Upon hearing the news that Paramount might be dropping out of ComicCon, my first thought was "Now how much longer will it be until we see Star Trek stuff?" I have an odd relationship with this movie -- I'm not a Trekkie, but I find myself devouring any bit of news that leaks out about J.J. Abrams' reboot. There are thousands of ways it could go right -- and about a million it could go wrong.

But now, an interesting glimpse into the new world of Trek has surfaced over on Ain't It Cool News. AICN founder Harry Knowles made a visit to Abrams' editing room, and is apparently the first person to see any footage of the film. While it always feels a bit cheesy to post someone else's set visit, we're talking about the top secret Star Trek! We take what we can get. From the sound of it, Abrams didn't even want to show or tell this much, so this will probably be the last anyone hears about it for months!

From Knowles' description of the footage he saw, things are still in a very rough stage, which explains why Paramount isn't racing to put it before San Diego audiences. But what is described sounds so very cool that I lament their absence even more. Obviously, a set visit is subjective, and I always read all such reports with skepticism planted firmly in my mind. But read it, and see if you don't feel the same way.

I can't post the entire thing here -- but I will post my (and Knowles) favorite bit. He was allowed to see a scene where a newly graduated Starfleet class is assigned their ships. For those wanting to avoid spoilers, I'll post it after the jump.

There are a few classic films that I simply refused to rent while growing up, specifically for the reason that I knew I should see them for the first time on a big screen. Of these, I managed to see both 2001: A Space Odyssey and Blade Runner in a theater, while others, such as Lawrence of Arabia and Close Encounters of the Third Kind, were on television too often to ignore them on the small screen first. One film that I'm still dying to see in a theater is Terrence Malick's Badlands. A few years ago I actually went to a special screening of the film in Connecticut, but it was disappointingly (understatement) projected from a DVD copy. Then two months ago it played one show at NYC's IFC Center, but I had to miss it for another engagement.

Last week Entertainment Weekly presented an article/photo gallery titled "23 Movies You'd Like to See on the Big Screen," which lists these kinds of films (there's actually many more than 23 cited), most of which should ONLY be seen on the big screen, as they were originally meant to be. The list includes obvious epic choices like 2001, Lawrence of Arabia, Gone With the Wind, The Greatest Show on Earth and The Ten Commandments, as well as other classics, like Malick's Days of Heaven, Casablanca, Once Upon a Time in the West, Star Wars, High Society, Halloween, Singin' in the Rain, To Kill a Mockingbird, Psycho, Oklahoma!, The Music Man, Snow White and the Seven Dwarfs, The Searchers, Stagecoach and The French Connection.

(Above: Transformers 2 filming in (and blowing up) poor Pennsylvania.)

Update: Paramount announced that the official title for Transformers 2 will be Transformers 2: Revenge of the Fallen.

And then there were two ...

Iron Man 2: I'm not sure how Coming Soon and IESB managed to ask the same exact questions to Iron Man director Jon Favreau (perhaps they're dating and, like, read each others' minds), but that's what it looks like from here. Both sites visited the set of I Love You Man, starring Paul Rudd and Jason Segel, where Favreau was starring in a supporting role. But who cares about that when we've got Iron Man 2 to talk about!?

According to Favreau, he still isn't signed on yet and negotiations with all the actors are ongoing. Of course, he's interested in directing both Iron Man 2 and The Avengers, but because Marvel scheduled the films a year apart, he feels it's literally impossible for him to do both. Favreau also discusses the many potential storylines that could exist in such a sequel, but notes that it's hard to talk about any of this because Marvel is extremely busy prepping the debut of The Incredible Hulk (which we'll talk about in another post). Check either site for much more from Favreau.

Transformers 2: For the first time in a couple hundred years, Pennsylvania has become the cool place to be. Oh yes, that's because Transformers 2 is causing all sorts of mayhem -- with their blowing up of a steel factory, sending hundreds of Asian extras running through the streets of make-believe China. (Is it me, or should Michael Bay receive an Oscar nod simply for making Pennsylvania pass off as China?) Tons of photos from around the set have popped up online over at TFW2005 (see one above).

