Somehow I missed this on Thursday, but apparently so did everyone else, since I didn't see it linked anywhere. Roger Ebert was hanging out at a post-production studio in Chicago, watching the restored new print of The Godfather, when he was unexpectedly joined by Larry and Andy Wachowski, the famously inaccessible duo behind The Matrix, Speed Racer, and (people forget) Bound. Afterward, he got a chance to chat with them -- not in a conventional interview setting, complete with a hovering publicist (the brothers don't do that, remember?), but over a beer.

Ebert was impressed with the "zillionaires": "Nice people. Friendly. No Hollywood attitude." He writes that "[t]he blogosphere paints them as mysterious recluses, which may add to the legend but doesn't match the reality." But their being nice and friendly doesn't make them any less mysterious and reclusive: I'd wager that Ebert only ran the piece because of their reputation for not giving interviews or talking to anyone in the press.

Anyway, it's really interesting to "hear" them speak, though they mostly talk about the difficulties of keeping a moving 35 mm shot in focus and the brilliance of Coppola's Godfather shot selection. It's funny how keeping silent for a while will make such brief, mundane snippets into objects of arcane fascination. (Though since I think the Wachowskis are pretty formidable visual artists themselves, I find their perspective on that sort of thing interesting in its own right.)

No photo, of course; all you get is that old shot of the two admiring a Matrix comic book.

As far as hustling movie producer archetypes go, I tend to prefer Joel Silver over Harvey Weinstein. Sure, Weinstein played a role in some of the great American independent films from the last decade of the twentieth century, but Silver's production credits have more spice to them -- The Matrix, Predator, 48 Hrs. -- hinting at the zany force behind their existence. The movies he has produced don't always please everyone (consider those last two Matrix movies), and sometimes his productions run into unforeseeable setbacks (Joss Whedon's troublesome Wonder Woman script). But now, Silver's trying a radical maneuver that reaffirms his maverick abilities: He's shopping around Guy Ritchie's RocknRolla, which tells the story of a drama surrounding a stolen painting and stars Gerard Butler, to other studios despite the plan to release it through Warner Bros. in October.

According to Patrick Goldstein in The Los Angeles Times, Silver said he showed the movie to Lionsgate and Sony Pictures to get some advice on how to market the film. However, when Goldstein asked Warner Bros.' top executive Alan Horn about the situation, Horn called the movie "very English," not "broadly commercial," and said the studio "might not be willing to spend the marketing money he wants us to." So it follows that Silver probably wants to sell the movie to somebody else.

This kind of thing has happened before. Jonathan Levine's teen horror flick All the Boys Love Mandy Lane was set for a release through The Weinstein Company, but when it was determined that the distributor might not provide the best home for the film, it went to the more agreeable Senator Films (although Senator has yet to release it). What troubles me is Horn's assertion that RocknRolla is "very English." Yeah ... so?

As usual, I'm not going to pretend to understand the technologies behind modern home entertainment. And so, before I begin, I'd like to prematurely thank any commenters who choose to weigh in on things such as "selectable output control," "the analog hole" or any other terms I might misuse or incorrectly explain. The only thing I comprehend about those electronic doohickeys in my living room is that they each somehow connect to my antiquated analog television and through the magic of, well, I don't know, I'm able to watch the occasional classic movie and mindless cake design program.

Those familiar with this column should know that I'm not here to necessarily explain how threats to movie theaters work. I'm just here to yell, "the sky is falling!" from within the lobby of the local cinema and hope that you Henny Pennys and Goosey Looseys are listening to my rants and ramblings and at least try to go to the movies more often (and hopefully buy at least one thing at the concession stand). This time, however, I feel even less knowledgeable about the latest threat, and I feel even more fearful that this is the beginning of the end. The cinemapocalypse, if you will.

Remember serials? I don't, because I'm too young, and by the time I began going to the movies, it was already the practice for cinemas to stick to single, self-contained, feature-length fare. With the way screenings are arranged today, scheduled so that both theater owners and studios can get as much money from as many showings as possible, there's just no room for any accompanying shorts, especially the kind that don't end in a conclusive manner.

I'd probably be okay with being left out of that experience from the moviegoing past, but each time another Indiana Jones movie is released, I can't help but think I'm at least a little less appreciative of George Lucas' intent than some of the older folk in the audience. When Lucas thought up the original Raiders of the Lost Ark, he partly meant the film as homage to the serials he remembered from his childhood.

