Guy Pearce just doesn't do enough movies for my liking. It's not as though he's vanished, but he seems to maintain a fairly low profile every time he blows everyone away with a big, meaty part like L.A. Confidential or Memento. But he has a lot of great projects coming up (the most exciting of which has to be The Road), and he's added a very intriguing one to his slate: the remake of 1973's telepic Don't Be Afraid of the Dark.

According to The Hollywood Reporter, Pearce and Bailee Madison have joined Katie Holmes in Troy Nixey's remake. It's a fairly loose adaptation of the 1973 original, which was centered around a couple, Sally and Alex, who inherited an old mansion from Sally's grandmother. Sally accidentally uncovers a hellish portal that allows a bunch of demons to escape and wreck bloody havoc. Naturally, no one believes her, and is convinced she's having a nervous breakdown thanks to all that home repair. Because it was the 1970s, it didn't even end well for Sally who just wanted a new fireplace. For those tired of seeing "remake" tacked onto everything, and for fans of the original, you'll be happy to know that the new Dark isn't so much a remake as a story "inspired by" those demonic creatures of old.

Check out the rest of the story at The Horror Squad

Multiple Oscar nominee Stephen Frears is a tough nut to crack. Amiable but terse, his excellent multilayered films do the talking for him, from his first collaboration with Christopher Hampton and Michelle Pfeiffer on 1998's Dangerous Liaisons to 2007's The Queen. In his latest film, Cheri (read Cinematical's review here), Frears turns his lens onto the cloistered and often duplicitous world of wealthy courtesans. Frears' films often focus on subversive outsiders who must make their own "family," as it were, such as Dirty Pretty Things, The Grifters, and My Beautiful Laundrette. But Cheri's delicious spin on sex, love, and aging is typical of its source material from author Colette, whose books Cheri and The Last of Cheri present a world of upside-down relationships and self-sufficient, frankly sexual women.

Michelle Pfeiffer leads the cast as the stunning Lea de Lonval, a famous courtesan whose friend Madame Peloux, played with busty abandon by Kathy Bates, encourages Lea to have an affair with Peloux's louche son Cheri, the pale and effeminate Rupert Friend. Neglected as a child while his mother was dealing with her affairs, Cheri is hardly likeable or loveable, but somehow their affair becomes less about sex and more about the love both he and Lea have lacked in their lives. Peloux throws a wrench into the whole thing when she plans a wedding for Cheri to another courtesan's child, Edmee, played by newcomer Felicity Jones. What happens after that surprises them all.

Cheri opens June 26th in limited cities. Visit the official website for more information.

Cinematical: What's the difference between releasing a movie like Cheri during Oscar season as opposed to the summer blockbuster season? Is it more or less stressful?

Stephen Frears: The problem with competing for the Oscars is it's very tough, so in a way it's quite a relief being [released] at another time of the year. You're all right if you've got the one that gets everybody's attention, but fighting for attention is quite difficult. I've released films in that season that have been just overlooked.

The French writer Colette, born Sidonie-Gabrielle Colette (1873 - 1954), lived one of those witty, charming lives you've read about, doing things like performing at the Moulin Rouge and having affairs with Josephine Baker, while marrying several rich husbands. She wrote, among many other things, what would become the famous musical Gigi, which Director Vincente Minnelli turned into a dull, immobile Oscar-winning hit in 1958. The English film director Stephen Frears would have been 13 when Colette died, though at that age, he had most likely never heard of her. But now, 55 years later, the two have teamed up for the new movie Cheri, based on Collete's 1920 novel about a passionate affair between an aging courtesan and a spoiled younger man.

Frears seems like the right man for the job. After all, his similarly sexy costume drama Dangerous Liaisons (1988) was another Oscar-winning hit. And in his Mrs. Henderson Presents (2005) he dealt with issues of sexuality and censorship on the stage, so he seems prepped to make something really sexy and full of wit and charm, especially given that he's re-teamed with his Dangerous Liaisons star Michelle Pfeiffer. It's a win-win scenario that quickly turns lose-lose. For some reason, Cheri is dead on arrival, a cold fish. It just lies there, too lethargic to be funny and too timid to be sexy, but not deep enough for any real drama.

