Spoiler Photos for The X Files 2 Hit the Web!


Unless July’s X Files sequel (still untitled) ends up being the franchise’s equivalent to Waxwork, I’d say the following photo contains a detrimental spoiler. If /Film was the government or Matt Drudge, we might unleash the sirens and Code Red alerts right now. Am I glad I saw them? Not really. Actually, no way! Are they cool? Sure, but I have a distinct “is that it?” comedown. JoBlo had one helluva spy who snapped some photos from the set. As for the photo below, that’s the film’s director and franchise creator, Chris Carter, on the right in blue. As for what’s on the left, if you head for the jump you’ll have no further questions.

Source Link: JoBlo

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Recently while on Google Chat with Peter, I predicted that Paul Thomas Anderson would follow-up There Will Be Blood with an intensely signature sci-fi undertaking. You can look at the guy in interviews and gleam all of the sick projects dancing in his eyes and hiding in the best smirk in the business; he looks like he’s ready to do some serious Kubrickian-level genre trail blazing. When journalists have quoted him recently, relating his own gnawing, towering ambition and fighting spirit to that of Daniel Plainview’s, they often seem taken aback as if this were a bad or maniacal confession. Screw that. It’s cause for excitement. When you’ve got the touch, you don’t deny it. You say, “yeah, I relate to that [smirk].” There is a little dose of crazy behind all great works (sometimes a lot), and with Oscars definitely coming his way, he’ll need some Plainview to punch through the expectations and torrential glitz.

So, like I said, I thought epic sci-fi would be in order, but apparently it’s spookier. He oft refers to There Will Be Blood as a horror film, but word today over at Bloody Disgusting is that PTA’s pining for some genre horror, like, on The Exorcist or Halloween tip. They say to expect an official announcement of some kind in the coming months. Yeah, that’s all I got. Now, maybe you’re feeling ripped off, like you just went to a palm reader, handed her your wallet with a red bicycle photo in it and she told you you had a red bicycle. But based on what I’m hearing off the record and a lil’ gut intuition, I’m willing to put chips on the table that PTA’s next film is horror or sci-fi and not an ensemble drama. Any director who takes an Oscar and goes off to make a movie to scare all of us up a tree deserves to have his towering ambition erected into a tower made of 80 floors of whatever he finds awesome. I’ll help build it. PTA horror, can you dig it?!



Let’s hope this isn’t a sign of things to come in regards to the Academy Awards for Paul Thomas Anderson‘s There Will Be Blood: Jonny Greenwood‘s feted instrumental soundtrack for the film, seen as a shoe-in for Best Original Score, has been officially disqualified. The reason? The score contains preexisting music. Red Carpet District reports that Greenwood’s score contains “35 minutes of original recordings and roughly 46 minutes of pre-existing work (including selections from the works of Arvo Pärt, as well as pieces in the public domain, such as Johannes Brahms’ “Concerto in D Major”).  Peripheral augmentation to the score included sporadic but minimal useage (15 minutes) of the artist’s 2006 composition “Popcorn Superhet Receiver.”

While I downloaded the soundtrack and admire it, I admit that the above details regarding source material eluded me. Rules are rules; even though I’m sure some die-hard Radiohead and PTA fans can’t be talked into coming down from their anger trees right now. What’s more surprising is the supreme suddenness of the Academy’s announcement, with Greenwood learning the decision via an official letter on January 17th, and the studio, Paramount Vantage, two days later. In comparison, Paramount Vantage says they learned that the soundtrack for their Into the Wild was also ineligible (due to  predominant use of songs) much further in advance. And it sounds as if the studio would have appealed the TWBB decision if they had the proper time.

Right when the impossibly important category starts to attract the attention and interest of a younger demographic, poof! Maybe it’s time to reinstate the “Adaptation and Song Scores” category, which has been off the ballots since 1984?

    Source Link: Variety /LAT


This is a forum for all of you piling out of Cloverfield this morning, afternoon, evening and throughout the weekend/month. Did you think J.J. Abrams‘s and Matt Reeves‘s film was a modern day classic? Did the monster meet your expectations? Did you expect [that] to happen? I’ll be chiming in with my review shortly. This entire post will be a skyscraper-smashing, people-stomping SPOILER, so don’t proceed if you haven’t seen it, unless that’s your thing. Have fun.

