In April we learned that Breck Eisner, director of The Crazies, had signed on to direct the remake of Escape from New York, set up with producer Neal H. Moritz‘s Original Films. The report claimed that Eisner would be developing based on Allan Loeb‘s draft, which sounded horrible.
Earlier this year we learned a bit about the rewrite by the 21/Wall Street: Money Never Sleeps scribe, which is a Snake Plissken origin story combined with some of the plot of the 1981 original. Vulture said the script “nailed the humor in Plissken without slipping into camp, and he changed Snake’s rescue-mission target from a president to a female senator, thereby upping the banter quotient.” Sounds good right?
Well, they also found a much cheaper way to film the story, by changing destroyed Manhattan into a “geographically undesirable, but intact” privately run penal colony which was created “after the detonation of a crude radioactive dirty bomb on the outskirts of the city.” Sounds a horrible idea to me. Much of the appeal of the original film was seeing a post apocalyptic New York City.
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Breck Eisner looks to be the new Len Wiseman or Stephen Sommers — he’s lining up one high concept tentpole after another in the wake of the reasonable opening of his remake of The Crazies. He’s got the Escape From New York remake up next, and is booked for the new Flash Gordon movie and there is still occasional talk about remaking David Cronenberg’s The Brood, though (fortunately) that seems unlikely to happen.
Now he also apparently has an adaptation of the mid-’80s ‘Dracula meets Jack the Ripper’ indie comic book series Blood of the Innocent, which could happen after Escape From New York. Read More »
A couple years back, New Line Cinema was trying to remake John Carpenter’s 1981 sci-fi actioner Escape from New York. They first hired Live Free or Die Hard helmer Len Wiseman, who got replaced with Brett Ratner. I wasn’t excited about either of the two filmmakers rebooting Snake Plissken, although Wiseman’s production design background made him the better choice of the two. This is a time right after 300 made huge bank at the box office, resulting in the casting of Gerard Butler as the new Plissken. The project thankfully fell into the wayside, never to be heard from again… until now.
Breck Eisner, director of The Crazies, has signed on to direct the remake of Escape from New York, set up with producer Neal H. Moritz‘s Original Films. HeatVision says they will be sticking with Allan Loeb‘s draft, which “tries to mix an origin story for anti-hero Snake Plissken and merge it with the story of the 1981 original.”
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Posted on Friday, February 26th, 2010 by David Chen
The /Filmcast: After Dark is a recording of what happens right after The /Filmcast is over, when the kids have gone to bed and the guys feel free to speak whatever is on their minds. In other words, it’s the leftover and disorganized ramblings, mindfarts, and brain diarrhea from The /Filmcast, all in one convenient audio file. In this episode, David Chen, Devindra Hardawar, and Adam Quigley are joined by Breck Eisner, director of The Crazies, to discuss the phenomenon of remakes, the benefits of 3D, and Eisner’s upcoming planned Flash Gordon remake. C. Robert Cargill from Aint It Cool News also stays with us to share his views on The Hurt Locker. The Crazies is out in theaters today.
You can always e-mail us at slashfilmcast(AT)gmail(DOT)com, or call and leave a voicemail at 781-583-1993. Join us next week at Slashfilm’s live page as we review The Crazies.
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Overture Films has sent us three exclsuive photos from Breck Eisner‘s remake of The Crazies, starring Timothy Olyphant, Radha Mitchell, Danielle Panabaker and Joe Anderson. I also heard a rumor that Eisner might be a guest on an upcoming edition of the /Filmcast. Check out the photos after the jump.
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The third (and presumably last) trailer for Breck Eisner’s The Crazies has hit, and this one is all about being short and sweet. We covered the first trailer back in October (which featured the Gary Jules cover of “Mad World”), and the second in December, which went a bit more in depth with the setup. The film tells the tale of a small town whose population has been turned into crazy killing machines by some sort of unknown toxin. It stars Timothy Olyphant as a small town sheriff who is trying to survive against the hordes of insane civilians and violent military retaliation, along with his pregnant wife (Radha Mitchell).
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What the world needs now is another insta-forgettable remake of a bona fide horror classic like I need a stake through the heart.
When the Crazies remake rolls out in the new year, I’m going to be crossing the fingers on both hands and hoping for it to be a corker. On one hand because it’s a remake of George Romero’s The Crazies, a wonderful film that doesn’t need a lame looky-likey cousin, and on the other hand because director Breck Eisner has now signed on to direct the remake of David Cronenberg’s superb paedophobia chiller The Brood. A duff Brood do-over would sting and so I want to believe in Eisner, not spend a few months living in dread.
If you haven’t seen the original, here’s a brief, spoiler-free breakdown. Nola Carveth is a patient at the Somafree Institute of Psychoplasmatics, a typically creepy, mysterious and, basically, Cronenbergian medical facility. At the same time, her ex-husband is being haunted by Don’t Look Now-alike little strange figures. These two circumstances are not merely coincidental… the human body is capable of some rather strange and scary things.
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The first trailer for Breck Eisner‘s The Crazies was pretty good, but with one significant misstep: it made heavy use of the song ‘Mad World’, which for the next decade should be considered as owned lock, stock and barrel by Donnie Darko. That aside, the trailer had a fairly intriguing vibe.
This second trailer omits the song, thankfully, and is a bit more straightforward. It gets into a lot less plot, jumping in when things are already going off the rails in a small town. There’s more of a slasher vibe to this cut, which I’m guessing is a deliberate move to skew the film as something more simple than it actually is. Read More »