Earlier today, Peter wrote up a piece on movie mogul Harvey Weinstein explaining how The Weinstein Company created their division Third Rail as a dumping ground for movies they feel have only "ancillary value." Harvey and his younger brother and business partner, Bob, have been under a bit of an attack since ditching Disney/Miramax for their own shingle back in 2005, with a lot of sharks swimming the waters surrounding them, just waiting for enough money to bleed through the Weinstein's fingers.

An article over at the Sunday Telegraph by Tom Teodorczuk goes into some fairly good detail about the troubles facing the beleagured brothers. You can read the full piece yourself to see his analysis; suffice it to say that the Weinsteins have yet to bring that old Miramax magic to their independent shingle, probably for a variety of reasons, not the least of which include the troubles facing the indie film world generally. As Hollywood Elsewhere's Jeff Wells, quoted in the piece, notes, "The Weinsteins have suffered from the same pressures affecting the indie film sector that everyone else faces. There is a glut of product owing to hedge fund firms now investing in films."

At this point I'm starting to think that Roland Emmerich must be in possession of some pretty serious blackmail material, because there is no other explanation why accomplished actors are so ready and willing to star in his films. MTV now reports that Woody Harrelson has joined the cast of Emmerich's end of the world thriller, 2012.

The story is based on an ancient Mayan prophecy about the end of the world, but Emmerich's film is no ode to Apocalypto. Instead, John Cusack stars as an academic who opens up a portal to a parallel dimension (don't you hate it when that happens?) in an attempt to contact his double and prevent the apocalyptic prophecy from happening. Harrelson will play what he calls a "modern day Cassandra" who has seen the writing on the wall and has been predicting the disaster for years.

According to Harrelson, he will "play a guy who's been talking for a long time, the whole world thinks he's crazy. But he's been talking that there's gonna be hell to pay for what's been going on ecologically and everything." Perhaps this is Emmerich's idea of a little in-joke considering Harrelson's activist leanings. In the meantime, fans of Harrelson's work will probably prefer his upcoming thriller, Transsiberian. But who am I to judge? I guess sometimes a pay check can be its own reward.

2012 is scheduled to begin filming on location in Vancouver and is slated for release in July, 2009.

You remember that Jan De Bont flick John Cusack signed on for ages ago? The one that was going to give us a 51-minute chase scene? It was appropriately named Stopping Power, and it had so much flipping power that it stopped its own production back in October. Co-star Melissa George then swore it was still in the works, but that never went anywhere, and now Cusack is pissed. TMZ reports that he's filed a lawsuit against Intermedia Film Equities USA (you can see the documents on the site).

According to the actor, the company convinced him to star in the ill-fated film, guaranteed that he would be paid $4.5 million, even if the movie didn't get made, and finally, that all of his expenses would be paid, which includes $50k to cover the cost of having his staff on location. Cusack's lawyer, Marty Singer, says that John got his butt to Germany, started production, and then was told that the company couldn't afford the guarantee. So, they're claiming the company fraudulently made these promises, and then wanted to renegotiate for a lower amount after ensnaring him. Johnny is looking for $5,600,000 plus punitives.

Will John win? Or, will Film Equities have the final stopping power?

Some of cinema's most iconic shots of Chicago appear in Ferris Bueller's Day Off, and the film is certainly Matthew Broderick's most iconic role. So, it's hard to watch the actor in the Chicago-set Diminished Capacity and not ask yourself, "is this what's happened to Ferris?" He is now relatively passive, paunchy and pitiful in the role of Cooper, a newspaper editor who has recently suffered a mildly debilitating concussion. And the character could be classified as yet another sad sack, one of three such parts he can be seen playing at present (Then She Found Me opened in April and is still in theaters; Finding Amanda debuted last week).

But is it fair that we most associate Broderick with Ferris, thereby continuing our disappointment in seeing him play one nebbish nobody after another? Couldn't we redirect our memories and accept that Broderick's modern roles are more like grown-up versions of Eugene Jerome, of Neil Simon's plays Brighton Beach Memoirs and Biloxi Blues, who he portrayed on Broadway as well as in the film adaptation of Biloxi? Were Eugene not the fictional incarnation of Simon and had he not therefore become a famous writer (and were he not from an earlier time period), the character surely could have gone on to be the pathetic teacher of Election or Then She Found Me or the absentminded editor of Diminished Capacity.

I was trying to think back to when Amanda Peet had her last high-profile starring role, and I realized: she doesn't do them very often. It's surprising, because she seems so ubiquitous, but it's true -- outside of tiny projects like Nigel Cole's A Lot Like Love, she's mostly done lots and lots of (often significant) supporting parts. She's making a somewhat dubious attempt to remedy that by taking the female lead role opposite John Cusack in Roland Emmerich's sci-fi epic 2012. Peet and Cusack will head a cast that includes Chiwetel Ejiofor, Thandie Newton, Danny Glover (as the President) and Oliver Platt.

2012, which was written by Emmerich with his 10,000 BC writing partner (and, uh, composer) Harald Kloser, posits that the end of the Mayan calendar in 2012 will herald the end of the world. Cusack's character must open a portal into a parallel universe and enlist his double in the struggle to prevent said apocalypse. The concept is right up my alley, but Emmerich's films -- especially his and Kloser's 10,000 BC -- are not. On the other hand, the two leads are immensely likable, and John Cusack rarely signs on for a genuine stinker, so we'll see.