Note: We will be posting the latest news below this forum until Monday.

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“You mean, that boy from The Goonies? Yippie-ki-yay!”

Wowzers. Oliver Stone had hinted at making a feature on the life of the current American president when he did press for the Alexander Director’s Cut, but who knew it’d come together this quick? Filming could begin as soon as April for the George W. Bush biopic, brilliantly entitled Bush, which could mean a theatrical release right in time for the next election or inauguration. Of course, a SAG strike would cause delay. Stone says the film won’t be a “polemic”…

“Here, I’m the referee, and I want a fair, true portrait of the man,” Stone told Variety. How did Bush go from an alcoholic bum to the most powerful figure in the world? It’s like Frank Capra territory on one hand, but I’ll also cover the demons in his private life, his bouts with his dad and his conversion to Christianity, which explains a lot of where he is coming from. It includes his belief that God personally chose him to be president of the United States, and his coming into his own with the stunning, preemptive attack on Iraq. It will contain surprises for Bush supporters and his detractors.”

Josh Brolin, shooting onto the A-list after his performance in No Country For Old Men, will portray the controversial 43rd U.S. president. The script, by Stanley Weiser (Wall Street, Project X) is already completed and is now being shopped to the studios. Stone said he collaborated with Weiser on over a year of research before moving on to Pinkville, a Vietnam film that was to be his next project before the strike put the kibosh on it. Actually, Stone says United Artists simply lost faith in the film due to the notorious poor performance of recent war films. But that’s a news item for another day. More Stone on Bush

“It’s a behind-the-scenes approach, similar to ‘Nixon,’ to give a sense of what it’s like to be in his skin. But if ‘Nixon’ was a symphony, this is more like a chamber piece, and not as dark in tone. People have turned my political ideas into a cliche, but that is superficial. I’m a dramatist who is interested in people, and I have empathy for Bush as a human being, much the same as I did for Castro, Nixon, Jim Morrison, Jim Garrison and Alexander the Great.”

Underlying how much planning has already gone into the project, which has gone under the aliases P.O.T.U.S. (think about it) and Misunderestimated, the film’s producer Moritz Borman says…

“We’ve just gone out with it, and April is just around the corner. If we can get it done as an independent or with a studio, we can do it quickly, but nobody really knows what is happening with the SAG situation. We’ve found locations in Louisiana, but we will have to build sets, especially the White House. We could do it later, because it’s not a film that has to be timed with the election; it’s a character study of a man.”

Who should play Cheney? Who should play Jenna? And who should voice God, if applicable (c’mon it’s Stone!)?


There have been reports that audiences seeing Cloverfield this weekend are going wild for the attached Star Trek teaser trailer, but my screening was dead quiet. And I can’t tell whether the mere four comments /Film received on our post about the bootleg version being on YouTube (still there) are a sign of disinterest, mild disappointment or reservation for the official version. Up until yesterday, I had a bad feeling about J.J. Abrams‘s mega-budgeted December vision for Trek. The casting has been all over the place, and the filmmakers’ hardcore need to include Leonard Nimoy and as much canon as possible reminded me of the early warning signs for Superman Returns. But the trailer struck a cord with me.

The steady shot on the U.S.S. Enterprise under construction perfectly evoked how vast, dangerous and mysterious space actually is, and Nimoy’s “final frontier” line didn’t possess the stark confidence I’d expected. Instead, it sounded foreboding and safety belt-worthy. The theme music even had a refreshed alien sophistication. After seeing what J.J. and his team did minutes later with Manhattan and how tiny and disposable humans were in a monster’s wrath, their Star Trek now has my full attention.

