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On Friday night at 7pm, after most fanboys had already fulfilled their quotient of nerdgasms and geek-freakouts, Peter Jackson and James Cameron appeared together at a panel hosted by Entertainment Weekly entitled "The Visionaries." Rather than just talking about their current projects, however, the two iconic filmmakers offered a sort of State of the Cinematic Union, addressing problems and challenges they face, even as they addressed a few rumors about what their respective futures hold.

The most important of their observations and revelations:

My inbox, Facebook, and Twitter page were semi-flooded with messages of support and condolence when this A L I E N remake gossip hit the wires, and that's because (as anyone in the universe can tell you), it's my #1 favorite film of all time. Mainly because it's just about the perfect horror film, but also because it's a movie that helped plant me on the road of movie freakdom, and for that I'm eternally grateful. Plus it has Sigourney Weaver in her underwear.

So if a film as undeniably flawless as A L I E N can be considered for a remake, it begs the question: What movie won't they remake? Keep in mind that Psycho, Halloween, The Manchurian Candidate, and King Kong have already earned remakes, which tells me that all bets are off. Not even Casablanca, Gone with the Wind, or The Wizard of Oz are safe. Therefore, clearly, remakes are a force of pure evil.

Then again, there IS the old Shakespeare argument, the one that says "Hey, the Bard's plays have been remade over and over for centuries, and surely you wouldn't call Casablanca superior to King Lear, would you?" To which I would respond, "Good point. And no, Casablanca is definitely not superior to King Lear. But A L I E N certainly is."

I haven't read Twilight, but a friend who has described it as chapter upon chapter of Kristen Stewart's character swooning over Robert Pattinson's youthful 108-year old vampire. Males the world over are running for the hills -- but maybe they shouldn't. After all, the horror-romance has a long and venerable history. The juxtaposition makes sense: just like clowns can become scary with just a small tweak in their make-up, love stories can turn into horror stories by edging just slightly toward the sinister. I have some hope that Twilight might be creepy rather than gooey; we'll see soon enough. In the meantime, here are a few examples of films that have done a nice job with the horror-romance combination.

1. The Fly (1986) - I actually think that Cronenberg's take on The Fly is the scariest movie I've ever seen, albeit for reasons having little to do with the romance between Jeff Goldblum's Seth Brundle and Geena Davis's Veronica. (I'm generally freaked out by genetic weirdness.) But the film gets much of its poignancy from their relationship, which both sets things in motion and brings them to a close. Consider that Brundle tries his invention on himself out of jealousy, imagining an infidelity that didn't exist. And Veronica's final heartbreaking gesture is one of both pity and love.

Now here's an interesting on-screen duo. Bloody-Disgusting reports that Philip Seymour Hoffman and Viggo Mortensen are in talks to join the cast of Vanikoro, which is based on a true story, was written and will be directed by Hitman helmer Xavier Gens. Vanikoro (which is not to be confused with Bryan Singer's Valkyrie -- what's up with all the 'V' titles?) tells of the real-life French explorer La Perouse who, in 1788, found himself in the middle of a shipwreck on the island of Vanikoro. Apparently there were two ships that got wrecked, and the survivors of the second ship found a way to salvage enough parts to re-build a smaller ship and sail away. However, two survivors remained on the island into the early 1800s. Those two survivors, we're guessing, would be played by Mortensen and Hoffman. Then again, neither is French ... so who knows?

Gens, who I feel received a bad rap after Hitman debuted to a very lackluster response back in November, spoke about Vanikoro to BD at the Toronto Fest (where he premiered the much buzzed-about horror flick Frontier(s)) and -- get this -- said Vanikoro was like Peter Jackson's King Kong meets Cannibal Holocaust. Throw in Mortensen and Hoffman, and that's a movie I want to see. Gens was also recently rumored to be among those being considered to direct a new updated Conan film, though I imagine fans would rather him stick to stuff he wrote; stuff he controls. It shall be fascinating to watch how all this pans out.

Happy Halloween from Cinematical! As a special treat, we've put together this gallery of some of the great movie monsters, from Lon Chaney Sr. as the Phantom in the 1925 silent film The Phantom of the Opera, to Lon Chaney Jr. as The Wolfman. We have an array of Dracula's, from Nosferatu (1922 and 1979 versions) to Dracula (Bela Lugosi, Christoper Lee, Frank Langella, and Gary Oldman -- who do you like best?). We have a slew of evil children and evil adults in the mix as well. Tell us who your favorite movie monsters are, and who we missed including in our gallery.