With no disrespect to the very serious issue of life-threatening, high-seas piracy off the coast of Somalia, movie studios have been dealing with their own version of piracy for many years now. True, no lives have been lost, but the economic costs have mounted into the billions, according to the Motion Picture Association of America, and no viable solution has been put forth to discourage individuals from illegally downloading and sharing movies, nor has any real progress been made to keep people from selling pirated DVDs on the streets and in shops. But what if studios rewarded people for not pirating movies?

According to This Blog Is Not Yet Rated, Twitter user Amanda Music wondered: "Ugh WHY IS ADVENTURELAND NOT ON TORRENTS YET?" The US distributor for Greg Mottola's Adventureland is Miramax Films, and they've been actively seeking out Tweets about the movie, as evidenced in their response to Amanda: "Cmon Amanda, don't do it. #adventureland #fbi." Amanda replied: "Okay I won't, JUST FOR YOU," prompting Miramax to respond: "Thanks Amanda. In return, I have a free Fandango card for 2 tix if you're interested in Adventureland. Just DM us for the code."

Score one for Miramax doing a good thing, but I don't recommend deluging them or any other studio with Tweets suggesting that you'll illegally download movies if you don't get a free ticket. What it points to, though, is that studios need to have greater incentives for people to get up from their computers and go to a theater.

By Erik Davis (original publication date: 1/20/09 -- Sundance Film Festival)

Adventureland is and isn't everything I expected it to be. First off, no matter what the trailer may show you, this is in no way Superbad, circa 1987 -- so get that out of your head now. Adventureland is, instead, a sometimes subtle dramedy that's more touchy-feely than it is funny. With more in common with writer-director Greg Mottola's The Daytrippers, Adventureland is a moody late-eighties time capsule whose parts explode on the screen and shoot out in several different directions before landing, together, in a pile of mixed emotions.

James (Jesse Eisenberg) is an inexperienced brainiac who's looking forward to spending his summer before college traveling through Europe. With the trip planned right down to the last penny, James is informed by his stiff parents that the nine hundred bucks he was supposed to receive as a graduation present won't be arriving in his pockets anytime soon since dad was forced to take a major pay cut at work. So, instead of discovering himself abroad, James is forced to find a summer job to help pay for his expensive Ivy League school in the fall. When his skinny frame and intellectual persona find him rejected from almost every job out there, James reluctantly takes an opening at the Adventureland theme park in the games division.

The first poster for Adventureland gives "from the director of Superbad" the lowest, smallest billing. The most recent poster puts it first and foremost, even making it more colorful than the title and, one could argue, the cast itself.

In the weeks leading up to its release this Friday, the marketing campaign for Adventureland has been slowly, steadily, understandably tweaking itself to play up director Greg Mottola's last hit teen comedy, Superbad, but ever since seeing the film, I've been convinced that those expecting something so raucous this weekend will soon find themselves shifting in their seats as they watch something that's a bit more concerned about the 'age' in 'coming-of-age' than the 'coming.' It's not a tremendously misleading sell, but rather a matter of tone, and as such, here's seven reasons why you should look forward to the film beyond thinking it's the Next Big Quotable Comedy.

"Oh, good grief, it's Oscar."
--Lucille Bluth, "Arrested Development"

(The following post is written to the tune of Bruce Springsteen's "The Wrestler," which was not among those nominated for Best Original Song when the 81st Academy Award nominations were announced earlier today.)

Have you ever seen a one trick pony in the field so happy and free?
We'd call 'em by another name, the Academy
Have you ever seen a piece of pap that they all wouldn't eat?
If you've ever seen that Crash, then you'd agree.

