In two short hours on Saturday evening, expectations for Jose Padilha‘s remake of RoboCop plummeted from their already low perch. Film journalist Drew McWeeny got his hands on the script to remake of the 1987 cult classic and tweeted a slew of specific details, most of which are really bad. The new film, which has already begun its viral marketing aimed at a release just under one year from now (August 9, 2013), has an incredible cast lined up including Joel Kinnaman, Gary Oldman, Jackie Earle Haley, Michael K. Williams, Abbie Cornish, Samuel L. Jackson and Hugh Laurie, but, if McWeeny is to be believed, the script is a major mess. He tweeted about several of the action set pieces currently scripted, lines of dialogue that reference the original film and some new, spoilery changes, to the character himself.
Read his comments after the jump and also find out details about a potential return (yes, again) to The Amityville Horror franchise as well as a short, sweet video about one of the best action scenes in Len Wiseman’s Total Recall. Read More »
Everyone’s talking sequels today. Well, not just sequels, but also prequels and relatively unlikely revivals. After the break,
- Heather Graham is returning for the third Hangover,
- Christopher Mintz-Plass talks Kick-Ass 2,
- a new Amityville Horror prequel is in the works,
- and Jean-Claude Van Damme has written Double Impact 2.
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Posted on Wednesday, May 11th, 2011 by Angie Han
Hannibal Classics has just announced a spin-off of the 1979 classic The Amityville Horror, to be titled Amityville: The Legacy 3D. The new film will be based on the book Amityville: The Evil Escapes by John G. Jones, which also inspired some of the sequels. Andrew Helm and Steve B. Harris are set to write the script, with Harris, Richard Rionda Del Castro and Paul Mason (who also produced the 2005 remake) producing. No director or cast is attached at this time.
Legacy will be the tenth installment in the Amityville series, which includes four previous feature films, four direct-to-video releases, and a made-for-TV movie. It will also be the second one in 3D — the third film, Amityville 3-D, came out during the ’80s 3D craze. Read more after the jump.
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BloodyDisgusting is reporting that the Weinstein Co and Dimension Films are planning to remake The Amityville Horror… yes… again. The Platinum Dunes’ remake of the 1979 cult favorite grossed over $108 million worldwide in 2005, and is still somewhat fresh in audiences minds. Why launch into another remake, so soon?
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When 2009 is reflected on later, it won’t be the clunky, predictable Oscar-bait pics that standout but rather a new crop of outspoken auteurs that came into their own in ’09 with stealthy, highly confident fare. A charged determination and can’t-fail idealism is instilled in these directors that makes the filmmaking process once again exciting and truly daring: A young man’s game. Writer/director, Ti West, is one such auteur. Not yet 30 years of age, West has crafted a horror film with an attention to detail, sex appeal, color and sound so as to evoke the paranoid trips of early Roman Polanski and the vintage, pop-darkly appreciation of early Richard Linklater and Paul Thomas Anderson.
Bearing a title that is epic and playfully dry, The House of the Devil reconnects the horror genre with roots-y, genuine, teetering suspense. By doing so, West also manages to grasp viewers in the claws of doom by way of a foreboding graveyard or a pitch black basement, as opposed to, say, a phallic torture chamber aired simultaneously on forty live surveillance cameras. Stylistically, West forwent mining homage from the Grindhouse well—so exhausted this decade—and instead made a film set in the ’80s that not only looks period, but feels of it. The era’s mundane pace of life and lack of social interconnection can be sensed from the movie’s start and is incensed by the decade’s “Satanic Panic”: a media-exploited phenomenon that did for Satanism what coverage of the Zodiac Killer and Son of Sam did for serial killers in the ’60s and ’70s. At Devil‘s heart is the lead performance by newcomer, Jocelin Donahue, 27, who gets my vote for movie crush of 2009. Donahue plays Samantha, a smart, unsure college sophomore in dire need of a payday who eventually responds—in that ’80s way—to a nondescript babysitter flyer. No one ever said that $atan doesn’t have great taste.
From the way in which Donahue walks in high-waisted jeans to the way Samantha and her BFF eat and critique pizza, it’s a luscious thrill to witness such a dope actress and director get it and get it some more. Moreover, West appears supported by one of the cooler, simpatico filmmaking crews working in indie films today. Unlike the stereotypical proto-auteur of past and present, West’s horror movie shines as both the work of a driven perfectionist and a clear vision by a superlative collective; this enables the viewer to fall into, and fall in love with, all the creepy, masterful foreplay before West’s plot rocks wildly alongside a devilish eclipse. Afterward, I desired to open a pack of THoTD trading cards showcasing the film’s collaborators and characters alike rather than scan IMDB. Ti West discussed his creative process with /Film, as well as the film’s titular House, its mystic pizza, and why his experience helming the yet-to-be-released Cabin Fever 2 was an effing nightmare straight outta Hell Hollywood.
Hunter Stephenson: Hi Ti. I found this to be a very uncompromising horror film. I think what many are finding to their surprise is that The House of the Devil is not an homage to the ’80s a la Thanksgiving but a real period piece.
Ti West: Thanks, I’m glad you see it like that because that’s how I see it: as a period piece. I appreciate that. I mean, the film is basically about a cultural phenomenon in the 1980s, the Satanic Panic. So, I wanted to create a very accurate depiction of that and not do it tongue-in-cheek, or as a parody, because then people wouldn’t care about the characters in the movie. That’s why there’s a really nice primer to the beginning of the film [explaining the Satanic Panic, complete with statistics], because so much of the film is a contrast between a lot of realism and then these very fantastic horror elements. And that’s why, with the beginning, I wanted it to feel like this is something that could have really happened.
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