film?

KLS: Yes, and she’s only a year older than I was when I originated the role.

WAMG: Did she ask you for any advice concerning her portrayal of this character?

KLS: Oh no, none of them did nor would any actor do that because it’s 46 years ago and here’s this young girl at the beginning of her career who’s already had some experience and she’s going to make it her own. And the same is true of Johnny Depp though he’s playing as homage to the original, but he’s definitely making it his own as well.

WAMG: Bella Heathcote looks just great in the trailer.

She’s beautiful! She’s got such a winning personality, just charming, but I need to say that she plays the Jossette role and the Victoria Winters role. You remember that Maggie became the governess, so that’s kind of fun because she is playing the roles that I played.

WAMG: Okay, let’s go back in time now to June of 1966. The first episode of Dark Shadows airs. Were you in it from the beginning? Were you in the first episode?

KLS: I was in the very first episode.

WAMG: How did you get the role?

KLS: My agent sent me on an audition. I had done an audition for something called ABC Repertory Company which never came to be but I did a successful audition and they liked me very much and then not long after that, my agent sent me to meet Dan Curtis. I had several auditions. I remember at one audition Louis Evans and Alexander Wolf were there and I remember seeing Nancy Barrett at one point at an audition and then I screen-tested with Mitch Ryan and another actor who were both up for the role of Burke Devlin. I think at that point, they pretty much just decided on me. I think I was too young to realize it at the time, but I think they had already decided on me, they were just deciding on which of the two Burke Devlins to hire.

WAMG: What experience did you have at that point?

KLS: I had none! I had done a television commercial for a hair spray and I had graduated from the American Academy of Dramatic Arts and one season of summer stock and I was working in a restoration comedy that was destined to go to the Eugene O’Neil Festival. That was a very busy year.

WAMG: And weren’t you working as a Playboy Bunny as well?

KLS: I was, but by that point I was just doing that on the weekends, just trying to make enough money to pay my rent. It was a busy time in terms of auditioning. I was studying acting with Uta Hagen also.

WAMG: How did Dan Curtis come up with the concept of Dark Shadows?

KLS: He claims that he was staying at the country home of an army buddy of his and that he had a dream about a girl on a train. He also claims he saw a ghostly presence, so the house was supposedly haunted and he saw this presence. He was very open to that sort of thing.What’s odd is that in person he never seemed like the type of person who  would be attracted to having anything to do with the paranormal. He was a big bear of a man. He was a very sensitive person but he looked like a big bombastic athlete

WAMG: You were in about half of the 1225 episodes of the original Dark Shadows.

KLS: Yes, about half which means I worked a couple of days a week and when I left, I worked without a contract for about 6 months. Dan wanted me to sign another contract and I felt that I had been on the show long enough and then of course I starred in the first Dark Shadows film. I really felt I had done Dark Shadows enough. Then of course it went off the air five months later.

WAMG: How long after an episode was filmed was it aired?

KLS: They always tried to be two weeks in advance. It depended though, it there were a natural disaster, it could be delayed. We butted up against the 4 o’clock news so if anything came up we were  preempted.

WAMG: Did everyone take a break on the set to watch the show while you were filming?

KLS: No. Almost nobody watched them. David Hennessy would always watch. If you git out of your make-up in time and you went into the green room before rehearsal you might watch some, but it was rare.

WAMG: There was a ton of Dark Shadows merchandise. Trading cards, boardgames, jigsaw puzzles, etc. You wrote a book on that stuff, correct?

KLS: Yes, The Dark Shadows Collectibles Book

WAMG: Do you own a lot of that stuff?

KLS: No, I’m not a collector of anything. Once in a while, people have given me things. I think I’ve got a Josette’s music box and a couple of cookbooks.

WAMG: I saw that Josette’s music box going for a couple of hundred dollars on ebay.  Has anyone ever asked you sign one?

KLS: Always, and I’ve learned how to cram my signature so it fits on the packaging.

WAMG: Why did Dark Shadows go off the air after just five years? A lot of soaps last for decades.

KLS: I think for a number of reasons. One, I think Dan was ready to move on. Two, the show got incredibly expensive, it was much cheaper to do a talk show or a game show. And three, the audiences got confused when we started doing that leviathan thing. When we went off to do the movies, the show continued in our absence. And they were trying to do both and I think they got into some story lines that were so convoluted. I don’t think I was ever in the leviathan thing. I think that occurred when I was shooting the film. So I think it was a matter of the plots getting very complicated and the show becoming too expensive and I think it’s time had just run out.

WAMG: You were born Kathryn Kringstad. Is it true you were named after a box of tissues.

KLS: Yes, that’s true. Lady Scott Tissues, it’s in the book.

WAMG: Are you surprised at the show’s enduring popularity?

KLS: Not anymore. I certainly was. I went to France and England after I left the show to do some TV and film work and when I came back I was astonished how popular the show was after it had been off the air for fifteen years and David Selby and Lara Parker told me how phenomenal this all was with reruns on PBS stations and syndication. Then we started having Dark Shadows festivals. Lara brought me to my first one. Then I realized that the show had a last power.. I think the strength came from the stories we did. I think it all comes down to story at the end, and the stories we did, even though children watching may not have understood the references to Wuthering Heights or Picture of Dorian Gray, Rebecca, or Turn of the Screw, they still recognized that it was a good story.

WAMG: What’s next for Kathryn Leigh Scott?

KLS: I’m doing two books. One is non-fiction, one is fiction. I’ve got a couple other projects brewing and I’ve decided to go back and take an acting class. It’s been a while since I’ve acted and I’m loving it. My husband passed away less than a year ago. Next week it will be a year and this had been a year of putting my life together

WAMG: You’re keeping busy.

KLS: I am keeping busy and there have been a lot of wonderful distractions. It’s been a year when one realizes one is now flying solo.

WAMG: Well, good luck with the book and everything else and thank you for taking the time to talk to We Are Movie Geeks.

KLS: You’re welcome.

