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Only a few days after Bob Weinstein announced a whole slew of upcoming projects based on existing franchises (including a new Scream trilogy, Spy Kids IV 3D, Halloween 3D, Scanners and Hellraiser), there's now talk that Summit Entertainment (aka Home of the Twilight Saga) may be interested in acquiring either The Weinstein Co. or MGM (both of which are currently trying to dodge buckets full of money woes). Not only that, but Deadline Hollywood also reports that the Weinstein boys have decided to shelve Halloween 3D for now since they felt the production schedule (one that had them shooting in November for an August release) was too rushed, though perhaps these talks of a merger also played a part in that decision. DH claims, however, that Weinstein plans to start Halloween 3D once director Patrick Lussier is free to shoot it (he's working on another film in January, so chances are H3D won't start until sometime in the middle of next year if it happens at all).

Instead of Halloween 3D, though, The Weinstein Co. will be re-releasing Halloween 2 on Halloween -- a move that's left most fans scratching their heads, wondering why they never released a film called Halloween on Halloween to begin with. Part of that reasoning was due to not wanting to compete with the Saw franchise, and when the first Halloween killed (no pun intended) at the box office in August, it was pretty obvious the Weinstein boys would once again try their luck then instead of at the end of October. I'd be curious to see if the re-release decision pays off, and kids looking for a theme and some uneven scares will crowd the multiplex instead of spray shaving cream all over their neighbor's brand new Mercedes. What do you think?

Meanwhile, we'll be keeping a real close eye on this Summit thing ...

Who knows what finally convinced Neve Campbell to return to the Scream franchise, but according to Variety (and Bob Weinstein), she'll join both Courteney Cox and David Arquette in a fourth installment set to begin production in April or May. This fourth installment will be the first in a new trilogy, and The Weinstein Co. is in talks with Wes Craven to helm at least the first film. No word on whether Campbell and the Cox-Arquette duo will stay on past the first flick or be hacked up five minutes in (I'd vote for the latter).

The Weinstein Co. have been battling rumors of money trouble for awhile now, letting go of employees and delaying films due to lack of funds and manpower. Now, though, Bob Weinstein says the company will be returning to some of the franchises that helped produce box office, and in addition to three new Scream films, they're bringing Robert Rodriguez back to write and direct Spy Kids IV in 3D, with production on that set to begin in March of 2010 (so much for Sin City 2 ...). Also on the agenda for Weinstein is a third Halloween movie in 3D, as well as remakes of Hellraiser, Scanners (in 3D), Short Circuit and American Werewolf in London. On whether Weinstein will be able to handle all these films without bankrupting the company or delaying release dates for years on end, Bob notes, " ... there is no question that financing is readily available to produce and market these films."

Guess we'll see about that ...

It's hard enough to make either a good sci-fi flick or a horror movie, one that avoids the tired stereotypes yet embraces the aesthetic, with a smart script that provides something fresh and new and solid direction that establishes a proper atmosphere and allows for surprising developments. And performances that don't camp it up but are sincere and convincing. Combining the two genres is much trickier than blending peanut butter and chocolate. That was my thinking when compiling this list. Your comments are more than welcome. What are your personal favorites? Here are mine:

1. Alien
I don't know if Ridley Scott actually realized he was making a sci-fi horror movie, so much as he thought he was making a stylish thriller. Call it willful ignorance, but that may have contributed to the refreshing absence of overcooked ideas, which typically pop up like dandelions for directors new to either genre. Like the original, original Star Wars (before George shined it up), Alien resides in a future which feels lived in and used up, from the battered old Nostromo to the planet that harbors the seeds of the crew's destruction. By keeping the alien (mostly) out of the shot, and showing instead what the creature has done, the level of terror keeps rising. A distinct sense of dread permeates the picture, and it still makes me shiver.

Read the rest over at SciFi Squad

I grew up reading science fiction, thinking my beloved genre was all about the possibilities of the infinite: advanced civilizations inhabiting distant star systems; men with brains so large and hearts so beneficent they could barely be contained within their bodies; women with beauty so magnificent and intellect so stunning they would leave bystanders breathless.

And they I started watching movies and eventually realized it's all about death, destruction ... and more death.

This week's release of The Final Destination, which is obsessed with staging elaborate 'kill scenes,' got me thinking about memorable scenes of demise in science fiction films. Sci-fi is notably short of serial killers, but offers a wider range of death scenes, beyond simple murder and mayhem. Here's my list of the top 10 sci-fi deaths. (Of necessity, this list is nothing but spoilers, so you have been warned.)