Yet Raiders didn't end with a cliffhanger, as most serials had on a weekly basis. And with the third sequel to that film, Indiana Jones and the Kingdom of the Crystal Skull, arriving in theaters this week, I still wonder why at least two installments couldn't have been connected with the serializing device. Lucas had already somewhat shown us, through the uncertain ending of The Empire Stikes Back and continuation/resolution beginning of Return of the Jedi, that it could be done.

It's funny because I always thought that Collin Chou's (The Forbidden Kingdom) role as Seraph in The Matrix sequels was a teeny bit of a waste. I mean, he really didn't get to do all that much. But it looks like the Wachowski's are correcting that mistake and finally giving Chou a starring role. Sci Fi Wire recently spoke with Chou and confirmed that he will star in the Wachowski's new action flick, Ninja Assassin. So far the only other casting announcement for the film was the addition of the Korean pop star, Rain. James McTeigue (V for Vendetta) is expected to direct with the Wachowski's on board as producers.

Chou didn't have much information about the story or his role -- as most of the details about the film are being kept under lock and key. But he did tell Wire, "...this is a part that is built around me, they have wanted to have me in a larger part, and I was waiting and waiting for a long time for it to happen. I am one of four of the main characters in this movie. It is a great honor to be on board."

There had been some rumblings that Assassins was, in actuality, a live action remake of the classic anime Ninja Scroll. Judging from Chou's comments about the title of the film, "I don't know if that's [Ninja Assassin] the final name yet," there is a still a slim possibility that the rumors could be true. Assassin is expected to begin production this April or May, so hopefully by then we will have some clues as to what the movie will be about. At this point I would settle for an official title. Ninja Assassin is expected to arrive in theaters in 2009.

Some sicko grabs a gun and decides to kill a bunch of people to serve his own deeply disturbed means. As soon as people can pick their jaws back up again, the same old debate begins again -- Is this a result of the media? Of course -- it's all that violence in the news, music, movies and video games. Impressionable minds pop a disc in, and before they can blink, they're maniacal murderers. As we all know, there was a terrible tragedy recently at Virginia Tech, where a South Korean shooter killed two people, went back to his dorm to send NBC some mail and then shot and killed 30 more before taking his own life. The network package included -- 27 video clips, 43 stills with captions, an audio clip and a manifesto.

Some of the images have ignited a fury of speculation about whether the media he saw led him to his heinous acts. The most convincing of the bunch is a picture of Cho wielding a hammer, which is very similar to an image from Oldboy, part of Park Chan-Wook's Vengeance Trilogy. Did he watch the movie and decide to wreak revenge on those he felt alienated by, or, did he take pictures in various poses to try and excuse himself from his plan? It certainly seems that this wasn't an immediate act of desperation. Also, the Oldboy image isn't the only one that has people talking. San Francisco Gate's culture blog says that Chris Matthews of MSNBC's Hardball is using the original image, of Cho wielding two guns, to compare it to The Matrix.

I'm growing tired of this debate. How many people mimic media when committing terrible acts compared to how many people watch the media and go on with their lives? I would imagine it's similar to the chances of getting hit by lightning. I have watched some truly hideous and violent films. I've played Thrill Kill. However, when I get upset or ticked off at people, I don't prepare a flipping media kit for the networks and go out and kill a bunch of people.

The Browncoats strike again! The wacky fans of Joss Whedon's Firefly television series, and its feature film spin-off, Serenity, are continuing to show their strength on the internet, as SFX Magazine has declared Serenity the winner of an online poll, in which readers voted for the best science fiction film. This should be a big blow to George Lucas, whose Star Wars had certainly been the sci-fi fan favorite for most of the last three decades. Star Wars came in 2nd place with only 28% of the votes compared to Serenity's 61%. There was also a sad turnout for fans of Spielberg, Verhoeven and Star Trek, none of whom/which made the grade this time around. The winners, in order after Star Wars, are Blade Runner, Planet of the Apes (1968 version, I hope), The Matrix, Alien, Forbidden Planet, 2001: A Space Odyssey, The Terminator and Back to the Future.

