The rumors surrounding Watchmen began even before shooting did, most of which centered on what might become of the book's ending. If you haven't read it, I won't spoil it for you (though you need to go out and buy a copy right now), but suffice to say, it's pretty dark. It's so dark that every fan is convinced it's unfilmable -- and certainly, the leaked scripts suggested that many scriptwriters felt the same way.

The rumors persist despite several reports to the contrary (including one from an extra that leaked months ago), but now Patrick Wilson is setting the record straight. He talked to the MTV Movies Blog and literally laughed off rumors that the film has a happy ending. "Ha! I have to say, if you know how much Zack believes in it, you wouldn't believe he would go that far from the graphic novel. I don't know how those rumors start, but that'd be a stretch!"

The only scary part is that it is up to the studio to decide what to cut out of the film -- but even if crucial character bits land on the cutting room floor, Wilson explains that they tried to smash the detail in wherever they could. They've added "little lines here and there" to flesh out the character's backstories, as things have been cut by sheer necessity. And hey, the little details are what the book is for. It's the essentials, like that jaw-dropper of an ending, that have to stick to the page.

Watchmen opens March 6th, 2009.

"While waiting in line for the screening of Hellboy II: The Golden Army, I overhead someone say that Guillermo del Toro's latest is being seen as his audition tape for The Hobbit," observed Jonathan Pacheco in his review for The House Next Door. Of course, Del Toro already had the directing gigs for the two Hobbit films before Hellboy II hit theaters, but that won't stop audiences from evaluating the current parade of fairies, demons and evil elves with Del Toro's Middle-Earth-to-be in mind.
Needless to say, it's a narrow perspective.

It would make more sense to expect that these upcoming features will negotiate between the gothic horror of Pan's Labryinth and the blockbuster approach of Hellboy II. In the latter work, it's clear that Del Toro has more interest in placing these loony supernatural beings in relatively conventional action sequences, allowing the specificity of the characters to create a sense of ingenuity. Pan's Labryinth, on the other hand, offers a single package of storytelling: The art direction, special effects and even the violence directly relate to the drama. The best case scenario for the Hobbit films would be a happy medium: Glorious visuals that reflect Tolkien's deeply involving mythology.

Yes, the horrifying idea is true. Spooky Dan over at Bloody-Disgusting.net sat down with Rob Cohen, ostensibly to chat about The Mummy: Tomb of the Dragon Emperor and a startling bombshell was dropped. Cohen revealed that Paramount has snagged the rights to the 1987 cult classic The Monster Squad, and plans on remaking it in fairly short order. Cohen is going to produce, but isn't interested in directing.

The Monster Squad is a delightful horror-comedy about a group of middle school students obsessed with Stephen King, werewolves, and vampires. In a tidy plot twist, Dracula suddenly appears in their calm suburb, calls forth a few familiar minions, and makes plans to take over the world at midnight. It's the movie that proved, once and for all, that Wolfman has "nards." After languishing in cultish obscurity (and imprisoned on VHS), the movie had a resurgence once all us children of the '80s came of age, and is now available in a wonderful DVD package.

All of this is why the flick ... doesn't need to be remade. It's the perfect product of the '80s, one of those snarky movies the decade was rich in. Obviously Paramount is thinking that its ongoing popularity makes it an instant hit; I'm sure they will lamely explain this as a way to introduce the movie to the younger generation. But that's why we have DVD. I can introduce it to my future children just fine, thanks.

I never thought I would live to see the day when my entire childhood was remade. Surely Space Camp and The Goonies can't be far behind. What does that leave? Only Flight of the Navigator and An American Tail. Surely, the latter is being tossed around. I mean, two-dimensional animation doesn't speak to today's youth. Make it stop, Hollywood! Make it stop!