If you missed catching any of our Spooktacular Halloween Coverage, you can catch up with it all right here! And don't forget to let out your own inner monster by entering our fabulous Halloween Costume Contest.

Filmmakers dabbled in horror during the silent era, but it wasn't until the 1930s that studios realized how much money was waiting to be made in the genre. The short period between 1931 and 1934 heralded a mini-horror renaissance, highlighted by several potent new stars (Karloff, Lugosi, etc.) and by extraordinary black-and-white cinematography and set design. Two things happened to eventually kill it. Will Hays came in and began regulating morals in Hollywood movies, no longer allowing the more intense factors that made horror films interesting. And producers got greedy and began repeating successful formulas, cranking out increasingly anemic sequels to the dark originals. To be fair, I decided to choose only one film each from the era's two masters, Tod Browning and James Whale, otherwise they could have engulfed the entire list. I regret not being able to include anything by the great cinematographer-turned-director Karl Freund, whose The Mummy (1932) and Mad Love (1935) are key works of the era. I also regret the exclusion of two underrated Bela Lugosi works, White Zombie and Island of Lost Souls (both 1932). That said, let the old-timey scares begin.

1. Vampyr (1932, Carl Theodor Dreyer)
Oddly, the best and spookiest film of this era came not from Hollywood, but from a Danish filmmaker working in Germany. Baron Nicholas De Gunzburg helped finance the film and plays the lead role (appearing under the name "Julian West"). A traveler arrives at a quaint chateau and checks in, only to find himself in a world of nightmarish occurrences. The plot has something to do with a vampire preying on women, but the main thrust of the film is its quiet, eerie effects, such as a shadow moving of its own accord, or a man unexpectedly appearing in a corner of a room. It's one of the best films ever to capture a dreamlike state, and indeed it's so intangible and elusive that you might remember things you didn't actually see.

2. The Old Dark House (1932, James Whale)
This is the least known of Whale's four masterful Universal horror films -- the other three are Frankenstein (1931), The Invisible Man (1933) and Bride of Frankenstein (1935) -- but it's my favorite. Whale had a unique sense of humor combining the ghoulish with camp, and this collection of disparate characters forced to spend the night in a creepy house during a storm allowed him to use the full range of his skills; it moves from great quotable dialogue ("have a potato") to moments that are chillingly off-balance. The cast is superb: Melvyn Douglas, Charles Laughton, Gloria Stewart (later in Titanic), Ernest Thesiger, Lilian Bond and Raymond Massey, but Boris Karloff stole the spotlight from them all. As the twisted, mute butler, he impressed everyone as a master of makeup and transformation.

Sexy is as sexy does, I guess. Picking the hottest chicks of horror is a pretty tricky business. Not only are my picks completely subjective, slaves to my personal whims and moods, but also they are likely to change from day to day. Already, since I submitted my picks, I'm regretting not mentioning Milla Jovovich in Resident Evil, or Eihi Shiina in Audition. And what can I do with more obscure hotties from other eras like Jenny Wright in Near Dark, or Britt Ekland in the original The Wicker Man, or Simone Simon in Cat People? Do they not deserve a shot at hotness? Well, in any case, here are the seven I wound up with -- in chronological order -- and in all honesty, they're all pretty darn easy on the eyes and a little spooky besides.

1. Fay Wray in King Kong
In a movie entirely populated by men and beasts, Fay is a welcome bit of softness. If King Kong had been made two years later, the Hays Code would have required Fay to wear a high-necked negligee with bloomers and probably several other layers of underthings. But thankfully for generations of young boys, the film was made in 1933, and Fay was able to wear her flimsy, silky number that clung and flapped in the breeze. Likewise, the movie was better able to suggest the subversive relationship between beauty and beast. (Watch the trailer ... or head straight to the gallery!)

2. Elsa Lanchester in Bride of Frankenstein (1935)
Elsa was the ultimate goth chick in cinema. Many came in her wake, including Barbara Steele (Black Sunday) and the little known but easily recognizable Carroll Borland (Mark of the Vampire). But make no mistake: even without her two-foot fright wig with the silver piping up the side, Elsa was a hottie in her time. You can see it in the film's prologue; she plays Mary Shelley, freshly emerged from penning her chilling magnum opus. She has cat eyes, and a devilish grin that entrances even the strongest men. One question: if Dr. Frankenstein was able to build such a sex bomb, why did his male monster come out so ugly and blocky? (Watch the trailer ... or head straight to the gallery!)