1. The Emperor (Star Wars Episode VI: Return of the Jedi)

Everyone knows where they were when they saw the Emperor get what was coming to him. Me, I was in the Cinerama Dome in Los Angeles, opening night, second showing, near 5:00 a.m., shouting (and ultimately cheering and applauding) along with the rest of the sold-out auditorium as Luke looked between his father and the Emperor, in pain, agonizing, understanding that the man he had hated was being tortured by the man who should be hated. And then he made the right call. Goosebumps still raise up in the glory of the memory.

Read the rest over at Sci-Fi Squad

This Friday will see the release of Push, a sci-fi actioner about people with amazing mental abilities on the run from a government organization that wants to exploit their gifts. I'm reminded of how cool it would be to have mental powers of my own whenever I find myself comfortably ensconced on the couch with the remote just out of reach, and I try to bring it closer through sheer force of will. Being able to predict the future would certainly enhance my stock portfolio and the ability to read minds would vastly improve my poker game. Movies about people with special mental abilities have a long and illustrious history, so here are seven of my favorite films from the genre.

The Star Wars films
A discussion of psychic powers in the movies that did not mention The Force would rightfully earn me a verbal slap down in the comments section. The Force is an energy field created by all living things, that surrounds and penetrates living beings and binds the galaxy together -- and if you're a Jedi (or for that matter a member of the Sith), you can channel this energy field to do pretty much anything the script may require.

• Telekinesis? Sure. It comes in handy during a closely matched light saber duel, allowing you to whip large objects at your opponent.
• Mind control? Absolutely. This is particularly useful for telling weak minded storm troopers to buzz off.
• The ability to see the future? Hell yeah. This is what allows a Jedi to anticipate an opponents moves in battle.
  
• Fire a proton torpedo through an exhaust port that's only two meters wide? Oh please. The Star Wars saga would have ground to a halt early on without this ability.

And it's all thanks to these weird little organisms in the blood. When you hear the phrase "The Force is strong in this one," it means "he's got midi-chlorians out the yin yang." How awesome would it be if next time you got pulled over you could give the officer a casual wave of the hand and say "these aren't the droids you're looking for" and be on your merry way.

Whether or not you're offended by the use of the word "retard" in Tropic Thunder, it's hard to deny the difference between the intention of the humor and the ire of the groups protesting it. When Ben Stiller's character, Tugg Speedman, learns that he was mistaken in going "full-retard" with his miscalculated awards-bid performance as a mentally challenged man in Simple Jack, you either laugh or you don't, but you definitely get it. Stiller's point is that self-important actors often take crass or poorly formulated roles on the basis of subject matter simply so they can get a chance at the podium. At no point are we forced to laugh at a character meant to be taken as actually retarded; instead, we only get Tugg Speedman's really bad, really offensive interpretation of one.

At his Scanners blog, Jim Emerson gets this point, and smartly rails against complainers like the Special Olympics for making such a big deal out of a scene before even coming to terms with its purpose. He also brings up a brilliant historical parallel: In 1977, Randy Newman's single "Short People" was pulled from the air because it supposedly offended, uh, short people. "If you do satire or parody, you have to expect there will always be fools who will take it literally," writes Emerson. "Those people are called 'literalists.' And there ought to be a law against them."

If indie films have a heck of a hard time getting noticed, it's well beyond doubly-hard for video installations to get recognition. In 2005, I got to see OWLS AT NOON Prelude: The Hollow Men at MoMA and it struck me just how many great installations there must be across the globe that I've never heard of. I hadn't planned to sit down and watch the full 19-minute piece, but I was drawn in and found myself joining the ranks who sat down, got comfortable on the hard floor and stared at the screen. If video artists are your cup of tea, and you live anywhere near the Big Apple, you'll be happy to hear that the once-yearly Scanners festival, which screens experimental video, is moving from a yearly to bi-monthly format.

The New York Sun has a great article up about the switch and the blurring between different moving media. As New York Video Festival curator Marian Masone says: "The line between video and film has been blurred. We want to take this kind of work and put it back in the mainstream instead of having a separate festival." The festival has boasted killer talent in the past -- from directors like Jean-Luc Godard and Lars von Trier to the premiere of Cremaster 1. There's lots of quotes and information from media-makers nurtured by the festival, and if you're lucky enough to be in New York this weekend when it screens its two features and 50 shorts, let us know what you thought.