Lucas and his Star Wars franchise also fared badly in CNN's list of best and worst movie battles. Not only did no Star Wars film make it into the best ten, but two of the films held spots in the worst. The Battle of Endor, with its Ewoks, from Return of the Jedi and the Battle of Naboo, with its Jar-Jar, from The Phantom Menace are grouped alongside awful sequences from King Arthur, Dune and Pearl Harbor. Also among the worst, though, is a sequence from The Lord of the Rings trilogy, which also features two battles in the best of group. Fortunately for Spielberg and Verhoeven, one film each of theirs was also highlighted among the greatest battle scenes of all time, which was topped by the helicopter attack from Francis Ford Coppola's Apocalypse Now.

[via Fark.com]

When I was growing up I was a huge fan of martial arts movies and Kung Fu movies, in particular -- still am, actually. Maybe its because we didn't have cable and only got a few channels with the rabbit ears perched on top of our 20' television. Fortuately, two of the channels we did get were 5 and 13 from Los Angeles. Back in those days when -- believe it or not -- there were only three TV networks, channels 5 and 13 were independent and showed pretty much whatever they wanted. One of the things they showed frequently were martial arts movies.

In fact, channel 13 even had a weekly showcase for these movies called "Kung Fu Theater" complete with over-done sounds effects and out-of-sync dialog -- what many people refer to today as "chopsockey" cinema. During that time I watched many fun movies including The 36th Chamber of Shaolin, Five Deadly Venoms and several films featuring the great Bruce Lee, including Game of Death and the classic Enter the Dragon. So, as a big fan of martial arts films and well-choreographed fight scenes with guys kicking the crap out of each other, I was pretty interested to see this Double Viking article featuring the top ten mano-a-mano fight scenes of all time.

Some of the fights they list in their top ten include Rocky vs Ivan Drago in Rocky IV, Neo vs Agent Smith in The Matrix and one of my personal favorites: Nada vs Frank in John Carpenter's They Live. While I do agree with most of the choices, I'm not entirely sure about the order. I might have placed Nada vs Frank higher on the list due to its shear brutality and the fact that both the actors, "Rowdy" Roddy Piper and Keith David, did their own fighting without the aid of stunt doubles. Still, a pretty good list and, with the included videos, a great way to see some terrific fights scenes. Enjoy.

What's your favorite movie fight scene?

Hugo Weaving is probably most famous (or infamous, if you prefer) for playing the iconic agent Smith in The Matrix and its sequels -- at least that's where I first became aware of him. His portrayal of the single-mindedly evil agent was one of the best things about the movies (other than Carrie-Anne Moss in PVC outfits) and helped make them as great as they were. Well, at least the first one was great -- the others are a topic for a different post.

Other than the Matrix films, Weaving has shown his diversity and distinguished himself in a variety of different and challenging roles including elf leader Elrond in The Lord of the Rings trilogy, freedom fighter V in V for Vendetta and as drag queen Mitzi del Bra in the bawdy hit Priscilla, Queen of the Desert -- opposite the great Terrence Stamp. Now, according to our good friends at Production Weekly, Weaving is set to star in a new film that will certainly add to his already diverse and impressive repertoire.

Weaving, along with Matt Le Nevez and super-cute Rose Byrne, will play the three leads in first-time feature writer/director Johnathan Ogilvie's film noir drama The Tender Hook. The film, set in stylish Sydney of the 1920s, tells the story of a young woman's struggle to find true love amidst the morally ambiguous and often corrupt world of boxing where people fight both inside and outside of the ring to find their way. As I'm a big fan of this kind of noir thriller, this film sounds like it will be worth checking out. Plus, Weaving is really good at picking roles in interesting and successful projects -- so if he's in it, there must be something to it. Shooting on The Tender Hook is scheduled to start February 9th in Sydney.

In what surely will come as no surprise to anyone who has seen a big-budget film out of Hollywood lately, digital effects are transforming the way movies are made and giving filmmakers new opportunities to show things on screen they could only dream about a few years ago. Over at the New York Times, they have a pretty good article that explains how digital effects are used by filmmakers to enhance several recent films, including Director Tony Bill's WWI story Flyboys.

Digital effects have been around for quite awhile and really came into the spotlight when a computer generated stained-glass knight dropped from the window of a church and started trying to kill people in Young Sherlock Holmes. This film has the distinction of being one of the first, if not the first, to use CG effects in such a way.