Producer Roberto Orci spoke with Trekmovie.com to expand on the filmmakers’ intentions for the moderately esoteric and largely eerie teaser. To the Trekkies who remain adamant that the Enterprise must be built in space in accordance with canon, or “fanon” even, rather than on Earth, Orci breaks out the science and “creative license.” This is sort of impressive…

Firstly, there is the notion that there is precedent in the novels, etc that components of the ship can be built on Earth and assembled here or there. And the second thing is that the Enterprise is not some flimsy yacht that has to be delicately treated and assembled. The idea that things have to be assembled in space has normally been associated with things that don’t have to be in any kind of pressure situation and don’t ever have to ever enter a gravity well. That is not the case with the Enterprise. The Enterprise actually has to sustain warp, which we know is not actually moving but more a warping of space around it. And we know that its decks essentially simulate Earth gravity and so its not the kind of gravity created by centrifugal force, it is not artificially created by spinning it. It is created by an artificial field and so it is very natural, instead of having to create a fake field in which you are going to have to calibrate everything, to just do it in the exact gravity well in which you are going to be simulating.

Orci deadens the rumors that the Enterprise is shown being constructed at Area 51, but won’t confirm nor deny that the location is San Francisco. And he doesn’t seemed worried about the film’s title not being included on the teaser, which I found to be an extremely intriguing decision on first view. As for what the trailer is supposed to convey to today’s audiences…

This is who we are. This is real. This is maybe not so far off in the future as it used to be. In the 60s the cell phone was a fantasy. Now the communicator that Kirk had is not as advanced as my iPhone. It is a different millennium for God’s sake. We are literally a century closer than we were before.

What I found most interesting was the following quote, which implies that this Trek is both inspired by JFK’s pivotal role in the space race and hopes to refocus peoples’ attention back on exploration as well.

First of all, it has been written about that Kirk was in a way modeled after JFK. Like being the youngest captain ever, like Kennedy was the youngest President ever. Obviously the space race being kicked off by JFK is very much associated with Star Trek. It was also due to what we just discussed and linking it back to today. If we do indeed have a Federation, I think Kennedy’s words will be inscribed in their someplace. He kicked us off. And on a third level it is a slight nod to Star Trek Enterprise, in that we are not blind to the fact that going back to some of the more historical aspects of Star Trek that haven’t been covered in a while

It’s not everyday that I care to hear a producer wax on a teaser trailer, but Orci enhanced my take on it. Did you find the teaser to be too esoteric, too uneventful, or too, um, industrial? Do you feel that general audiences made the connection that it was for Star Trek, as there are quibbles from fans going about?


Expectations for Spike Jonze‘s Where the Wild Things Are have cooled off a bit ever since the film was pushed back to 2009 due to purported issues with the titular creatures’ elaborate special effects. Audience reviews from surprisingly early test screenings described the $80 million film as unapologetically melancholic, beautifully strange, and very “adult.” But these reviews also stated polite shock at how much vital work on the film was left to be done. Did Jonze (Being John Malkovich, Adaptation) bite off more than he could chew, or is he perfecting a trippy masterpiece for the world’s coolest toddlers? Who knows, but any kids’ film with a soundtrack crafted by Karen O of the Yeah Yeah Yeahs is destined to be one of a kind.

It was rumored that the punk ingenue behind one of the more original and marvelous rock bands in recent years was contributing to a song or two. Not so, according to the director’s music producer brother, Squeak E. Clean né Sam Spiegel.

“Karen is doing most of the music. I’ve helped out a little with ideas, but she is pretty much doing the whole thing,” Spiegel writes to The Playlist.”

This information is supported by a note left on the MySpace belonging to composer Carter Burwell, an oft-collaborator with the Coen Brothers who worked on Jonze’s prior two films, that said Karen O was contributing both songs and “other pieces of music.” With the YYYs, Karen’s voice is famous for its manic episodes and banshee-like wail but on certain tracks it has an ephemeral, intimate quality. But as for vocal-less compositions, I have no idea what that would sound like, similar to the mystery surrounding Jonny Greenwood’s Wendy Carlos-like score for There Will Be Blood or Neil Young’s haunted power line guitar work for Dead Man. Add to the fact that Jonze and Karen O used to date and have collaborated several times in the past, and the imagination conjures something even wilder. More info on this film and soundtrack as we get it.