Let this be an inspiration to all you aspiring screenwriters out there. 22 year-old newcomer Justin Marks has been selected by writer/director/producer David Goyer to write the screenplay for Goyer's proposed Green Arrow movie, Super Max. (Erik brought you news of the project here and here). Marks has never had a feature film produced before, but has recently been linked to Voltron. "I love finding new people out of nowhere. I love working with young talent, whether it be actors or writers," says Goyer. The script will center on DC Comics hero Green Arrow, who is wrongly placed in a maximum security prison for supervillains, including villains he previously put there. So now he doesn't only have to worry about taking showers and getting stabbed with toothbrushes, he's got laser-eyes and world domination schemes to contend with.

Goyer is probably best known for writing Batman Begins, and he also did some work on the upcoming sequel, The Dark Knight (he's not saying whether Two-Face will be one of the villains). Goyer does have some non-superhero projects in the works as well. He co-wrote the script for Doug Liman's upcoming Jumper, which will star Hayden Christensen and Samuel L. Jackson. He is overseeing the script for Here, There Be Dragons, an adaptation of James A. Owens' book, which imagines authors J.R.R. Tolkien, C.S Lewis, and Charles Williams taking a journey together. He is also working on a remake of David Cronenberg's mind-blowing (literally!) horror classic Scanners, which he is considering directing, as he did the "teen supernatural thriller" The Invisible, which will be in theaters next Friday.

Saw sequel maker Darren Lynn Bousman has posted production blogs on several movie sites over the past few years, but this year he's settling down at FEARnet. His inaugural blog entry doesn't deliver any new casting notices or shocking surprises, but he does dole out an explanation as to why he recently signed on to direct a third Saw sequel. (As if you'd walk away from such a profitable -- and clearly enjoyable -- movie gig.) The guy's locked up for Repo: A Genetic Opera and a remake of Scanners, but for the next several months, DLB is all about the Saw sickness.

With production on Saw 4 set to begin in Toronto next week, Mr. Bousman is prepared to give us twice-weekly updates on how his third sequel is going. To kick things off he expresses a lot of affection for the Saw production family, makes no apologies for sticking with the sequels, and offers an insightful breakdown of the Saw flicks' genre-bending ways. (He also promises to chat about non-Saw-related topics, which might mean some early info on his future projects.)

In related news, Dread Central is reporting that Lyriq Bent will be returning for his third Saw installment, while Bloody-Disgusting.com indicates that Justin Louis (Dawn of the Dead) has joined the (rapidly growing) Saw 4 cast. (The backward-hat-wearing guy from Gilmore Girls has also been signed up.) Meanwhile, every horror-friendly website on the planet reminds us that Saw-master Tobin Bell will also be back for some more punishment. Unfortunately, I think it's safe to assume that the lovely Dina Meyer will not be showing up in the next sequel.

Now that John Carpenter's back catalog has been well and truly ransacked by the Remake Brigade, producers looking for another dose of horror-centric brand recognition must look to other auteurs ... and it looks like David Cronenberg is the next victim in line. A few months back we reported that screenwriter David S. Goyer (Dark City, Blade, Batman Begins) and director Darren Lynn Bousman (Saw 2, Saw 3, Saw 4) would be tackling one of Cronenberg's old hits: The 1981 sci-fi thriller Scanners. Yes, the one with the exploding heads.

While he was out doing the junket thing for his latest film, a remake of a nifty Dutch Swedish chiller called The Invisible, Mr. Goyer let a few details slip regarding the direction the new Scanners will take under the charge of Dimension Films: "Cronenberg embeds so much subtext into his stories ... So we've tried to keep the spirit of that and kind of transpose that into a post-9/11 world, if you can imagine what 'Scanners' would be involved in in that kind of world. That's what we're attempting to do here."

The popular screenwriter then called Cronenberg a genius and went back to talking about The Invisible, but not before mentioning that this new version will have a much bigger budget to work with than did the original Scanners. (The irony is that Cronenberg didn't actually need a whole lot of money to make a flick so memorable that it spawned a remake more than two decades later.) Sources indicate that the new-fangled Scanners will most likely start production some time early next year. Goyer's been keeping pretty busy, too: He's also working on a Green Arrow project called Super Max and an adaptation of James Owen's Here, There Be Dragons.