After the jump: Did someone say Star Trek sequels?

• Lorenzo Odone (1978-2008) - ALD Patient - His story inspired the film Lorenzo's Oil, in which he was portrayed by child actor Zack O'Malley Greenburg and others. He died May 30 in Fairfax, Virginia. (Washington Post)

• Cornell Capa (1918-2008) - Photojournalist - Founder and first director of NYC's International Center of Photography. He was also a still photographer on the set of The Misfits. He died of Parkinson's disease May 23, in New York City. (AP)
• Alexander Courage (1919-2008) - Composer - Oscar-nominated for co-scoring Doctor Dolittle and The Pleasure Seekers (both with Lionel Newman) and best known for composing the original Star Trek theme. He also wrote original music for Superman IV: The Quest for Peace, Arthur Penn's The Left Handed Gun and André de Toth's Day of the Outlaws. As an orchestrator, he worked on Singin' in the Rain, Oklahoma!, Show Boat, Annie Get Your Gun, Seven Brides for Seven Brothers, Guys and Dolls, The Band Wagon, Funny Face, Porgy and Bess, Gigi, The Big Country, Hello, Dolly!, My Fair Lady, Fiddler on the Roof, The Unsinkable Molly Brown, Legend, Basic Instinct, Jurassic Park, Hook, L.A. Confidential, The Mummy, Mulan and many, many other films. He died May 15 in Pacific Palisades, California. (Variety)
• Bo Diddley (1928-2008) - Singer, Songwriter, Guitarist - Blues and Rock legend whose songs "Who Do You Love?" and "Mannish Boy" have appeared on multiple movie soundtracks. He also appears in Trading Places, Blues Brothers 2000, Rockula, Eddie and the Cruisers II: Eddie Lives! and a number of documentaries, including D.A. Pennebaker's short Keep on Rockin' and Taylor Hackford's Chuck Berry Hail! Hail! Rock 'n' Roll. For info on his death, see Monika's full post.

This week's Sex and the City movie is hardly the first cinematic continuation of a TV show, but there really haven't been that many. Usually when we think of film adaptations of TV series, we're thinking of remakes. But there are a few movies that pick up where their respective show ends, whether as a resuming story, a prequel or something totally random and barely connected.

And of course, we keep hearing about other possible series-to-film resumptions: Lost, 24 and Arrested Development movies have all been discussed, and they may indeed happen. So, while there isn't a long list of predecessors to model their transitions on, I've compiled seven titles that did it right in some way or another. Hopefully, for the sake of the fans of Carrie and co., Sex and the City will be enough of a success to make number eight.


Star Trek: The Motion Picture (1979)

People may enjoy the second installment best, but this is the one that started the film franchise, officially reigniting a series that had been canceled ten years prior. Though the original show had its share of fans, enough to eventually get this film produced, it wasn't initially considered a success. And interestingly enough, neither was the movie thought of as a complete hit, despite its $80 million gross and the fact that it spawned another ten film installments (and additional series).

In the event that an Arrested Development movie gets made, it could be seen as similar to Star Trek, since the TV show was initially a failure yet it has gained a larger following since its cancellation, enough to call for production of a feature follow-up. However, there's also a good chance that it will also be a failure on the big screen, like was Serenity, the cinematic continuation of the TV series Firefly.
tion more than simply an adaptation.

I heard Wednesday is the new Tuesday ...

We never thought it would happen, but Hollywood has finally invented a time machine and is using it to resurrect a number of old franchises. From indieWIRE comes news that MGM's Mary Parent and Harry Sloan are interested in finding out whether audiences want Sly Stallone to return for another Rocky installment. The article adds, "Parent asked for a show of hands from the audience who might be in to that. Though there were a few very enthusiastic responses, many kept quiet." Hmm, maybe they were just pretending not to listen.