Every decade or so, one or two film makers become a major force in cinema comedies. The 1980′s saw the influence of ZAZ (AKA Jerry Zucker, Jim Abrahams, and David Zucker) starting with AIRPLANE! and RUTHLESS PEOPLE . For the last ten years or so Judd Apatow (40-YEAR OLD VIRGIN) and Todd Phillips (OLD SCHOOL) have ruled the comedy roost. In between there’s the Farrelly brothers (Peter and Bobby), former sitcom writers who invaded the multiplexes with the big box office laugh fests DUMB AND DUMBER and THERE’S SOMETHING ABOUT MARY (which opened the gates for the return of the R-rated movie comedy). When interviewed during their salad days, the guys related their affection for a decades old comedy team and vowed to bring them back to the big screen (they even appeared on a tribute  NBC-TV special hosted by their KINGPIN star Woody Harrelson). After some recent under performing movie missteps (HALL PASS couldn’t connect with today’s raunchy comedy crowds), they’ve decided to finally put together their dream project/love letter. The end result is THE THREE STOOGES. Several fans of the trio have been quite vocal on the internet decrying this new film as sacrilege. They say that this will tarnish the good name of the classic comedians. Really? The Stooges?  While they were still with us, the fellas did plenty of material that was not exactly sterling. Remember SNOW WHITE AND THE THREE STOOGES? What about the crudely produced 60′s cartoons (from the “Clutch Cargo” folks) with cheaply made color live-action intros? A decade later “The Three Robotic Stooges” from Hanna-Barbera (a real low point for HB-and that’s saying something!) premiered on CBS Saturday mornings. And the boys nearly co-starred in BLAZING STEWARDESSES (Emile Sitka was to replace the ailing Larry Fine, but Moe’s death put the kibosh on this!). So whether this should be done is beside the point. It’s here. Let’s see how it works as a film..

First, here’s a quick stooge history lesson (a Stooges 101). The Three Stooges were a comedy group assembled by vaudeville comic Ted Healy in the early 1920′s. They were Shemp Howard, his brother Moe, and wild-haired violinist Larry Fine. When Hollywood beckoned they were featured performers in a couple of Fox films. Shemp left the team for a solo career and was replaced by another Howard brother, Jerry AKA Curly. They made some features and shorts with MGM before the stooges split from Healy. Soon they were signed by the struggling Columbia Pictures for a series of short subjects (16 to 18 minute films sometimes called two reelers) over the course of 25 years! When Curly retired due to illness, brother Shemp came back to replace him. When Shemp died, veteran comic Joe Besser filled the spot till the final short in 1959. The advent of television had pretty much shuttered all the studios’ shorts departments. Looked like the end of the road for the trio. But suddenly TV made them more popular than ever! Columbia’s Screen Gems division sold the stooges shorts to local TV stations around the country during the heyday of the kiddie show host (usually aired during the afternoon with local ads, a live audience of youngsters, and assorted short cartoons). They were in demand again. Comic vet Joe DeRita (AKA Curly Joe) replaced Besser and the fellows packed stadiums, hit the TV variety shows, and even starred in new feature films from Columbia (beginning with HAVE ROCKET, WILL TRAVEL). No doubt the young Farrelly boys were glued to their sets watching the boys during this big resurgence. Sadly the last of the stooges, DeRita passed away in 1993.

In putting together this new screen romp, the Farrellys are aiming squarely for family audiences (the ads tout its PG rating) since the stooges’s rapid slapstick and cartoon look always connected with kids. Now this is not an autobiography of the team (been done), nor is it a period piece set during the stooges golden era (late thirties, early forties). It features the most popular trio 0f Moe, Larry, and Curly, set in today’s world with a good deal of topical humor. As in the Brady Bunch feature films, the stooges don’t quite seem to belong (Gene Siskel used to say that they were always out-of-place) in these modern settings which gives the film the old fish (or fishes) out of water premise. There’s one plot flowing through the film’s 90 minutes, but there are title cards and animation inserted to make it appear that three new short subjects have been strung together. The story harkens back to the plots of several of the old shorts. The boys leave the orphanage where they grew up (on the entrance sign it states “est. 1934″, the same year as the release of the first stooge short, WOMAN HATERS-nice inside joke) in order to raise $830,000 and save it from closing (shades of THE BLUES BROTHERS). They get into many mishaps along the way and get entangled in a plot to do away with the rich husband of a femme fatale’ (Sofia Vergara). Although they’re in 2012, the stooges remain in somewhat familiar story territory.

Quite a lot of publicity has been stirred up by the Farrellys about the casting of the comic icons. Russell Crowe is Moe. Now it’s Benicio Del Toro. Sean Penn’s a lock as Larry. He’s out, Paul Giamotti’s in. Jim Carrey’s gonna wear prosthetics and a fat suit to be Curly. Nope, maybe Jack Black will shave his head. Finally three TV vets were cast who bring a great deal of energy and skill in re-creating the trio (hard to imagine those higher-profile stars doing a better job). The real discovery is Chris Diamantopoulos as Moe (Chris is a vet of several TV shows including “24″). He’s quick-tempered, easily frustrated, and dishes out punishment (and takes a lot) with authority. Surprisingly he shows some vulnerability and tenderness in a couple of scenes (A sensitive Moe!). His nicknames for by-standers (he calls a stout matron “Jumbotron”) are a hoot! The biggest star of the three may be Sean Hayes who got an Emmy for his work as Jack on the long-running “Will and Grace”. He displays his expert comic timing as the frizzy-haired Larry. While in the old shorts Larry would blend into the background, Hayes’s Larry gives the film some of its biggest laughs. And he can take a smack almost as well as the original. Interesting side note: both actors played comedians in TV bio films. Diamantopoulos played Robin Williams in “Behind the Camera: the Unauthorized Story of ‘Mork and Mindy’” while Hayes was Jerry in “Martin and Lewis.” And then there’s perhaps the most beloved and imitated stooge. Curly is played by the former “MadTV” cast member Will Sasso. He more than brings the required manic energy to the role, while reproducing the child-like nature of the groups’ wide-eyed innocent. Curly always seemed to be off on another dimension from his two pals and Sasso gets that, too. I was concerned about his being taller than his team mates, but that was not an issue after a few minutes in. During several sequences, the actors are like a well oiled machine as they engage in a rapid bopping, eye-poking, slapping whirlwind worthy of a top drill team or dance troupe. There have been several recreations on TV of the boys over the years: SCTV (with the legendary John Candy as Curly), ABC’s Fridays (with Larry David as Larry!), Fox’s In Living Color, and the ABC bio movie (produced by Mel Gibson), but Chris, Sean, and Will are the best yet.