The movie is scheduled for a July 10, 2009 release barring an actor's strike. Peet, of course, will also appear in a (surprise!) supporting role in this year's The X-Files: I Want to Believe.

Considering the critical reception that a Roland Emmerich film usually receives, I am always a little surprised by the actors who are willing to sign on for one of his films. Although to be fair, it wouldn't be the first time that John Cusack had signed on the dotted line for a less-than-stellar project. The Hollywood Reporter has now announced that Thandie Newton, Danny Glover, and Oliver Platt are all in talks to join Cusack in Emmerich's apocalyptic thriller, 2012. According to THR, "Glover is in talks to play the President, with Newton in discussions to play his daughter. Platt is in negotiations to play the president's chief of staff."

Thanks to Erik, we now have a few more details about the story, and that it centers on an academic researcher (Cusack) who "opens a portal into a parallel universe and makes contact with his double in order to prevent an apocalypse predicted by the ancient Mayans." Emmerich co-wrote the script with fellow 10,000 B.C. scribe, Harald Kloser -- which is probably not a great selling point for most audiences. Columbia has projected a budget of $200 million for the end-of-the-world flick -- I guess all that destruction doesn't come cheap. But, Columbia has also stated that they're hoping to bring the thriller in under budget. Emmerich has promised to start production by July, barring any hiccups from a possible SAG strike.

2012 is scheduled to arrive in theaters on July 10, 2009.

A poorly-reviewed movie easily fought its way to the top of the weekend box office. That's almost standard practice for big-budget Hollywood studio product, but is quite unusual for an indie film. Joshua Seftel's comedy / drama War, Inc. (First Look) earned $17,650 per screen at two locations, according to estimates compiled by Box Office Mojo, despite receiving mostly negative reviews -- Rotten Tomatoes pegged the critics at only 24% positive. Writing for Cinematical, Joel Keller described it as "an ambitious film that fails miserably at everything it attempts to be." John Cusack co-wrote and stars along with Marisa Tomei, Joan Cusack, Ben Kingsley and Hilary Duff.

Roger Spottiswoode's drama The Children of Huang Shi (Sony Pictures Classics) did not fare any better with our critic, Nick Schager, who felt that the film is "a TV movie in disguise, a handsomely staid affair that prefers skin-deep elegance to psychological or historical substance." Jonathan Rhys Meyers stars as a reporter that helped a school of orphaned children in 1937 China; Chow Yun-Fat plays a rebel and Radha Mitchell a nurse. Opening at seven theaters, The Children of Huang Shi averaged $6,036 per screen.

Good returns were also enjoyed by Joachim Trier's Reprise (Miramax), which expanded to 14 theaters in its second week and took in $6,614 per screen, and Claude Lelouch's Roman de Gare (Samuel Goldwyn), which added 11 more locations in its fifth week and increased nicely to $4,485 per screen.

Well it looks like Roland Emmerich has opted to go back to a few more familiar faces for his next monster, effects-laced epic. Variety tells us John Cusack has signed to star in 2012 for Columbia Pictures, with Redbelt's Chiwetel Ejiofor in negotiations to co-star. Emmerich and Harold Kloser wrote the screenplay for this apocalyptic tale which follows an academic researcher (Cusack) who "opens a portal into a parallel universe and makes contact with his double in order to prevent an apocalypse predicted by the ancient Mayans." WTF? Really? Sounds to me like a pretty ridiculous premise, but it's a Roland Emmerich film -- so as long as he blows up New York City halfway through, we're all good.

I am interested to see how they're going to make this whole "contacting yourself in an alternate universe" thing work. Do you look exactly the same? Like, in an alternate universe, would I look like myself or actually be skinny and good looking? I need to know these rules now before 2012 heads into production this July (barring a SAG strike, of course). And how do you find yourself in an alternate universe? Instead of Google, would there be Boogle? My mind is blown! [Holds fist in air] Emmerich!

Give Joshua Seftel some credit; he didn't pull any punches on War, Inc. In his first feature film, written by star/producer John Cusack, Jeremy Pisker, and Mark Leyner, Seftel attempts to make a scathing commentary on the War on Terror, the privatization of the military, the commercialization of societies all over the world, and other shenanigans. In a former life, Seftel was a former network news producer, and became known around Hollywood circles for directing documentaries like Breaking the Mold: The Kee Malesky Story.

He was nice enough to speak to me about the experience from a very blue room at the Tribeca Film Festival press office. Text and video are after the jump.

What do you say when a film is so bad that you actually feel physical pain for everyone involved? You literally sit there for an hour-and-a-half and feel sorry for everyone who put such a hard effort into the making of the film, only to see it lay there like a lox when it's finally projected on the big screen. As a reviewer, there's not much more you can do than just endure it and hope to see a fleeting moment or two of quality, just so you don't think you've completely wasted your time.

That's all the thoughts that were going through my head as I watched War, Inc., an ambitious film that fails miserably at everything it attempts to be. As a comedy, it's not funny. As a satire, it's as subtle as a sledgehammer. And as a treatise on war, the corporatization of the military, and the horrors of pop stardom, it doesn't tell you anything that you don't already know if you just watch the 24-hour news channels or read the news online even a little bit.