Earlier this week news hit that Will Smith is looking to 'reboot' (the Hollywood buzzword du jour to replace the thoroughly sullied 'remake') Sam Peckinpah's The Wild Bunch.
There is a strange new trend of former genre TV showrunners moving on to pen needless prequels to popular genre movies. We had Battlestar Galactica genius, Ronald D. Moore, working on the appalling prequel to The Thing. Most recently was Lost not-quite-as-genius, Damon Lindelof, who shat on a page and gave us Prometheus.
The latest name to move into prequel territory is the recently ousted showrunner of The Walking Dead, Glen Mazzara, who is tasked with writing a prequel to The Shining.
With this week's UK cinematic release of Robot and Frank, Lost in the Multiplex takes a quick trip down computer memory road, looking at some of the robotic faces that have graced our screens. From mesmerising beauty to terrifying cyborg killers, robots have squeaked and cranked their way through the movies since the beginning of cinema. Whether they're uncannily human or bio-mechanical, robots have come to symbolise our deepest fears and precious desires.
Classic Bond film Dr No may be down for an IMAX 3D reboot as US film times site, MovieFone, published a listing for it.
D. J. A. N. G. O.
The 'D' is silent.
That's Django, the titular character in Quentin Tarantino's take-no-prisoners slavery-era western in UK cinemas this weekend. This was, however, not Django's first big screen outing as he has a rich and strange history.
Die Hard is a stone cold masterpiece of action cinema. There is simply not enough room in a news article to get into just how much that movie gets right, but this handy little infographic get to the point adequately enough. This jumble of visual data runs through the stats of the original Die Hard's body count, collateral damage and naughty words. It's the first in a series that will be released in the run up to the Valentine's Day release of A Good Day To Die Hard.
There are some stories that you just think simply cannot be true and that by reading and believing them, you are falling victim to some kind of April fool's hoax. Then you look at the date, realise it's November and despair. One such story is the news that Warner Brothers are preparing a sequel to 1942 classic, Casablanca.
As Ripley Scott has recently discovered, excitement is a dangerous thing. The world drooled like Pavlov’s dogs in anticipation of Prometheus, so when it failed to deliver a masterpiece, we grabbed our torches and pitchforks.
Maintaining a high standard of film-making has never posed a difficulty for the highly talented Christopher Nolan. In making himself into one of today’s most established and esteemed directors, Nolan has transformed the Batman franchise into the most coveted of all comic book adaptations. Aside from his work adapting the Caped Crusader, he has created some of the most thought-provoking movies to grace our screens in the likes of Memento and The Prestige.
It’s difficult to describe my love of Alien and its successive films. It’s a bit of an inner conflict I have with myself. I’m utterly terrified of anything even remotely scary, dark or generally aggressive. (I genuinely thought I was going to die whilst viewing Harry Potter & The Chamber Of Secrets at the cinema, for instance. You have no idea how much I wish that were a joke.) When it comes to Alien, however, I can’t get enough. I find myself wanting to be terrified. I am in love with the xenomorph. It’s a thing of sheer, visceral, glistening beauty.