Then you'd agree, The Dark Knight should've had more of a shot
Then you'd agree, Gran Torino deserved to go home with naught
Then you'd agree, I'm struggling to come up with just one more bon mot
Tell me, friend, can you ask for anything more?
We sure as hell would've asked for a whole lot more

Couldn't Let the Right One In have been recognized outside of Foreign?
If they'd even seen that movie, then they'd agree
Didn't The Reader leave most of these guys snorin'?
If they'd stayed up for this movie, then they'd agree

Then you'd agree, Dear Zachary... shouldn't have been snubbed from the start
Then you'd agree, The Fall was a tremendous work of art (direction)
Then you'd agree, they left off Gommorah too, old fart after old fart
Tell me, friend, can you ask for anything more?
We really would've asked for a whole lot more

Those nods that have comforted me, I drive away
For all of Milk's attention, I just cannot feel gay
The snubs here and there have caused far too much dismay

Have you ever seen a year where AMPAS actually got it right?
I'll plan to watch something else that February night...

As many movie fans know by now, the prologue to last summer's Tropic Thunder features some brilliant spoof trailers, including one for a phony film called Satan's Alley (which won the "coveted Crying Monkey Award at the Beijing Film Festival"). Better seen than described, it's a brilliant deconstruction of every pompous award-hungry film that comes out in December. The trailer for John Patrick Shanley's Doubt looks a lot like that, but if I've learned one thing this year, it's to not trust trailers. Happily, the real Doubt is a great deal sprightlier, cleverer and more powerful than its dreadful promo would suggest.

Shanley is a playwright who occasionally forays into movies, and he adapted his own 2004 play into the screenplay for Doubt. He won a Best Screenplay Oscar for Moonstruck (1987), and his other writing work ranges from Five Corners (1987) to an adaptation of Congo (1995). As a director, Doubt is only his second feature; his first came 18 years ago, with the bizarre, wonderful, underrated Joe vs. the Volcano (1990). That movie was a highly stylized, colorful, very dry, very black romantic comedy that left most Tom Hanks and Meg Ryan fans (or, to put it another way, just about everybody on the planet) completely baffled. Shanley brings some of that same skill and style to Doubt, although this time expectations and delivery are more in harmony.

Eight years ago, Zhang Ziyi soared into public consciousness as the tempestuous heroine in Ang Lee's Crouching Tiger, Hidden Dragon. She's continued to score in sumptuous epics like Hero, House of Flying Daggers, and The Banquet, as well as off-beat pleasures such as Seijun Suzuki's Princess Raccoon. (Let's all try to forget Memoirs of a Geisha, shall we?) In her latest film, which opened in China last week, she plays a Peking Opera singer.

Forever Enthralled is the English title of Mei Lanfang; the name of a real-life, internationally-recognized opera star well-known for playing female roles over the course of a career that lasted more than 50 years. Leon Lai, a veteran Hong Kong actor and pop singer, takes on the challenging assignment to play the legendary character, while Zhang plays fellow performer Meng Xiaodong, who was known for playing bearded men (?!). The two singers met, married, became parents, and divorced, all between 1925 and 1931.

At a press conference (pictured above, thanks to Ziyifilms), Zhang said: "The hardest thing is walking, wearing these really tall boots ... I practiced that for a very long time." All that practice paid off. Variety Asia Online reports that the film is "on course to quality for a hit," though it probably won't break any records.

Chen Kaige directed; years ago he made Farewell My Concubine, * also set in the opera world. More recently he ventured into epic action territory with the spectacular misfire The Promise. My friend Todd Brown at Twitch posted the Forever Enthralled trailer, which looks like a great match of stars, director, and material. IMDb lists Miramax as having US theatrical rights, though it's not listed on their site. I hope we get to see this one without having to wait forever.

* UPDATE: Title corrected. Thanks to Larry for pointing out my mistake.

Having just seen the film version of Doubt, based on the Pulitzer Prize-winning play of the same name, I was encouraged to dig up this Defamer post in which Philip Seymour Hoffman goes off on a junket journalist who couldn't help but ask whether or not his priest character had indeed done the dirty with a young boy at his Catholic school.

Don't worry, there aren't any spoilers to be heard there or read here, but believe me when I say that whether or not Hoffman knows the truth is more important than whether or not we, the audience, know. To a greater point, such an admission would dilute only the whole purpose of the film and play, the relentless ambiguity of the story at hand, and Hoffman -- surely having feared this inquiry, and perhaps already having tackled it elsewhere -- clearly suffers no fools.

For my money, though, that still has nothing on this bout of humiliation.