And the guys have some great supporting players (besides the talented youngsters that play the trio at age ten). The biggest scene stealer has to be Larry David as the orphanage’s Sister Mary Mengele. Excitable and full of fury, he holds his own against the stooges and several overly cloying orphans (guess the kids are there for young audience identification. Seemed like a lot of forced pathos). Craig Bierko is terrific as the sap who enlists the stooges in the murder plot, but then suffers the most abuse from them. Vergara is as lovely as she is on “Modern Family,” but here we get to see her ruthless side as a variation of the classic double (and triple) crossing film noir bombshell. The other ladies don’t have as much to work with. Jennifer Hudson gets to belt a bit of gospel as one of the nuns, but spends the rest of her time responding the boys’ antics. The real waste is the great Jane Lynch in the somber, bland role of Mother Superior (one of the best comic actors working today, and she doesn’t get to crack wise?). There’s a welcome cameo from Bill Murray’s brother Brian as a priest and a very satisfying sequence involving the cast of a much reviled (but strangely popular) reality TV show (perhaps cathartic is more appropriate). A few moments lag, but there’s a whole lotta’ fun packed in these ninety minutes ( try to stick around for the end credits music video ). You might find yourself laughing more than the kids. Like the Farrellys, I watched those black and white gems on my favorite TV host’s show (hey Cactus Pete’s Funny Company!) and this new film gave me some  nostalgic amusement. There’s some clever sight gags and slapstick along with clever riffs on time-tested bits. It’s silly and crude, but I laughed a lot in spite of my “adult sophistication.” You stooge-iphiles need not worry. This is a film that captures the spirit of the old classics and is filled with affection for those ’chowder-heads.’ Should you give this flick a look? Why ‘soitenly’!

Overall Rating: 4 out of 5 stars

Sparkle (Jordin Sparks) and Emma (Whitney Houston) star in this first image from TriStar Pictures’ SPARKLE.

SPARKLE is a remake of the 1976 film and tells the story of the title character Sparkle (Jordin Sparks), the youngest of three sisters and a music prodigy who struggles to become a star while facing issues that are tearing her family apart. Starring alongside Houston in the musical drama are Grammy® nominated and platinum recording artist Jordin Sparks (“American Idol” winner, Season 6), Derek Luke (Antwone Fisher, Captain America: The First Avenger), Mike Epps (Jumping the Broom, Friday After Next), Carmen Ejogo (I, Alex Cross, Pride and Glory), Tika Sumpter (What’s Your Number?, “Gossip Girl”), Omari Hardwick (Kick Ass, The A-Team) and Grammy® Award winner, Cee-Lo Green.

SPARKLE is being directed by Salim Akil (Jumping The Broom) from a screenplay written by Mara Brock Akil (“The Game”, “Girlfriends”) and produced by Debra Martin Chase (Sisterhood of the Traveling Pants, Just Wright) along with Salim Akil, Mara Brock Akil, T.D. Jakes and Curtis Wallace (Jumping the Broom, Not Easily Broken). Whitney Houston is also Executive Producing along with Gaylyn Fraiche (Sisterhood of the Traveling Pants 2), and Howard Rosenman (Sparkle, The Family Man). Original music provided by multi-Platinum and Grammy® Award-winning artist R. Kelly. “SPARKLE is a movie I have wanted to remake for a long time and I am so glad to finally see my wish come true and to be part of this stellar team of actors and producers,” said Houston.

Shooting on SPARKLE began principal photography in Detroit, Michigan in October 2011. The film is due in theaters August 10, 2012.

The problem with Hollywood’s take on THE GIRL WITH THE DRAGON TATTOO is familiarity.  It’s such a good, engrossing murder mystery that I actually envy moviegoers who have not seen the Swedish version from just two years ago and are lucky enough to have the film’s many twists unfold surprisingly. That’s not the new film’s fault though and David Fincher, who was announced as the director almost as soon as the Swedish version reached our shores, has done an outstanding job, not only of bringing this story the screen, but stamping it with his personal style.

Fincher has made a supremely sensuous and hypnotic thriller, and one that’s likely to become a major hit. A mystery girl’s disappearance from a remote, inaccessible island kicks off the plot. Intrepid investigative Journalist Mikael Blomkvist (Daniel Craig), under investigation for libel, is hired by aged tycoon Henrik Vanger (Christopher Plummer) to look into the 40 year-old mystery of his 16-year-old niece, who suddenly disappeared without a trace. He assumes she was murdered, and before he dies, he wants to see the killer found and punished. Punk cyber-hacker Lisbeth Salander (Rooney Mara) checks out Mikael as a preliminary to his hiring, and is herself intrigued by the old mystery. The two team up and find themselves pursuing a family of Nazi perv serial killers. Anyone who’s seen the Swedish version (or has read the book) knows what truly dark and depraved business is in store for this improbable pair of sleuths.

Lisbeth Salander (aka: the chick With The Dragon Tattoo), a victim of sexual abuse and institutional cruelty, is already a major literary heroine, and the intense Rooney Mara, a virtual unknown, is liable to become a major star with this role. She’s not nearly as severe-looking as Noomi Rapace outside this film, but actually is made up to look even more shocking than her Swedish counterpart. Her slight, sinewy frame covered in body piercings and tattoos – is remarkable, as is her performance. Mara is ferocious, notably during the face-offs between Lisbeth and her sexually abusive court-appointed guardian. Daniel Craig underplays the lead and lets Ms Mara steal the film along with Stellan Skarsgard as the darkest of the Vanger family black sheep, capturing and conveying the charismatic essence of  evil.

After a couple of  mainstream-friendlier films (BENJAMIN BUTTON and SOCIAL NETWORK), we’re back in more familiar Fincher territory, rife with violence, darkness and nightmarishly horrific behavior. It works well as a good procedural mystery, with clues carefully tracked down in old photographs and newspaper archives, and is an exhilarating whodunnit as Mikael and Lisbeth uncover a 1950s serial killer in the Vanger family history. Cinematographer Jeff Cronenweth and composers Trent Reznor and Atticus Ross, all deliver outstanding work. The explicit sex is downplayed relative to the Swedish version, but not the violence and the new film is not without its flaws. They’ve set in in Sweden but the actors all speak English in vague, mumbly Swedish accents, except Craig, who speaks in a mumbly British accent. I’m not sure why they didn’t just transport the drama to America.

The last act of GIRL WITH THE DRAGON TATTOO, an epilogue concerning Lizabeth helping Mikael expose the financier who  ruined him, seems anticlimactic taking place after all the serial killer shenanigans have been resolved. I don’t recall this bothering me in the Swedish film but perhaps the screenwriters could have better woven in that subplot. On balance though, THE GIRL WITH THE DRAGON TATTOO is an icily sleek work of sustained suspense, not for everyone, but an outstanding drama and it is highly recommended.

