Hopefully some of you are old enough to remember the classic Atari video game Asteroids, where the object of the game was to navigate this space ship through an asteroid field and shoot down whatever crazy flying object got in the way. That was it -- no storyline, no insane graphics -- just a bunch of glowing dots on a screen. Obviously the cinematic possibilities are endless (ahem, sarcasm), and so that's why there was a four-studio bidding war (!) for the film rights. Yup, four studios fought to win the film rights for Asteroids. That's where it's at right now in Hollywood ...

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Simon Pegg and Nick Frost aren't the only ones getting to take a road trip with Seth Rogen. He's gotta move, gotta get out, gotta leave this place, gotta find some place
Some other place, some brand new place ... with Barbra Striesand. (I know, I can't believe I know those lyrics either.)

HitFix has the scoop that Rogen is developing a comedy called Mother's Curse, and while it's one of an estimated 300,000 projects the unlikely A-Lister is working on, this one has Striesand. Mind you, she's not even officially attached, and the movie doesn't even truly exist. Curse's storyline is under tight development wraps, and the script is still in the process of being written. As Drew McWeeny notes, "When I asked Seth about the film, he referred to it as 'one of the many projects I may or may not do in the next fifteen years,' which is a fair description. So keep in mind... I'm not saying this will or won't happen ... just that it could." It's a pet project of Paramount's new head of production Adam Goodman, so that alone could get it made under that fifteen year mark.

Just the names of Rogen and Striesand together is pretty delightful though, isn't it? I like this new trend of mature, Oscar-loaded actors being game for just about anything. It's like we went back to the Golden Age of screwball comedies when it was ok for everyone to cut loose onscreen, and comedy wasn't just Meet the Spartans schlock.

With his film due out in a couple of weeks, Harry Potter is beginning to make some waves. First up is an update on the Potter IMAX delay. Long story short, Half-Blood Prince won't be arriving on IMAX screens the same day the film hits conventional theaters because of a deal IMAX made with Transformers: Revenge of the Fallen for an exclusive four-week run. However, three theaters will be getting Harry Potter in IMAX on opening day, July 15th, but if you don't live in New York, Los Angeles or Chicago, you're out of luck. Collider tells us those three theaters are as follows: Century City IMAX (Los Angeles), Henry Crown (Chicago), and AMC Loews Lincoln Square (NYC). The first 12 minutes of the movie have been converted to IMAX 3D, and so I'm sure it's worth the trip for those who live in the surrounding areas. Unfortunately, everyone else will have to wait another two weeks.

Read the rest over at SciFi Squad

A mere week after Sony canned Steven Soderbergh's Moneyball, another big-budget film may have bitten the dust. Fox is putting the breaks on Tony Scott's next project, Unstoppable, over budget concerns, and may can the project altogether.

According to The Hollywood Reporter, the film was set to begin shooting in fall, and Denzel Washington and Chris Pine were attached to play the leads. But none of the acting deals have been officially closed, and not even Scott is definitively signed to the project. Fox is growing more and more concerned about the cost of production on the thriller, which would be quite high -- after all, it centers around a runaway train loaded with toxic chemicals, and it's being stopped by the $20 million dollar Denzel Washington. While the film isn't in as much production peril as Moneyball, its budget is definitely a roadblock, and fat will have to be trimmed somewhere. Maybe they can make a smaller train, or just have it be an unstoppable semi-truck, or maybe some of the A-Listers can take a pay cut ... something like that.

This summer has seen a lot of big-budget films falter at the box office, so studio hesitations are understandable, and budget trimming has been a long time coming. Though I do love a good action flick, I'm neither here nor there about the plot of Unstoppable, but it would be a shame for Pine to lose his next big role, and kill his Captain Kirk Buzz. So let's hope they figure out how to cut some corners.

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.

