JohnLandis Tagged Articles at Cinematical

If Hollywood's vast abundance of remakes, spinoffs and sequels weren't enough to kill your appetite for spending money on "new" entertainment, it seems like almost every one of these releases finds its way onto home video in multiple forms. Sometimes the studios issue different iterations of a film all at the same time, in a thankful moment of honesty that at least allows consumers the option which version they want. More often, though, the studios will re-release, expand and double-dip their top earners time and time again in order to wring out a few more dollars from the less dull entries in their back catalogue. And especially now, during the still-early days of Blu-ray, there's even more new and different editions being released in stores, some of which are honest-to-Jah improvements on the presentation and packaging, while others are merely the next generation of mediocrity.

As such, welcome to the third installment of "Making The (Up) Grade," a comparison of some of the more high-profile (or maybe just personally-preferred) Blu-ray releases with their previous home-video iterations. This week, we're taking a look at An American Werewolf in London, which Universal Studios Home Entertainment released late last month in a "Full Moon" edition.

Forget the potential film about Mad Magazine man William M. Gaines. It looks like John Landis is heading back to the thrills and chills. Dread Central reports that the man behind Thriller and An American Werewolf in London is gearing up to direct Burke and Hare, and that zombie butt-kicker Simon Pegg will star.

Unlike many of the usual horror films, this true story takes murder into the money-making realm. Back in the 1820s, two men in Edinburgh, Scotland -- William Burke and William Hare -- had schemed up a new business venture. Cadavers were in high demand, so they got in the business of selling dead bodies to anatomist Dr. Robert Knox. At first, it was just a stolen body, but soon they began murdering to bring in the cash (£7 to £15). Tenants, prostitutes, friends, relatives, and even an old woman and deaf boy. But they grabbed one too many well-known victim, and were ultimately caught.

Based on the death and life masks found earlier this year, I'll guess that Pegg will play Hare, and that this classic story is going to get a comedic twist. Then again, anything is possible. Laughter, chills, seriousness, silliness -- who cares? Landis is finally getting back to horror!

If you are somebody who is a little 'cinematically inclined', then I'm sure one of the questions you ask any new friend or foe is "So, what are some of your favorite movies?" Now I'm going to be honest here and tell you that if I'm trying to impress someone new, I might leave out a few of the less than 'high-minded' selections in favor of earning a little cool quotient by name dropping something underground or foreign. But, we've all got our dirty little secrets, and over at The Guardian Film Blog, Ryan Gilbey has taken the first step by admitting his top five embarrassing film obsessions.

Coming in at number one for Gilbey was John Landis' The Blues Brothers. As it turns out, Gilbey's love for the blues comedy faded as soon as he passed puberty and now his beloved film is "flat and joyless". But some of his other choices might surprise you, like Conan The Barbarian (which earned him plenty of commenter heat), and The Rocky Horror Picture Show (you can read the full list over at The Guardian). A little while back, Elisabeth bravely admitted that she was the owner of a DVD copy of Baz Luhrmann's romantic epic Australia (and what a relief it was to discover I wasn't the only one who fell prey to the infamous 'bucket scene') But, as shameful as that purchase might be, I think I might have it beat. Because, for my top five embarrassing favorites, unlike Gilbey, I'm not blaming them on my youth or nostalgia. Nope, my love of these five movies is just downright mortifying, so let's begin, shall we?

After the jump; My most humiliating movie favorites...

It looks like wolves won't be sharing the spotlight with vampires much longer. While our moon-led friends pop up in the likes of Underworld and the upcoming New Moon, a werewolf frenzy has taken over Hollywood, and there are no signs of it stopping, and no corner it won't touch. Less than two weeks after Teen Wolf was set to get the remake treatment, The Hollywood Reporter posts that Dimension Films is looking to remake John Landis' An American Werewolf in London. (Confirming a tip from Bloody Disgusting on Sunday.) Because apparently, no one is interested in making a new wolfy story.

This whole plan is still in the early stages, but per usual remake plans, Dimension wants "to make an elevated genre picture that will keep the fun comedy elements of the original as it seeks to be relevant to contemporary audiences." Relevant how? The wolf loves a girl in love with a vamp, and then finds an uber-creepy way to stay in her life?

Most remakes bring, at best, apprehension, but I really wish companies would stop with the cult classics. Or, at the very least, not all foam at the mouth to remake them. Dramas, action, horror -- these genres can often get remade well, because most of the success relies on quality and craft. But comedy and cult? It's as much about the time and place as it is about the talent involved.

Fine. Take our excellent Landis wolves and remake them. Make them "relevant." But whatever is done, I bet it won't be a cult classic, nor worthy of the name An American Werewolf in London.

There was a time, long ago, when a single, solitary television channel was dedicated to the world of music. On said channel, before the citizenswent wild for "reality" and killed all that was right in the world, short films showcased every song that was played. Some were simply grainy concert footage or quick studio performances, while others stretched the boundaries of moviemaking, showcasing whole narrative stories for a simple, short collection of notes.

Unsurprisingly, these same directors then set their sights on the big screen, itching to stretch their talents from short, three-minute intervals to hours of material. They've given us everything, from men who like to destroy pretty things, to the warped creativity of the mind, to a woman who finds her late husband inside a little boy. They've offered mainstream hits, critical successes, and cult films we all love, and they symbolize that time when music meant videos, and the two went hand in hand.

Things have changed so much that we probably won't see a continuing influx of this sort of talent, but we can savor what the '80s and '90s brought us, and how some small screen vision led to big screen success.