Overall Rating: 4 out of 5 Stars

FOOTLOOSE, the movie that made a cinema icon of future trivia game star Kevin Bacon. Since that film’s release there’s been a full-fledged Broadway stage musical ( now a staple of community theatre groups ) with original songs combined with the movie’s radio-friendly pop tunes. This is not a film version of that. The characters do not burst into song, but there’s plenty of spontaneous dance numbers set to re-mixes of those 84 movie tunes and a few new songs. Will this new film from director Craig Brewer ( HUSTLE AND FLOW ) become the dance-along entertainment of future sleepovers and pajama parties?

The film opens in mid-party three years ago. The high school seniors of Bomont, Tennessee are drinkin’ and dancin’ the night away. But that night of fun ends in tragedy as five of them are killed when a truck plows into their car head on. One of the victims is Bobby, son of Reverend  Shaw Moore ( Dennis Quaid ). He speaks eloquently before he votes with the town council to ban public dancing within city limits , to the surprise of his wife ( Andie McDowell ) and daughter Areal ( Julianna Hough ). Jump ahead to the present day as young Ren McCarthy ( Kenny Wormald ) arrives in town. His mother died back in Boston ( Dad bailed on them ) and he’s come to live with his Aunt ( Kim Dickens ), her husband ( Ray McKinnon) and their two grade school age daughters. He’s stunned by the town’s ordinances ! And he’s given a ticket for playing his music too loud in the old VW bug he’s just fixed up! At church Ren is introduced to the Reverend and his family ( could there be sparks between him and Ariel? ). Seems that since the big accident Ariel’s been acting out. She’s fooling around with the older, thuggish, son of the owner of the local stock car track. Flirting with danger? Ren gets a job at a cotton gin, starts high school, joins the football squad, and befriends a team mate, Willard (Miles Teller ). He takes Ren to the local drive-in movie which doubles as a secret dance club. There Ren finally shares some sweet moves with Ariel ( to the consternation of her brutish beau ). From there Ren makes new friends and clashes with some of the adults ( particularly the Reverend ) as he decides to try and fight the dance band while getting closer to the lovely Ariel. With plenty of big musical numbers along the way.

So is this a big improvement in the original? Not by much. The dances are a bit more energetic, but they’re difficult to fully appreciate with the rapid, whiplash editing ( this is, after all, an MTV Production ). I’m reminded of how the great Fred Astaire reacted to new movie musicals. He thought the full body should always be shown during dance numbers. Can’t argue with “Mr. Top Hat”! With the new version Brewer works in some break-dancing and krunk along with country line dancing which often breaks the flow of action. As far as the acting the 84 model has it way over this. Screen newcomer Kenny Wormald has some athletic dance moves, but doesn’t have the same dangerous bad boy vibe of young Kevin Bacon. When he arrives in Bomont he looks like a prep-schooler on his way to audition for ” Grease “. It doesn’t help that by the film’s mid-point he’s hitting the Boston accent ” wicked haahhrd”. Hough of TV’s ” Dancing with the Stars” also has moves to spare, but flounders in some of the third act big dramatic scenes. Surprisingly, the usually energetic Quaid seems to be muzzled as a pretty soft-spoken pastor. The same goes for McDowell as his wife who doesn’t have much to do till close to the finale. There are a few bright spots in the cast. McKinnon shines as Ren’s sympathetic Uncle ( wish I could’ve seen more of the terrific Kim Dickens as his Aunt ). The movie’s MVP may be Miles Teller who shines in a loose, upbeat portrayal of Ren’s new best pal, the rhythmically-challenged, but sweet doofus Willard. For the pre-teen set, this will make for a great fun group night out at the multi-plex. For the rest of us, this new version may leave us appreciating that relic from long ago. Still any version of the Kenny Loggins tune is a toe-tapper.

Overall Rating: Three Out of Five Stars

Hey horror hounds! Courtesy of our friends at Entertainment Weekly here’s our first look at the cast of Tim Burton’s big screen version of the small screen classic, DARK SHADOWS. Now this is not the first time the Collins clan have made it to the movies. In 1970 MGM released HOUSE OF DARK SHADOWS based on the daytime drama and starring most of the TV cast. NIGHT OF DARK SHADOWS followed.

Here’s a bit of background on the cult favorite. Dan Curtis (BURNT OFFERINGS) created the “soap opera ” which debuted on ABC-TV in 1966. The main focus of the first episodes was the arrival of Victoria Winters in Collinsport, ME and her interactions with the secretive Collins family. The program languished at the bottom of the ratings until Curtis, in order to save the show from cancellation,decided to take a gamble and introduce a vampire into the Gothic series. Barnabas Collins as played by veteran stage actor Jonathan Frid caused a sensation on the daytime TV landscape. Youngsters flocked to the show, turning the mature Frid into a teen idol (featured many times on the cover of Tiger Beat and other magazines) and giving the producer a merchandising bonanza. Board games, model kits, comic books, paperback novels, and posters flooded the stores. There was even a comic strip in daily newspapers! A record album of the show’s eerie score by Robert Colbert was a huge hit and spawned a top 40 single, “Quentin’s Theme”. Unfortunately not even the additon of witches, werewolves, and other ghoulies could keep the mania going and the final episode aired in 1971.

Ah, but like any good vampire Barnabas did return. The show was soon syndicated to local stations. Devoted fans staged conventions featuring reunions of the cast members. Innovation produced new comic books in 1991. NBC revived the show as a prime time hour long drama in early 1991 while Warner Brothers TV produced a new two hour pilot film that never aired.

And now,long time fan Tim Burton is taking this Gothic epic to the big screen. Lets’ take a look at the residents of Collinwood. Starting from the far left is Helena Bonham Carter (THE KING”S SPEECH) as Dr. Julia Hoffman, psychiatrist, friend of the Collins family and (in the TV show) an aide of Barnabas. Next is Chloe Maretz (LET ME IN) as Carolyn Stoddard followed by Eva Green (CASINO ROYALE) as Angelique Bouchard, the witch who cursed Barnabas. The young lad is the disturbed David Collins played by Gulliver McGrath with his governess Victoria Winters played by Bella Heathcote (she’s also the spitting image of Barnabas’s long lost love Josette). Speaking of Barnabas, in the center is Johnny Depp (THE TOURIST) as the centuries old vampire. Seated is the family housekeeper Mrs. Johnson played by Ray Shirley. Next is Collinwood groundskeeper Willie (yup, Groundskeeper Willie!) Loomis played by Jackie Earle Haley (WATCHMEN) who releases Barnabas and soon becomes his ‘ familiar’. He’s followed by Roger Collins played by Jonny Lee Miller (TRAINSPOTTING) and family matriarch Elizabeth Collins Stoddard played by Michelle Pfieffer (BATMAN RETURNS).