Something tells me we’ll see Rambo lift up the head of a vanquished Predator before we see the following. Still, it’s perfect midnight fodder. Variety is reporting via legendary gossip columnist Liz Smith that Quentin Tarantino wants to remake Russ Meyers’ 1965 exploitation flick Faster, Pussycat! Kill! Kill! with Britney Spears, Eva Mendes and Kim Kardashian. And, to add another lascivious layer of his homemade icing, QT wants to make his version “even raunchier.”

In the original film, the three female leads were strippers racing through the desert in various hot rods including a Porsche, who come upon a vulnerable couple. They kidnap the girl after doing away with her mate with a karate kick to the back, and later come upon an old handicapped redneck with two idiot sons and a rumored secret stash of cash. They sit down for a fried chicken dinner with the gals in bikinis before all hell breaks loose.

This sounds like Death Proof by way of TMZ or E! And frankly, it’s just frightening. And I love how Mendes is thrown into such a loose and sloppy equation like her career is no big whoop.

Is Uwe Boll’s Career Over?

Fanboys’ favorite ubermensch of suckage, Uwe Boll, may have directed his l-a-s-t big budget theatrical travesty with this past weekend’s $70 million In the Name of the King: Dungeon Siege Tale. The Jason Statham and Burt Reynolds (!) vehicle grossed a mouthwatering $3 million over the weekend, but apparently did “okay” in, drumroll, Boll’s home country of Germany.

“Because of the Boll reputation, it is not easy to get audiences into the cinemas,” Mychael Berg, head of distribution at 20th Century Fox in Germany, told the Hollywood Reporter. “We finally managed it, and we are quite satisfied with the abut 250,000 people who watched the movie (in Germany). We proved that you can make money with a Boll film.”

That might be the first time I’ve ever heard a distribution head publicly apologize for a director’s rep, outside of the porn industry. Hilarious! All cherries are popped sooner or later, I guess. The usually unflappable Boll, whose filmography includes videogame flicks like Bloodrayne 1 & 2 and Alone in the Dark, even sounds like he knows his number is up.

“In the future, I will focus on small films such as (the video game adaptation) ‘Postal’ or (the Vietnam war drama) ‘Tunnel Rats,’ ” Boll said. “These are films that represent my true passion, and they can be done with small budgets.”

Bring on the “passion,” I say. But the real reason for the end to Boll’s inexplicable employment is due to Germany banning tax shelter funds, from which Boll’s pricey Planet 9s were backed. From here on, he’ll have to play the Hollywood game straight-up. I checked his IMDB entry to bathe in his failure…but wait! It lists a $35 million movie coming out in 2010 called Legend: Hand of God from the director’s usual Freestyle Releasing (The Illusionist, Beer League), as well as a slew of others flicks like Zombie Massacre. Somewhere the Dr. Claw of genre films pets his feline and laughs loudly into the night!

Cool Posts From Around the Web:

Normally we try not to delve into the world of Hollywood Gossip, but this new bit is sad and likely of geek interest.

Academy Award-winning screenwriter Roger Avary has been arrested today for suspicion of manslaughter and felony driving under the influence, after a passenger, 34-year-old Italian Andreas Zini, was killed in Avary’s single-car automobile accident. Avary’s wife Gretchen was ejected from the car into the street, and is listed in stable condition.

There is never an excuse for drunk driving, but it’s so sad to see this happen to such a nice guy. I have talked with Avary on two separate occasions, and he always seemed like such a decent, down to earth guy. Supposedly Avary had drunk a couple of glasses of wine at dinner a half an hour earlier. The sheriff’s department has confirmed that Avary was under the influence of alcohol at the time of the crash, which happened shortly after midnight. Avary was arrested, but later released on $50,000 bail. Being responsible for the death of someone is sure to change the course of Avary’s life and career forever (as it probably should). But it’s still sad that one stupid mistake could have such a long lasting effect.

Avary is probably best known for co-writing Pulp Fiction with Quentin Tarantino. His screenwriting credits include: Silent Hill and Beowulf (which he wrote alongside Neil Gaiman). He also directed two films, Killing Zoe and the 2002 adaptation of Bret Easton Ellis’ The Rules of Attraction.