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While the world mourns the loss of Michael Jackson, Vanity Fair has cooked up a somewhat controversial (and fairly random) look back at Heath Ledger's final days, with quotes from his agent, his vocal coach, director Terry Gilliam and Doctor Parnassus cinematographer Nicola Pecorini. The article, published in part on Vanity Fair's website, is broken into different paragraphs with titles like "How chronic insomnia may have led to his death" and "How his relationship failed." Did the world -- not to mention Ledger's fans, friends and family -- really need all these old wounds dug up and scraped for a little extra attention? Probably not.

Of all the quotes, the most fascinating seem to be the ones which talk about The Dark Knight, and how Ledger's pay-or-play deal allowed him to do whatever he wanted with the role of Joker seeing as he was to still receive a paycheck regardless of whether he remained in the movie. According to Pecorini, Ledger was actually hoping his performance was way too out there and that he'd get fired, allowing him to take a nice, long paid vacation. Ledger's agent, Steven Alexander, sort of backs up the statement with this one about the actor's attitude toward big summer movies, saying he "was always hesitant to be in a summer blockbuster, with the dolls and action figures and everything else that comes with one of those movies. He was afraid it would define him and limit his choices."

The article also delves into Ledger's rampant drug use, eventual sobriety and just how rough his break-up with Michelle Williams was. It also links off to a 2000 photo spread featuring the actor in some, um, interesting poses. Definitely an odd piece, and I'm sure some will be critical of Vanity Fair for running it. Check it out over here and let us know what you think.

[via The Playlist]

Over on the website TNMC (via AICN), they have up a review of the Star Trek shooting script which picks out and describes the scenes that didn't make the final cut -- scenes that were probably shot and cut for a number of different reasons (pacing, running time, etc ..), but will hopefully arrive on the DVD. It's a shame, too, because some of these scenes seem to address my main problem with the movie: the boring villain, Nero (as played by Eric Bana). The scenes in question (which involve an entire Klingon subplot!) appear to give Nero more depth as a character, so hopefully we'll get to see them eventually. Here are a few descriptions from the site:

"The opening sequence, which sees the destruction of the USS Kelvin at the hands of Nero and his mining ship the Narada, has an extra bit we didn't see. While the Narada is trying to recover from being rammed by the Kelvin, bunches of Klingon warbirds decloak and surround it. This leads to a major subplot entirely removed from the final film."

"Next we go the Rura Penthe Klingon Prison Asteroid where Nero and his crew are being held. The Klingons catch someone trying to smuggle Federation maps to him. The Klingons begin to interrogate Nero, during which we learn that he has been there for ten years and hasn't said a word that whole time. The Klingons have a notebook of his that is full of drawings and calculations relating to Spock and his Jellyfish ship. They decide to use that slug thing we saw Nero using on Captain Pike in the finished film."

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Oh, the obvious jokes you can make about Alex Kurtzman and Roberto Orci being involved with a project called License to Steal. Considering they penned both of Michael Bay's robot-gasm installments, and Star Trek, plus produced The Proposal, one could say that this was their Hollywood life story.

But it's not. According to Variety, License to Steal is actually based on Marc Weingarten's Salon.com article The Learjeat Repo Man, which examines world of repo men. Not just any repo men that come after your flatscreen or your Prius, but the "big game" hunter who steal / repossess private jets, yachts, helicopters, and whatever else it is rich, corrupt people own. For the dangers they face (and oh, do they face dangers) they receive a cut of the overall value.

The script is being penned by Shane Salerno, Kurtzman and Orci are its executive producers. The project was shopped around by WME to three major studios, all with directors lined up to bid, and Salerno pitching it each and every time. McG took the project to Warner Bros., Timur Bekmambetov took it to Universal, and Bryan Singer took it to Sony. But Paramount snapped it up before anyone else had a chance to bid, and without a director attached. But Paramount has the dynamic duo pulling the strings, so they'll undoubtedly pull some major name in to tell the story they describe as "a smart, lighthearted action movie ... with a lot of unexpected plot twists." As you wait for the talent to hook themselves up, you can read the Salon piece, and dream of success and adventure ... either those enjoyed by Weingarten's repo men, or that of Kurtzman and Orci.

(Oversight! Thanks to ScreenRant for the photo up there! -- Weinberg)