Synopsis:

In the year 1752, Joshua and Naomi Collins, with young son Barnabas, set sail from Liverpool, England to start a new life in America. But even an ocean was not enough to escape the mysterious curse that has plagued their family. Two decades pass and Barnabas (Johnny Depp) has the world at his feet—or at least the town of Collinsport, Maine. The master of Collinwood Manor, Barnabas is rich, powerful and an inveterate playboy…until he makes the grave mistake of breaking the heart of Angelique Bouchard (Eva Green). A witch, in every sense of the word, Angelique dooms him to a fate worse than death: turning him into a vampire, and then burying him alive.

Two centuries later, Barnabas is inadvertently freed from his tomb and emerges into the very changed world of 1972. He returns to Collinwood Manor to find that his once-grand estate has fallen into ruin. The dysfunctional remnants of the Collins family have fared little better, each harboring their own dark secrets. Matriarch Elizabeth Collins Stoddard (Michelle Pfeiffer) has called upon live-in psychiatrist, Dr. Julia Hoffman (Helena Bonham Carter), to help with her family troubles.

Also residing in the manor is Elizabeth’s ne’er-do-well brother, Roger Collins, (Jonny Lee Miller); her rebellious teenage daughter Carolyn Stoddard (Chloe Moretz); and Roger’s precocious 10-year-old son, David Collins (Gulliver McGrath). The mystery extends beyond the family, to caretaker Willie Loomis, played by Jackie Earle Haley, and David’s new nanny, Victoria Winters, played by Bella Heathcote.

This group (along with horror film icon Christopher Lee and several original TV cast members) will welcome moviegoers back to Collinwood (cue the cascading waves and Colbert theme) when Warner Brothers releases the film on May 11, 2012

Written and directed by Rod Lurie (THE CONTENDER, THE LAST CASTLE), STRAW DOGS (2011) is actually a reasonably successful generic popcorn thriller, focused on revenge. On its own, its no better or worse than most of the Hollywood fare churned out each year. However, as a remake to Sam Peckinpah’s film, Lurie fails completely at capturing the same level of deep character development and situational tension. For those viewers who see STRAW DOGS (2011) without having seen the original, a population which is apparently frightfully large, the film works. Unfortunately, for those who’ve seen the original, I fear you’ll find it difficult to look past the remake’s inadequacies and be left with a foul taste in your mouth.

STRAW DOGS (2011) stars James Marsden (X-MEN, ENCHANTED) as David Sumner, making an effort to fill the shoes of Dustin Hoffman. David is an LA screenwriter, educated and relatively well-off compared to the residents of Blackwater, Mississippi. David and his attractive wife Amy (SUPERMAN RETURNS, THE RULES OF ATTRACTIONG) return to Blackwater, her hometown, to temporarily reside in Amy’s recently deceased father’s home while it’s repaired and David works on his latest screenplay.

Right from the beginning, the setup of STRAW DOGS (2011) is clear; city folk versus southern rednecks. On this level, Lurie hits the proverbial mark, turning the deeper, more meaningful film Peckinpah created into little more than an average home invasion flick, less chilling than THE STRANGERS. Charlie, played by Alexander Skarsgard (TRUE BLOOD) leads a pack of four ex-high school football stars from Blackwater, employed by Amy to repair the roof of her father’s barn. As it turns out, Charlie and Amy have a history that is destined to come back on her like bad Indian food.

When in Rome, do as the Romans do. David makes an effort to apply this philosophy to his new, if only temporary home, but Charlie and boys won’t have any of that. This ultimately sets the tone for the rest of the film. Marsden does well enough as David, convincingly playing a generic Hollywood screenwriter type. His performance is centered on the trademark glasses worn by Dustin Hoffman in the original, constantly adjusting or fiddling with them as a crutch. I believed he was a pacifist, an atheist, and a coward.

Alexander Skarsgard, on the other hand, was probably the one factor in Lurie’s remake that I truly looked forward to, but found myself deeply disappointed. His performance was not bad, but rather very, very familiar. Charlie was essentially a slightly toned down version of Eric Northman from True Blood. I give Skarsgard credit for being really good at playing sophisticated creepy roles, even as a redneck, but there wasn’t enough depth to his performance and far too much of what we see so often on the HBO series. Regardless, he does offer some enjoyable moments in STRAW DOGS, so I can’t bring myself to write him off completely. Kate Bosworth is skinny, and she cries a lot in the second half.

Rod Lurie borrows heavily from Peckinpah’s visual repertoire with several shot-for-shot translations, including the final shot. He also delves into the genre pool of kill scenes, extracting moments of graphic violence that feel a little out of place in this remake but serve up excitement for the general audience like football fans rambunctiously hootin’ and hollerin’ over their home team’s touchdown. Amidst these vividly bloody moments is the final kill, with which I have a continuity issue.

Two performances truly stand out, but for two very different reasons. Dominic Purcell (BLADE: TRINITY) struggles with the role of Jeremy Niles, a mentally challenged man who is cast out and misunderstood by the town of Blackwater. He is the brother of Daniel, played by the terribly miscast Walton Goggins (JUSTIFIED). One of Lurie’s biggest mistakes was not casting Goggins as one of the four “straw dogs,” the term used by David to describe how Charlie and his boys fit into society. On the flip side, Lurie was brilliant for casting James Woods as the alcoholic, racist Coach Tom Heddon.

STRAW DOGS (2011) is well-shot, especially the opening sequence that develops the southern, swampy setting, even though the film doesn’t take place in a swamp. Lurie’s version makes no effort to embrace the gritty atmosphere of Peckinpah’s original, except for that final shot. I have a feeling this film will do fairly well at the box office, but will have to compete with Ryan Gosling’s meteoric new popularity as DRIVE opens simultaneously. For fans of Sam Peckipah’s original, I simply recommend avoiding this failed remake.

Overall Rating: 2.5 out of 5 stars

CULVER CITY, Calif. (June 2011) – Columbia Pictures has optioned remake and sequel rights to Big Man Japan, which will be developed and produced into a new feature film by Neal H. Moritz through his Original Film banner, it was announced by Hannah Minghella, president of production for Columbia Pictures. Big Man Japan was a breakthrough hit in Japan in 2007 and a cult hit in the United States in 2009. Phil Hay & Matt Manfredi will write the new adaptation.

Set in a world where monsters wreak havoc, there’s one man who can protect the citizenry: Big Man Japan, who runs the Department of Monster Prevention. Using electricity, he can grow to be 10 stories tall and fight off the most menacing of monsters. The problem is that he’s not very good at his job and often causes as much damage as he prevents. The people believe he’s a joke – and not nearly as good at the job as his father and grandfather were before he took over the family business.

