Writer-director Rian Johnson burst onto the scene when his high school-set noir riff, Brick, took home the Originality of Vision prize at the 2005 Sundance Film Festival. Now, after bouncing around Summit's release slate like the proverbial beach ball, his follow-up -- the romantic, romanticized con man caper, The Brothers Bloom -- is finally receiving a NY/LA bow this Friday before rolling out to more markets in the weeks to come.

Johnson obliged us to do a follow-up interview this week to complement our original chat from last November, and between the two, the filmmaker discusses everything from making the festival rounds and absorbing critical response to the glory of talking monkeys and just where he likes to stick his tea kettle...



Download Part 1 (31 mins.) by clicking here



Download Part 2 (12 mins.) by clicking here

-Score samples by Nathan Johnson, the film's composer and the director's cousin.-

Poor Antonio Banderas. Once upon a time he was a hot and intriguing newcomer, God's gift to a rebooted Zorro franchise, poised to have his pick of of juicy Hollywood roles ... and now he's Puss n'Boots and the Nasonex Bee. So far has he fallen that the words "neo-noir" and "Banderas" together in Variety leave me unsettled.

Banderas has signed on to star in The Big Bang, a "neo-noir detective story," the feature directing debut of director Tony Krantz, and featuring a script penned by Erik Jendresen. Banderas will play an L.A. private eye who is hired to find a missing stripper. He follows her trail of pasties to the desert of New Mexico, where he finds dead bodies, a brutal Russian boxer, three LAPD detectives, and an aging billionaire who is trying to create a nuclear equivalent of the Big Bang. I assume nothing good can come of that. Darn those aging billionaires! Always getting into Bond levels of mischief.

The story is pulpy enough to be really intriguing, and Jendresen did some fine work on Band of Brothers. If it was any other leading man, I'd be really into it because of how over the top it sounds -- what do nuclear weapons have to do with missing strippers? I don't know, but I'd like to find out ... so Banderas, can you please make this fun? If you can, I won't ever refer to the Nasonex bee again.

With every movie of the '80s and '90s being dusted off and revisited, a return to Who Framed Roger Rabbit? is not only unsurprising, but probably inevitable. MTV News caught up with Robert Zemeckis, who revealed that he was seriously considering a return to Toontown. "I'll tell you what is buzzing around in my head now that we have the ability - the digital tools, performance capture - I'm starting to think about Roger Rabbit."

Of course, Zemeckis couldn't provide any further details. Two years ago, Frank Marshall told MTV that a sequel was still kicking around, and that all that had prevented it was the lack of digital technology. "It came pretty close. We shot a test. We had a script. But unfortunately, we didn't have computer generated animation quite yet -- it was just too expensive." Because Roger Rabbit would be in the entire movie as opposed to only about 48 minutes of animation, it was impossible to do at the time. Obviously, technology has updated to the point that an entire Roger Rabbit movie could be done with CG and clearly, Zemeckis would love to use his motion capture on the big, goofy bunny ... and can you imagine what they'd do with Jessica Rabbit to top Angelina Jolie as Grendel's Mom? I'm a little creeped out just thinking about that.

A Roger Rabbit sequel isn't a bad idea, but as with so many of these properties, it just feels like the ship has sailed. New technology should mean new stories, not just a return to 1988. I imagine I'm alone in that, and everyone else is dying for more Roger Rabbit even after 20 years. But will you like him as well if he's a dead-eyed motion capture and not a lovable toon?

You know how sometimes we post those nifty little 'Scenes We Love' articles? The ones with a handily embedded YouTube clip of a film we really love? That come complete with brilliantly insightful commentary from one of the superlative Cine-staff? Yeah, those are awesome. So here's a new wrinkle: same thing, only with trailers instead of actual movie scenes. Frankly I think there's an artistry to 'trailering' that often gets overlooked. A person needs a composer's ear, an editor's eye, and a director's enthusiasm to bang out an effective trailer -- and since these promotional clips are usually our very FIRST introduction to an upcoming film, well, you know what they say about first impressions, right?

For example number one, I humbly offer the truly terrific theatrical trailer for Joel and Ethan Coen's Miller's Crossing, which is far and away one of the finest films I've ever seen. And this trailer whittles the beauty down by focusing on the characters, the music, the style, and the pitch-perfect pulpy-yet-pithy dialog. We also get a few enticing moments from a few key scenes ... but nothing too spoilery or specific. It's like the Coens actually cut this trailer themselves, which for all I know ... they did! Anyway, enjoy the trailer, and please consider tossing Miller's Crossing into your Netflix queue for a second visit. This film is so damn good it makes me wish we could take some of its leftover awesomeness and donate it to other (very needy) films.