Jennifer Beals has started filling her schedule, now that The L Word is on its final leg -- and so far, so sweet. The Hollywood Reporter posts that she's signed on for a role in the post-apocalyptic film The Book of Eli. Even better -- she's picked up one heck of a part. Remember how Gary Oldman signed on to play Carnegie, the bad-guy despot of a makeshift town? The one who tries to stop Eli (Denzel Washington) on his quest across America's post-apocalyptic wasteland? Well, Beals has signed on to play Carnegie's "sexual prize" and Mila Kunis' mother. Oh, but there's more -- she's a "blind woman doing anything she can to protect her child." That's some choice casting (Mila-Jennifer), and I can only begin to imagine the magic that could brew up between Oldman and Beals. Only one whole year to wait and see! The film is set to hit theaters in January of 2010.

Meanwhile, I can't imagine what my life would be like without John Landis. He shaped my childhood with "Thriller," and my later years with films like Animal House. Now, while I wait for him to wipe away the disgust brewed by Blues Brothers 2000, Variety reports that he's suing the King of Pop, Michael Jackson. Landis filed a suit claiming that Jackson hasn't been handing over the 50% of net proceeds lately, like their 1983 agreement outlines.This comes right after word hit that the zombie-filled video is getting turned into a musical, so that may have something to do with it. Whatever the case, it better not distract him from the projects he's got a-brewing. I need something to wipe out the taste of 2000.

NSFW: Foul language.

Recently, I mentioned my neverending plan to see The Goddess of 1967. There are others on the list as well, like Stalag 17, a laserdisc which still sits at the foot of my bed, waiting to be watched. But, luckily, I can be happy with my cinematic to-do list without much guilt. Maybe there's a shocked face here or there from a friend, but that's it.

The same cannot be said for Diablo Cody, who just blogged about one of her to-watch movies, and how she got one of the most embarrassing, yet truly cool reasons to stop putting it off. She's never seen An American Werewolf in London, and Edgar Wright gave her a copy for her birthday with this written on the front: "Diablo, please watch my movie. John Landis." It was written by the man himself, and not Edgar pretending. That's the ultimate motivation.

So, in honor of embarrassment in the face of classic filmmakers, here's a Stars in Rewind for Landis' classic.

Last weekend brought the tragic news that the Aston Martin featured in the upcoming 007 movie Quantun of Solace was wrecked beyond repair. It turns out that's not the only danger on the set of the film, currently shooting in Italy: On Wednesday, a James Bond stuntman crashed while performing a chase scene in the area, and is currently in critical condition. suffering minor injuries It's probably better that this stuff is happening now, considering how many people were ready to pounce on the last film in order to prevent Daniel Craig from taking the reins from Pierce Brosnan. Now that the franchise appears to have a newfound groove, Quantum has a lot of positive buzz. So why does it seem like the set is suddenly cursed?

Accidents of varying degrees are commonplace on large scale film shoots, but the sense of peril can impact the final result in different ways. In the Twilight Zone movie, the helicopter accident during the John Landis-directed sequence killed three actors, causing Hollywood to avoid similar stunts for many years to come. The stuntman who suffered burns on 60% of his body on the Mission: Impossible III set, however, couldn't affect that movie, even when he decided to sue Tom Cruise. In the case of Quantum of Solace, subversively, the accidents might be a positive indicator of the sheer intensity that director Marc Forster hopes to bring to the film.

Since I devoured MTV on a daily basis, John Landis was the first director that I became familiar with. I'd seen The Making of Thriller about 300 times, so his face was permanently etched into my brain. Unfortunately, like a number of directors, Landis was huge in the late 70s and 80s, and then his work hit a sharp decline. It's been 10 years since he put out a movie (Don Rickles docs aside), and the last two were Susan's Plan and the movie I still haven't forgiven him for -- Blues Brothers 2000. But now he's not only getting into Epic Proportions -- Variety reports that he will direct Ghoulishly Yours, William M. Gaines.

Landis will develop the feature with scribe Joel Eisenberg, which details the publishing life of the man behind Mad Magazine. The film will focus on "an anti-establishment group of artists and writers, led by a reluctant Gaines and cohort Al Feldstein, as they produce their comicbooks. At the peak of his success, Gaines became a First Amendment figurehead due to his unapologetic testimony before a Senate subcommittee investigating juvenile delinquency."

Will this bring Landis back to respectable feature fare? Or, will Gaines' story fall in the once-great hands of the Thriller director?

Multiple sources are reporting today that Universal has invited John Landis into the office for a couple of meetings about potentially directing The Wolf Man, probably at the behest of the film's creature effects maestro Rick Baker, who Landis worked with on the seminal modern werewolf picture, An American Werewolf in London, many full moons ago. There are reports that the studio was taken aback by the hissy fit that the usually compliant Harry Knowles went into over the studio's almost-sealed deal with Brett Ratner to take over the project that Mark Romanek has inconveniently exited, and so now they're keeping their options open by meeting with a whole host of potential candidates. I don't really buy that -- there's no way the Universal brass actually takes fanboy reaction that seriously, but nevertheless, here we are, and I'm left with one question: John Landis -- really?

Landis has been persona non grata in Hollywood for a long, long time -- being negligent enough to allow Jennifer Jason Leigh's dad to be decapitated on your movie set is a great way to have your phone calls go unreturned -- but he did get at least a couple of comeback opportunities in the 90s, most notably the chance to helm a third Beverly Hills Cop film, and he bungled that opportunity fabulously. BHCIII is one of the worst big-budget action-comedy films I've ever seen in my life, so lifeless and listless and such a franchise-killer that even Jerry Bruckheimer will tell you, if you ask, that he wouldn't be involved in a fourth one if they begged him. Landis's 1992 vampire film, Innocent Blood, was also a hokey disappointment. Still, some swear by the man who brought us Trading Places, Three Amigos and American Werewolf, and would be giddy at the thought of his return to the brass ring. Are you one of those people?