I'm typically a fan of all the movie-related stamps produced by the U.S. Postal Service, and I'm very glad to read the news that important early African American movie stars are being recognized and celebrated with a new series of 42-cent stamps (see them all here). However, I am a little disappointed that it carries on the usual exclusion of mostly forgotten non-musical race films, which are a significant part of both film history and African American history. Considering the stamps are tagged "Black Cinema USA," a number of people may assume this was the height of what African Americans were offered in the first half of the 20th century (Oscar Micheaux deserves a stamp).

Gripes aside, though, it is nonetheless a wonderful set. The five stamps feature vintage poster designs from old movies starring musical artists Josephine Baker (Princess Tam-Tam), Duke Ellington (Black and Tan) and Louis Jordan (Caldonia), plus King Vidor's monumental Oscar-nominated musical, Hallelujah! (it was one of the rare studio films featuring an all black cast) and the 1921 silent film The Sport of the Gods. In previous, separate years, Showboat costars Paul Robeson and Hattie McDaniel have also received their own postage stamps.

The new stamps come out Wednesday and there will be a ceremony on their behalf that day at the Newark Museum, which is currently holding the 34th annual Newark Black Film Festival. The festival is also holding free screenings of Hallelujah on Wednesday, Thursday and Friday.

Maybe you've seen them, maybe you haven't, but French thrillers are making a comeback in North America. That's good news for people uninterested in art houses solely for the sake of watching foreign films: You don't have to be a Francophile to appreciate smart, meticulously generated suspense, and that's exactly the appeal of several French movies hitting American theaters this year. A steady mixture of warm reviews and positive word-of-mouth appears to have helped Guillame Canet's breathlessly entertaining drama Tell No One land an impressive $240,858 at 18 locations. Earlier this year, veteran auteur Claude Lelouch, long known for his cinematic explorations of eroticism and lawbreaking, remained thematically consistent with a delightfully complex story of double-crossing novelists and dysfunctional families called Roman de Gare. The movie made over $25,000 on two New York screens when it opened in late April, and eventually pulled in more than $1.5 million after expanding to theaters around the country. It's not hard to argue that Tell No One and Roman de Gare put most recent American thrillers to shame. North America, once the haven of film noir, appears to be outsourcing.

As journalist Erica Abeel recently observed in an interview with Canet, "French filmmakers are currently making the best old-style Hollywood thrillers." It's not the first time for a country that has a long history of borrowing from American cinema, and often improving on it. At the beginning of the French New Wave in the early 1960s, former Cahiers du Cinema critics like Jean Luc-Godard discovered Hollywood genre films and decided to make their own loopy versions. The results were often strangely philosophical and experiment works, ranging from Godard's Breathless to François Truffaut's ambitious Shoot the Piano Player.

With The Dark Knight making its debut this Friday, I thought the time was right to take a look back at this jaw-dropping Batman parody from 1966. Rat Pfink A Boo Boo was the brainchild of Ray Dennis Steckler, the B-movie auteur behind The Thrill Killers, The Lemon Grove Kids Meet the Monsters and The Incredibly Strange Creatures Who Stopped Living and Became Mixed-Up Zombies (the latter of which would have me muttering "cha-ching" right about now if I was paid by the word). Released in 1966, the same year the Batman TV series debuted, the film actually doesn't focus on costumed hero buffoonery until nearly the half-way mark. Apparently Steckler decided that the earnest but incompetent crime thriller he had been making wasn't working out, so he decided to do his own take on Batman, a character he had long admired. The resulting film is a disjointed mess unlike anything you've ever seen before, making this the Plan 9 From Outer Space of super hero films, and if you're the type who can find enjoyment in amazingly bad cinema then you just have to see this.

Christopher Lee attended the Karlovy Vary International Film Festival this week, and our friends from RushBlogg, Karsten and Eirik, were on hand to talk to him. Of all the attendees, Meinich was the only one who asked Lee about his involvement in The Hobbit. Lee's answer came as quite a surprise -- first, he's adamant that he won't be appearing in The Hobbit, because as we all know, Saruman isn't in the book. This comes as no surprise -- Lee is a Tolkien purist (thank goodness!) and he won't allow himself to be shoehorned in, even if Peter Jackson and Guillermo del Toro were interested in doing so.