The option for all non Japanese language rights to the film were secured through Yoshimoto Kogyo Co, Ltd, and their affiliate Yoshimoto Creative Agency, Ltd, producers of the original film that was directed by Hitoshi Matsumoto.

Toby Jaffe will oversee development for Original.

NEAL H. MORITZ is the founder of Original Film. His most recent releases include Fast Five, which has taken in more than $540 million worldwide to date, making it the most successful film in the franchise, and Battle: Los Angeles, which has grossed more than $200 million worldwide so far. His next film is Universal Pictures’ comedy The Change Up. He is currently in production on 21 Jump Street and Total Recall, and he is in pre-production on Warner Bros.’ Jack the Giant Killer. His past titles include The Green Hornet, The Fast and Furious series, I Am Legend, XXX, S.W.A.T., Made of Honor, Gridiron Gang, Bounty Hunter, Evan Almighty, Sweet Home Alabama, Click, Vantage Point, Out of Time, Blue Streak, Cruel Intentions, I Know What You Did Last Summer, The Skulls, Volcano, Urban Legend, and Juice.

PHIL HAY & MATT MANFREDI most recently wrote the screenplay for the box office hit Clash of the Titans; they previously wrote the screenplay for the 2005 sci-fi thriller Aeon Flux. The writing partners made their screenwriting debut in 2001 with the critically acclaimed drama Crazy/Beautiful. Manfredi also wrote and co-directed with Hay the independent feature Bug, starring John Carroll Lynch, which garnered multiple film festival awards in 2002. Upcoming projects for Hay and Manfredi include the comic book adaptations R.I.P.D. and The Boys, both for producer Neal H. Moritz.

ABOUT SONY PICTURES ENTERTAINMENT
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Check out the new stills from Paramount Pictures’ upcoming remake of FOOTLOOSE. Will it live up to the original, Kevin Bacon film that gave us ”Jump Back” and “Don’t stop! Don’t stop! Make Ginger pop!” Who can forget the classic lines,

Ariel: “Do you want to kiss me?”

Ren: “Someday”

Won’t be the same if no one is sporting the t-shirt that says - DANCE YOUR ASS OFF.

Paramount Pictures Presents In Association with Spyglass Entertainment
A Dylan Sellers Zadan / Meron Weston Pictures Production
A Craig Brewer Film
FOOTLOOSE
Executive Producers Timothy M. Bourne, Gary Barber, Roger Birnbaum, Jonathan Glickman
Produced by Craig Zadan, Neil Meron, Dylan Sellers, Brad Weston
Story by Dean Pitchford
Screenplay by Dean Pitchford and Craig Brewer
Directed by Craig Brewer

Synopsis:

Writer/Director Craig Brewer (HUSTLE & FLOW, BLACK SNAKE MOAN) delivers a new take of the beloved 1984 classic film, FOOTLOOSE. Ren MacCormack (played by newcomer Kenny Wormald) is transplanted from Boston to the small southern town of Bomont where he experiences a heavy dose of culture shock. A few years prior, the community was rocked by a tragic accident that killed five teenagers after a night out and Bomont’s local councilmen and the beloved Reverend Shaw Moore (Dennis Quaid) responded by implementing ordinances that prohibit loud music and dancing. Not one to bow to the status quo, Ren challenges the ban, revitalizing the town and falling in love with the minister’s troubled daughter Ariel (Julianne Hough) in the process.

FOOTLOOSE will be in theaters on October 14, 2011.

In many ultra-affluent homes there’s an invisible , but clearly defined, line that separates the residents and the people hired to take care of them. Usually it’s a rigid code of conduct. This has been explored in TV shows like “Upstairs, Downstairs” and films such as THE HAND THAT ROCKS THE CRADLE and DRIVING MISS DAISY.  A source of dramatic conflict occurs when one or both cross that line. THE HOUSEMAID explores this conflict in reserved Asian society. The film shares the it’s title from an influential Korean film from 1960, but the results of this conflict in 2010 are very different from the earlier work.

This film begins on a busy evening at a downtown market. The bustling night is momentarily disrupted when a young woman leaps to her death from one of the buildings. A worker at one of the eateries, Eun-yi (Jeon Do-yeon), and her room mate try and get a better look at the body. The next morning, back at their apartment building, Eun-yi is visited by Miss Cho (Yoon Yeo-jeong), the maid of a rich family. Eun-yi has been hired as an au pair for the growing household. Eun-yi is taken to the opulent home and is introduced to the lady of the house, Hae Ra (Seo Woo). Hae Ra is due to give birth to twins in the next few months. Besides helping with the household chores, Eun-yi’s main responsibility will be looking after the seven year old daughter Nami (Ahn Seo-hyeon). Shortly Eun-yi meets the master of the house, Hoon (Lee Jung-jae), a powerful, successful businessman. Later Eun-yi is dazzled by Hoon’s skills at the piano. That night Hoon is frustrated by the unaccommodating Hae Ra in the bedroom. A few days later Eun-yi accompanies the family to a cottage in the woods. Late one night Hoon enters Eun-yi’s quarters. They share a bottle of wine and the bed. This becomes a regular occurrence upon their return to the main house. Miss Cho stumbles upon one of the trysts. Later, she observes changes to Eun-yi’s body-she must be pregnant. Miss Cho brings this to the attention of Hae-Ra’s domineering mother Mi-hee (Park Ji-young). Mi-hee swears that she will take care of this before the birth of her new grandchildren. What will become of Eun-yi and her baby? And will Hae Ra learn of her husband’s affair?

THE HOUSEMAID unfolds slowly as it presents this mansion’s opulence and the strict codes of conduct for the working women. The introduction of the affair is similar to an early Hollywood studio tearjerker. The performances are all very engaging. Do-yeon makes Eun-yi, a sweet, fragile young woman who is dazzled by all the trappings of wealth. Yeo-jeoung ‘s Miss Cho starts as very stern, hardened women but later becomes sympathetic when she has finally has endured enough in dealing with this family. The family is anchored by Jung-jae’s imperious, manipulative, cold Hoon. Woo’s Hae-Ra’s is a spoiled, uncaring brat, while her mother may be the film’s biggest villain. Ji-young turns her into an evil, Lady Macbeth-like harridan. The movie’s an interesting look at the class system in Korea. But, I should forewarn you that the film’s wildly over-the -top, almost operatic ending may seem out of place after the more realistic proceedings. If you can handle such abrupt changes in tone then you’ll appreciate THE HOUSEMAID.