During the same MGM panel, Parent mentioned the recently-announced Robocop remake and said it "would be great in 3-D, as would something we're hoping to announce soon." Announce soon? What is it? Could it be Rocky vs Robocop: The Future Ends Here ... in 3-D? Fingers crossed. Here's our earlier story on the Robocop remake, which also includes a remake of Red Dawn. God help us. [via Moviehole]

Finally, on the Star Trek front, a few possible spoilers have leaked out over at TrekMovie.com. I won't go into many details here, though I will say the spoilers have to do with the several different ships featured in the film. Speaking of, what's the official title for this flick? Do we have one yet? Is it just Star Trek? Star Trek XI? How about Star Trek New Beginnings: The Future and the Past Together At Last? On a separate note, MTV spoke with William Shatner who -- wait for it -- is still pretty upset about not being included in the new film. His words (not mine): "I'm solidly behind being disappointed that I'm not in it." Next week Shatner re-phrases things and notes: "I'm not not devastated, though I am positive about being negative."

It is true, he has spoken. While he didn't say much more than Simon Pegg or John Cho did, it was possibly enough to infuriate loyal Trekkies. In an interview with the Associated Press (via Empire), director J.J. Abrams swore he would reinvent Star Trek.
"I feel like this is so unlike what you expect, so unlike the Star Trek you've seen. At the same time, it's being true to what's come before, honoring it. I can say the effects for Star Trek have never, ever been done like this. ... I can only tell you the idea of the universe of Star Trek has never been given this kind of treatment." (That is a lot of Star Treks in one paragraph. Don't blame me, he said it.)

Abrams has been adamant that he wants to capture new Trek fans, as well as please old ones. He pretty much has to -- the Trek fanbase has shrunk more with each series, the conventions a faint memory in most cities, the market of Spock ears all but gone. (I can say that, I went to my local Trek convention in the days of Enterprise, and it was just sad.) He repeated his goal to the AP, and while I see nothing to upset even the diehard fans ... well, you never know.

Simon Pegg is going to be in trouble! Even he says so. When asked about Star Trek by AICN, he was extremely wary. "There is very little I can say, because there is a Paramount sniper trained on the back of my head as I speak. He's on a building and I'm not going to look, because he will know I know he is there."

But he talked anyway. You need to head over to read (and listen to!) the entire interview, where Pegg talks about everything from Run Fatboy Run, to Spaced, to Hot Fuzz, and, of course, Star Trek. I will post the best bits here, though, because I know you're dying to read them.

Pegg elaborated on taking on the iconic role and stressed how conscientious he was to play the part with the utmost respect. "One thing I didn't want to do is an impression of James Doohan, because I wouldn't want anyone to think I was making fun of him, you know? If I started doing an impersonation of the actor that played Scotty, that would be doing the part and the actor a disservice, so my intention was to take it as James did when he first picked up the script, and just say 'Okay, he's a physics genius, he's an engineer, he's from Scotland ...' and approach the character like that and to have my interpretation of it."

This will no doubt be an illegal movie forever. After seeing it at the UC Theater in the summer of '82, I recently found a copy on a bootleg VHS for $1 at a Friends of the Library sale, still burned with the Sundance Channel bug. In today's cinema, much is made of the nostalgia value of the 1980s soundtrack: a famous example being Tears for Fears' "Head Over Heels" during Donnie Darko's opening. You can have your MTV, though, since URGH! A Music War was the soundtrack to my 1980s. Hey, what a surprise, no Duran Duran, no INXS, no Soft Cell covering a Gloria Jones soul classic and convincing a history-impaired generation that they wrote it. And yet it's clear why this film failed.

As a business scheme URGH seems, in 2008 hindsight, a uniquely quick way to burn a fortune. The film documents second-wave punk and New Wave bands playing from LA to London, editing them together without any particular zeitgeisty event like a music festival. So: play it a little under a real kiss-of-death title, and then wait to be deafened by the wails of bands, managers and lawyers zooming in to fight over the non-existant money. The Police were the headliners, opening and closing the film. They wrap up the film, too; you can see drummer Miles Copeland wearing an URGH! T-shirt. Is this perhaps all he was paid for this film? There are mostly cinematic performances here, and we see how much was lost by the fact that the Industry couldn't figure out a way to use their talents in the movies. Here's a key to the best of the show, omitting slurs of forgotten bands who perished long years ago.