But what about the much discussed second film, which would likely deal with the Council of Wizards? That's a location problem. Lee isn't interested in filming in New Zealand again because it is simply too far away, for too long of a time. You can hear the tiredness in his voice -- and perhaps a bit of regret too.

That doesn't mean Lee isn't interested in being in The Hobbit at all, however! He'll appear in the film as long as he can stay in London, and there's a character he's quite keen to play. Or rather, voice. Someone very large, with a penchant for gold...

Head on over to RushBlogg and watch their video of Lee. It's a fantastic clip, and listening to him talk about Saruman, Return of the King, the Council of Wizards, and much more. It's like story-time. I could listen to him talk about Middle Earth for hours.

[Thanks Karsten!]

Warner Bros has finally broken their silence when it comes to the much talked about Where the Wild Things Are. As you must remember, the film has been dogged with rumors of reshoots and recasting. The last news we heard wasn't good, as the studio had casting calls out for reshoots.

But finally, someone has managed to get the studio to say what the heck is going on. LA Times writer Patrick Goldstein sat down with studio chief Alan Horn, who finally gave the studio's side of the story. Horn denied all reports that Spike Jonze had been taken off the project, but admitted the film was being reworked. "We've given him more money and, even more importantly, more time for him to work on the film. We'd like to find a common ground that represents Spike's vision but still offers a film that really delivers for a broad-based audience. We obviously still have a challenge on our hands. But I wouldn't call it a problem, simply a challenge. No one wants to turn this into a bland, sanitized studio movie. This is a very special piece of material and we're just trying to get it right ... The jury is still out on this one. But we remain confident that Spike is going to figure things out and at the end of the day we'll have an artistically compelling movie."

What could make a remake of an edgy '80s classic worthy of our valuable time? A top-notch director, of course. Within a Hollywood Reporter article focused on MGM's new chairman, Mary Parent (and all the franchises she's kicking into high gear) is one heck of a good name drop. According to the studio, Darren Aronofsky has stopped by to talk about helming the Robocop remake.

Now stop and savor how brilliant Aronofsky's Robocop would be. Doesn't that feel nice? Don't get too excited, as it's probably too good to be true, but what if? Not only could he actually make a film that could rival the bitter satire of Paul Verhoven's original, but it would actually give him some long overdue recognition and box office success. (Yes, I know we film nuts know him like he's our best friend -- but have you actually discussed The Fountain around the water cooler lately?)

Aronofsky has been dancing around big budget movie making for years. I don't know how many comics adaptations he's been attached to over the years -- I can think of Batman, Lone Wolf and Cub, and Ronin off the top of my head, but I'm pretty sure there's more. Robocop really does seem right up his alley. Let this idea actually come together. I think audiences deserve it.

[via CHUD]

While researching my post on the Metropolis missing footage that's been discovered in Argentina, I missed a vital tidbit of information. (My brain is still leaking, sorry.) The tidbit? Kino International officially confirmed to The Digital Bits that their upcoming Blu-ray of Metropolis will include the newly-discovered footage, and that a standard definition DVD would also be released. Ta-da!

One of our readers, Eric, noted that Kino's Restored and Authorized Edition DVD, released in 2003, "actually makes sense," plot-wise, and recommended it highly. (Thanks, Eric! I've already ordered my copy.) By coincidence, Kino announced in May that they would begin offering their titles in Blu-ray in 2009, and then said that Metropolis would be their first title offered in the high-definition format, per High-Def Digest, though they did not provide details on a release date, technical specifications, or supplements.

In the UK, Eureka released a Region 2 DVD edition in 2005. DVD Beaver did a detailed comparison between Kino and Eureka and found the Eureka release to be superior: "This appears to be a classic example of PAL-NTSC ghosting derived from improper conversion." If you know what that means, you'll want to read their entire article before making a purchase decision -- and note, of course, that you'll need a region-free DVD player for the Eureka version. Film critic Glenn Kenney recommends the Eureka edition, by the way.