Overall Rating: 3.5 out of 5 stars

Barbra Streisand to star in the movie remake of GYPSY…does that sound like a good idea?

It’s a tremendous idea! Barbra would be breathtaking as Mama Rose and a project like this has the potential to be one of the greatest adaptations in film history, not to mention it would be a great bookend performance for La Streisand. And the score won’t have to be altered for a less capable actress/singer.

Ok so Barbra’s on board – but who would direct? It has to be someone strong enough to direct Barbra in her first musical in over 30 years. It’s a daunting task for even a seasoned director – she’s a handful…and on a musical?!?

Barbra Streisand has met with Stephen Sondheim and Arthur Laurents to discuss starring as Rose, the mother of all stage mamas, in a film version of their 1959 musical “Gypsy,” the two men said in telephone interviews on Wednesday. Mr. Laurents, who wrote the book for “Gypsy” and directed its 2008 revival on Broadway starring Patti LuPone, said that Warner Brothers and Joel Silver were attached as producers, but that no director had been chosen.

Contrary to a report in The New York Post on Wednesday, Mr. Laurents said that Ms. Streisand would not direct the film; she once wanted to, he said, “but playing Rose is enough to make her happy.” Ms. Streisand, who won an Academy Award for best actress in 1968 for the film musical FUNNY GIRL, has been interested in doing GYPSY for many years, Mr. Laurents said, “but now things are serious and a movie is truly in the works.”

As for the rest of the casting, Tom Hanks’ name has come up for the role of Herbie, the former agent turned manager. I would’ve gone for Dustin Hoffman as Herbie, but Tom Hanks is good. He’s the perfect type – it was Jack Klugman in the original Broadway production with Ethel Merman; and Karl Malden in the 1962 movie with Rosalind Russell (so you can see where they are going with this).

Natalie Wood starred as the shy older sister Louise in the movie. I think Anne Hathaway would be perfect in this role. She is the right type and she can really sing! And while I’m granting myself wishes, Baby June should be played by Kristen Bell; and Tulsa, the boy she elopes with would be a perfect vehicle for the talents of Joseph Gordon Levitt – “Make ‘Em Laugh” on SNL anyone? Genius. Well, here’s hoping!

Source: NY Times

Sony Pictures has announced that the Johnny Depp-Angelina Jolie romantic thriller THE TOURIST is now set to open December 10th, according to Box Office Mojo. Oscars anyone?

A remake of French thriller ANTHONY ZIMMER, THE TOURIST features Depp as an American vacationing in Venice, Italy, who, while attempting to romance Jolie’s character, becomes embroiled in a web of international intrigue and suspense. This year has already been a good one for Depp and Jolie, as they have each had hits in ALICE IN WONDERLAND ($334.2 million) and SALT ($104.2 million and counting), respectively. Directed by Florian Henckel von Donnersmarck, who won the Best Foreign Language Oscar in 2007 for Cold War drama THE LIVES OF OTHERS, THE TOURIST will debut opposite THE CHRONICLES OF NARNIA: THE VOYAGE OF THE DAWN TREADER and David O. Russell’s THE FIGHTER.

THE TOURIST, written by Julian Fellowes, Christopher McQuarrie, and Jeffrey Nachmanoff, also stars Paul Bettany, Rufus Sewell, and Timothy Dalton. GK Films, which financed the film, and Sony Pictures will distribute it.

Lionsgate via YAHOO! Movies has released this exciting new trailer for Paul Haggis’ THE NEXT THREE DAYS.

This….looks…FABULOUS!! Crowe and Neeson together – good night nurse!! As you can tell, I’m more than a little thrilled about this remake of the 2007 French film “Pour Elle” (Anything For Her) by Fred Cavaye’.

Synopsis:

Life seems perfect for John Brennan (Russell Crowe) until his wife, Lara (Elizabeth Banks), is arrested for a gruesome murder she says she didn’t commit. Three years into her sentence, John is struggling to hold his family together, raising their son and teaching at college while he pursues every means available to prove her innocence. With the rejection of their final appeal, Lara becomes suicidal and John decides there is only one possible, bearable solution: to break his wife out of prison. Refusing to be deterred by impossible odds or his own inexperience, John devises an elaborate escape plot and plunges into a dangerous and unfamiliar world, ultimately risking everything for the woman he loves.

From Highway 61 Films and Lionsgate, along with a screenplay from producer-director Paul Haggis, THE NEXT THREE DAYS will be in theaters on November 19, 2010.

Exhibitor Relations has posted a FRIGHT NIGHT update over on Facebook.

FRIGHT NIGHT remake starring Colin Farrell and Anton Yelchin has scared up a release date: October 7, 2011. And yes, it will be in 3-D…

Oh great. Another unnecessary remake. Another 3D movie. Apparently Hollywood’s original story well has run dry.

DreamWorks remake of the 1985 film is about a teen (Yelchin) convinced that his new neighbor (Farrell) is a vampire. FRIGHT NIGHT’s cast includes Anton Yelchin, Colin Farrell, Toni Collette, David Tennant, Imogen Poots, and Christopher Mintz-Plasse.

With a story from Tom Holland, FRIGHT NIGHT’s original director and screenwriter, the screenplay is from Marti Noxon of tv’s “Buffy The Vampire Slayer.”

From producers Michael De Luca and Alison R. Rosenzweig and director Craig Gillespie (MR. WOODCOCK, LARS AND THE REAL GIRL), filming begins this summer in New Mexico.

Who could wait for this spectacle after the trailer debuted in April. And now PIRANHA 3D will be in theaters a week earlier. Giddy anyone? C’mon… raise your hands.

In case you missed it:

Oh Christopher Lloyd, you’ve been gone far too long from the silver screen, especially when you’re popping out lines like, “piranha hunting in packs.” Don’t even get me started on the whole deal of Richard Dreyfuss/JAWS/Matt Hooper showing up in the movie. (Insert big smile here.) From the looks of it, Ving Rhames assumes the Chief Brody part. Sign me up for this trip… pronto!

From director Alexandre Aja (The Hills Have Eyes) comes the new action thriller PIRANHA 3D. Every year the population of sleepy Lake Victoria explodes from 5,000 to 50,000 for Spring Break, a riot of sun and drunken fun. But this year, there’s something more to worry about than hangovers and complaints from local old timers; a new type of terror is about to be cut loose on Lake Victoria. After a sudden underwater tremor sets free scores of the prehistoric man-eating fish, an unlikely group of strangers must band together to stop themselves from becoming fish food for the area’s new razor-toothed residents. The films stars Jessica Szohr (Gossip Girl), Steven R. McQueen (The Vampire Diaries), Elisabeth Shue, Jerry O’Connell, Ving Rhames, Adam Scott, Richard Dreyfuss (JAWS), Christopher Lloyd, and Kelly Brook.