Sin City is the series that just can't catch a break. Last week, IESB.net was reporting that the Weinstein Company / Dimension had lost the rights to Sin City, and that the franchise was being quietly shopped around. The rumors were hotly denied by the Weinsteins ... but now The Hollywood Reporter is saying the same darn thing.

While the Weinsteins continue to maintain that they hold the rights, producers all around town are saying that Frank Miller's "estate" has been shopping around those same rights. It's unclear if they have lapsed due to the failure to renew or move on the property, but it seems strange that they could have expired so soon.

This is a rumor that I think we all hope comes true. I'd like to see Sin City land at a studio willing to actually put A Dame to Kill For into production instead of just talking about it. It's been four (count 'em, four) years since Sin City, with "production starting in a matter of weeks!" reports being issued every three months or so. The talent remains enthusiastic and attached. Fans are clamoring for the rest of the sleazy series. It's a no brainer for any other studio, but the Weinstein Company seems to believe delaying films until the end of the world is a sound business principle.

What would you like to see ultimately happen with the next Sin City movie, and who do you think would take the best care of it?

The Wrestler
For all its indie cred, adult language, and exposed body parts, Darren Aronofsky's film follows a well-trod path through sports movie cliches. Still, it's anchored by Mickey Rourke's empathetic, "I've been there and I know that" performance as a world-weary wrestler, and Marisa Tomei and Evan Rachel Wood provide needed counterbalance as a wary stripper and unforgiving daughter, respectively. Also on Blu-ray. Rent it.

Add to Netflix queue | Buy at Amazon

Frost/Nixon
Peter Morgan's adaptation of his own stage play supplies all the "based on truth" dramatic hay that's needed, while Michael Sheen and Frank Langella sparkle in the title roles. Ron Howard's movie feels very much like a television production; as an actors' showcase, it's fine for what it is, without illuminating deeper truths. Also on Blu-ray. Rent it.

Add to Netflix queue | Buy at Amazon

Caprica
I've watched and watched without being converted into the worshipful fold, but for Battlestar Galactica fans already suffering from withdrawal, you can get your fix with this prequel starring Eric Stolz and Esai Morales. I'm sure it's the best thing ever made, and that you will play it over and over again. Buy it.

Add to Netflix queue | Buy at Amazon

Wolverine and the X-Men: Heroes Return Trilogy
First three episodes of the animated TV series. "With great tragedy in their past and their future, Wolverine must lead Xavier's disillusioned heroes against the forces of fate and destiny. Only together can the X-Men steer the course of history away from catastrophe and save us all." Doesn't that sound cool, kids? Rent it.

Add to Netflix queue | Buy at Amazon

Also out: Into the Blue 2: The Reef (featuring bikinis and beefcake).

After the jump: Indies on DVD, more Blu-ray picks, and Collector's Corner.

So a few months ago I'm enjoying a stupid cigarette outside of my Park City (Sundance, woo) hotel, and I see my old friend Chris Hyams walking my way. Chris is one of the founders and wizards behind Bside.com, an outfit that does everything from mega-nifty festival schedules to full-bore film distribution. So because I am loud (and also a pathetic movie nerd), I say "Hey Chris! Wouldn't it be cool if your Dad was PETER Hyams?"

Chris smiled and said "It sure would be. And he is my dad!" After about four minutes of Chris trying to convince me he was telling the truth, we quickly got rambling about the awesomeness of Outland, which is a film his dad made way back in 1981, and is still the finest "High Noon in space" movie that Sean Connery ever starred in. During my conversation with Chris, my brain kept screaming "Don't mention The Musketeer! You HATED that movie!" So I didn't.

But then Chris was off to see a movie and I was left thinking "I'm a moron. Been a Hyams fan since I was a kid and Outland is all I could come up with?" So in an effort to rectify my idiocy, I offer this (rather eclectic) list of Peter Hyams flicks that I sorta, really, or very much dig.

Capricorn One (1978) -- Elliot Gould and James Brolin star in this dated-yet-interesting sci-fi tale of a FAKED Mars landing. As he would later do (several times) in his career, Mr. Hyams wrote, directed, AND shot the movie.

Hanover Street (1979) -- Follow a sci-fi film with a wartime romantic drama? With Harrison Ford? Sure, why not?

Outland (1981) -- If you're going to do an unofficial semi-remake, you could at least do it with half the cleverness found here. It really IS High Noon in Space, and it works surprisingly well. Even holds up well today. Solid brawls, a nice percolation of tension, great character ensemble and a great performance by Frances Sternhagen.