Others will choose to wait for Blu-ray, but whatever your decision, now would be a good time to get caught up with Metropolis so you can fully appreciate the new missing footage. If you need any more convincing, check out the clips and trailer at Kino's site.

I've lost count of how many times these movies have been released on DVD, but (wow) I don't own any of 'em yet, so here's a perfect excuse. DVDActive has the (very thorough) information on Universal's upcoming "Legacy Series" editions of (ready?) Alfred Hitchcock's Rear Window, Vertigo, and Psycho! Each package is a two-disc affair, complete with all sorts of goodies both old and new. (Yes, I love film historian audio commentaries. Sue me.)

Street date for all three releases is October 7, and if you'd like a complete listing of what each disc offers you can click one of these: Rear Window, Vertigo, Psycho. Also from Universal Home Video on October 7 ... it isn't Hitchcock, but it sure is awesome: Orson Welles' 1958 mega-classic Touch of Evil, which is a whole lot more than one impressive tracking shot, believe me. Like the Hitch titles, Touch will come complete with all sorts of new bells and whistles. Plus all four of the DVD covers are all sorts of retro-cool. Can't wait to dig through these discs.

I confess my temporary insanity: the news that missing footage from Fritz Lang's Metropolis had been discovered in Argentina, as detailed in the Guardian and elsewhere a few days ago, did not initially make my head spin. (I blame the blasted summer heat, which has made my brains melt.) Shaking off a weekend of lazy moviewatching has now convinced me that this may be the most significant movie news of the year.

Metropolis has always struck me as a classic more to be admired than loved -- difficult to follow, easy to be amazed by the stunning visuals, and in general, to be awed by its vision of a future society gone hellishly wrong. Roger Ebert acknowledged that the plot "defies common sense, but its very discontinuity is a strength." He noted that Lang's original version had not been seen for many years, "chopped by distributors, censors and exhibitors, key footage was lost" but that didn't keep it from influencing everything from Alphaville to Blade Runner to Dark City to Gotham City.

David Hudson detailed the discovery at GreenCine Daily and, as usual, compiled numerous links to coverage of the story. His updates indicate that the footage represents about 85% of what was considered lost forever, and that the 16mm copy is "in terrible shape," though there are high hopes that good quality images can be drawn from the material. As David wrote: "Still!"

Peter Bradshaw wonders if the missing footage would "explain" the movie or "just make it more baroque, more mysterious, and more mad than ever"? It looks like we'll all be able to see for ourselves, eventually. As Glenn Kenny writes, what's next? The Magnificent Ambersons? Greed? What's your dream restored classic?

Before we get started, I just want to make it clear that in Hollywood nothing is ever official until you see the press release (and you should probably take the following news with a big grain of salt). Over at the Alice in Wonderland fan site, talk has surfaced that Tim Burton has finally cast Alice in his live-action version of Alice in Wonderland (not to be confused with the long-suffering American McGee creation).

According to the commenter, Ian B: "My brother is working on the movie and he said Alice has been cast. He is a music supervisor for the movie and said there will be a press release about it on July 9th. The role was originally supposed to be Evan Rachel Woods but she backed out. Alice won't be played by a child but a 23 year old. From what I was told it's her first Burton movie, and her first big role in a film that will be released world wide." So who's the lucky gal? Say hello to Ryan Nikole Parker. Parker is not very well known, and other than a few TV credits is a relative newcomer to the business.

Burton struck the deal for Alice with Disney back in November, and according to comments on the IMDB message boards, he's already finished casting. Luckily for us, July 9th isn't that far away, so we won't be waiting long for the official word.

Sound off below on who you would like to see go down the rabbit hole with Mr. Burton.

[via The Bad and Ugly]