What a great way to end the summer. Where do I buy a ticket?

PIRANHA 3D will be in theaters on August 20, 2010. Follow the movie on Twitter and “Fan It” on Facebook.

Trailer courtesy: YAHOO! Movies

From YAHOO! Movies comes this video clip where director Harald Zwart and composer James Horner discuss the Asian influence on the movie’s symphonic score from THE KARATE KID.

I’m such a huge fan of James Horner and his film scores. I have ever since sitting in the theater and hearing those loud trumpets come blaring through the screen. Beginning with the music from BATTLE BEYOND THE STARS thru STAR TREK II: WRATH OF KHAN onto ALIENS and finally his Oscar-winning score TITANIC.

Synopsis:

In Columbia Pictures’ remake of the 1984 film, THE KARATE KID, 12-year-old Dre Parker (Jaden Smith) could’ve been the most popular kid in Detroit, but his mother’s (Taraji P. Henson) latest career move has landed him in China. Dre immediately falls for his classmate Mei Ying – and the feeling is mutual – but cultural differences make such a friendship impossible. Even worse, Dre’s feelings make an enemy of the class bully, Cheng. In the land of kung fu, Dre knows only a little karate, and Cheng puts “the karate kid” on the floor with ease. With no friends in a strange land, Dre has nowhere to turn but maintenance man Mr. Han (Jackie Chan), who is secretly a master of kung fu. As Han teaches Dre that kung fu is not about punches and parries, but maturity and calm, Dre realizes that facing down the bullies will be the fight of his life.

It pales by comparison to the original and Mr Miyagi’s infamous ”Wax on….wax off.” Rated PG for bullying, martial arts action, violence, and some mild language, THE KARATE KID opens nationwide Friday, June 11th.

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New Line Cinema’s job in getting an ESCAPE FROM NEW YORK remake of the ground and into theaters has been an up and down struggle for some time now.  Now, it appears, the studio is going with someone who has a little bit of recent luck in the remake department.  Hollywood Insider is reporting THE CRAZIES’ director, Breck Eisner, is in negotiations to take the helm.

Of course, this doesn’t mean Eisner definitely has the job, nor does it mean we’re going to be seeing an ESCAPE FROM NEW YORK remake in theaters in the very near future.  With the way directors come and go on projects these days, Eisner could be onto something entirely different by the time you finish reading this article.

However, it does raise some interesting questions about the new film.  Not that it means a whole lot, but Eisner has previously worked with Matthew McConaughey on SAHARA and Timothy Olyphant on THE CRAZIES.  While many would groan at the former sporting the Snake Plissken eyepatch, putting Olyphant in the role might not be the worst decision known to man.  Until recently, Gerard Butler was attached in the role, so, whoever ends up starring in the film actually has more than just Kurt Russell’s shoes to fill.

What is your choice?  Is Breck Eisner a good pick to take on the remake of a John Carpenter classic?  Who should take on the role of Snake Plissken in the upcoming film?  Let us know by shooting us a comment below.

Of course, he is.  In fact, I’m surprised there hasn’t been any real talk of a TOXIC AVENGER remake until now.  The original film, which became the banner for Troma Entertainment, came out in 1984 and has since generated four sequels, an animated TV show, and even a stage production.  The latter has recently picked up a Lucille Lortel Awards nod for Outstanding Musical.

Nonetheless, Deadline New York is reporting Akiva Goldsman, Richard Saperstein, and Charlie Corwin will be serving as producers on the remake.  The new film will be a family friendlier version of Toxie (that’s his nickname).  It will reportedly have the 90 lb. nerd who is transformed into a hulking, crime fighting beast via a vat of toxic waste taking on environmental challenges.

This will be the second Troma retread backed by Saperstein, who is also behind the Darren Lynn Bousman-directed MOTHER’S DAY.  No writers have been hired yet for TOXIC AVENGER, but expect development to move quickly.

And then two projects became one.  We let you know a few weeks ago that director David Fincher was circling two, different projects, the Bobby Fischer biopic, PAWN SACRIFICE, and the US remake of THE GIRL WITH THE DRAGON TATTOO.  Evidently, Fincher likes girls with tattoos more than he likes chess, because the latter project won out.  According to the Playlist, DRAGON TATTOO has been confirmed as Fincher’s next film.

Rumors of Carey Mulligan being groomed for the lead role are just that, rumors.  Fincher evidently wants an unknown for the role, and Sony, who is behind DRAGON TATTOO and Fincher’s next release, THE SOCIAL NETWORK, couldn’t be happier with Fincher right now.  THE SOCIAL NETWORK, by the way, is set to release in October.  Fincher plans to begin shooting DRAGON TATTOO around this same time.

While it still irks me somewhat to see a US remake of THE GIRL WITH THE DRAGON TATTOO already in the works, I have faith Fincher won’t just make a retread of a film we’ve already seen.  If he’s come on board, that means he has an angle he has found with the original story that will make it his own.  It will be interesting to see how the two films, the original, Swedish film and Fincher’s, will compare.

It’s been 12 long years since Matthew Broderick GODZILLA nearly destroyed New York City.  Believe it or not, since then, there have been six GODZILLA movies released in Japan, and Warner Brothers and Legendary Pictures figure it’s time for another US reboot.  The announcement came today that the iconic, massive lizard with a penchant for subway cars and who can blow flames from his mouth will be coming back to American theaters.  The new film is set for a 2012 release.

Legendary Pictures announced Monday they had acquired rights to the film from Toho Co. but that the Japanese-based film studio would still release the film in Japan.

Says Thomas Tull, Chairman and CEO of Legendary Pictures:

GODZILLA is one of the world’s most powerful pop culture icons, and we at Legendary are thrilled to be able to create a modern epic based on this long-loved Toho franchise. Our plans are to produce the GODZILLA that we, as fans, would want to see. We intend to do justice to those essential elements that have allowed this character to remain as pop-culturally relevant for as long as it has.

I think, if you read between the lines, this means there won’t be any baby GODZILLA’s to cash in on the JURASSIC PARK craze and I have a feeling a home pregnancy test won’t come into play this time around.  Jean Reno, though?  Always welcome.

Legendary says a director will be announced soon.