I'm still not sold on this performance-capture stuff (Beowulf looks terrible), but leave it to Steven Spielberg, Peter Jackson and a little adventuring character named Tintin to change my mind ... hopefully. Dreamworks and producer Kathleen Kennedy (E.T.: The Extra-Terrestrial) are busy working on their 3-D animated trilogy based on Georges "Herge" Remi's iconic Belgian reporter character, and I'm really hoping they get it right. Although they haven't yet found a third filmmaker to helm the installment not being directed by Spielberg or Jackson, they have hired a screenwriter. According to The Hollywood Reporter, British television vet Steven Moffat will script all three parts. The guy has written for series' as diverse as Coupling, Doctor Who and this past summer's Jekyll. Is he ready to tackle such a big-deal project?

Personally, I'm not worried about the scripts for the Tintin movies. Herge was such a great storyteller that I can't imagine it would be difficult to adapt his work. What I'm more worried about is how the film will look. From what we've heard so far, they're attempting something that looks realistic (or live-action) while still retaining the look of Herge's drawings (which are cartoons). Sure, I want to be able to trust Spielberg and Jackson (as Scott mentioned awhile back: if you can't trust them, who can you trust?), but then I haven't seen any performance-capture work that I've been satisfied with -- at least not anything that encompassed an entire film and all of its characters. Will it be more like Robert Zemeckis' Beowulf, which looks too much like a video game, or will it be more like Jackson's work with Andy Serkis in both his Lord of the Rings trilogy and King Kong? Or will it be something totally new, unlike anything we've ever seen? All I have to say is that I hope Zemeckis isn't the third director hired.

Announcing their second deal in one day, The Hollywood Reporter tells us scribes Peter Huyck and Alex Gregory have sold yet another pitch to Universal Pictures; this one is being developed as a star vehicle for Jack Black. Hoping to swipe a little thunder from the upcoming Indiana Jones sequel, they're calling this flick The Lost Adventures of Stone Perlmutter Jr. -- and, like Indiana Jones, it will revolve around an adventurer (Black) who goes in search of elusive and mystical artifacts. The story will play out in a faux documentary style, and revolve around recently-discovered footage from 1979 that features Perlmutter Jr. searching for things like Yeti, El Dorado and the lost tomb of Jesus. While he's at it, maybe he'll also search for the three people who actually liked Nacho Libre. That would take some time, though ... he says as he ducks and awaits the Nacho fanatics to attack.

It might be a good role for Black; although I was frightened as all hell, I kind of liked watching him bumble his way through the jungles in King Kong. Give him a good sidekick, and this one can soar. Black will also be producing the film through his Universal-based Electric Dynamite, but currently no one is attached to direct. Huyck and Gregory, who began their careers writing for Late Show with David Letterman and then The Larry Sanders Show, are also attached to the tennis comedy Pros. Black can next be seen in Michel Gondry's Be Kind Rewind, and is out filming another adventure-comedy as the character Jeff 'Fats' Portnoy in Tropic Thunder for director Ben Stiller.

Remaking a film, whether it's a classic or not, can be a tricky thing: The source material needs to be solid, there has to be an audience that will want to see the film, and -- most importantly -- there has to be a legitimate reason for an update. Regarding the final point, this "legitimate reason" cannot be making a crap-ton of money by fast-tracking a dud. It should be, as in the case of 2005's King Kong, that an update adds something to the original, such as kick-ass special effects that weren't available back in the '70s (the last time Kong graced screens), or simply makes it more accessible to modern audiences. Alas, too few movies heed this final point, and that is why so many remakes, from Planet of the Apes to Psycho, fall short of expectations.

Moviefone has ranked the 25 Worst Movie Remakes of all time, beginning with the moderately misguided and finishing up with the flagrantly bad and unnecessary. Check out the list, then share your picks for the worst remakes. Did we miss any stinkers? Did we include any that, in your opinion, are brilliant reimaginings? And, lastly, do you think Helena Bonham Carter still looks hot as an ape?