lionsgate Tagged Articles at Cinematical

Conan the Barbarian has a director, and it isn't Brett Ratner. That's the story according to CHUD, who reports that horror director Marcus Nispel has signed on the dotted line, and will direct the remake / reimagining for Lionsgate.

Remakes are familiar territory for Nispel, who has helmed our latest versions of The Texas Chainsaw Massacre and Friday the 13th. I haven't seen either (though I am sure Scott Weinberg will rectify that soon), but I know they were heavy on the gore and action. With Outlander writers Dirk Blackman and Howard McCain giving the script a rewrite last year, I think you can picture just what Nispel and Lionsgate are aiming for ... lots of pulpy, bloody, R-rated action. While I'll hold out some hope for character development, I'll take comfort in the fact that the Barbarian's sword will meet flesh and bone with a suitable level of blood and crunch.

Now we'll have to see who lands the role (Devin Faraci is hearing that they'll go with an unknown), and whether Ratner left his fingerprints all over the project, as has been rumored every time he was on again, off again with it. But hey, it looks like Conan will make it to the theater before Red Sonja and Thulsa Doom do, which is how it should be.

What's a distributor to do when it has a bunch of kitschy, random flicks on its hands? They slap a title like "The Lost Collection" across a few of 'em, toss the DVDs onto the market, and see if there's enough interest to warrant another batch of "Lost Collection" titles. Points to Lionsgate, however, for approaching their subject matter with a good dose of humor -- even if we're not exactly thrilled with all these fullscreen transfers. So here, submitted for your approval, are the eight titles in LG's new "Lost Collection." Whether or not the flicks deserve to remain "lost" is entirely up to you.

Hiding Out (1987) -- Jon Cryer, Annabeth Gish, and Keith Coogan star in this insipid "comedy" about a youthful stockbroker who hides out from assassins ... in a high school. I have a weird sort of hate for this movie. (Widescreen, trivia track, trailer)

Homer & Eddie (1989) -- One of those wistful dramedies in which a mentally handicapped person becomes friends with an aggressively antisocial person. In this case, the former is Jim Belushi and the latter is Whoopi Goldberg. (Widescreen, trivia track)

Irreconcilable Differences (1984) -- Co-written by a young Nancy Myers (ahem), this one stars Drew Barrymore as a little girl who wants to divorce her parents, Ryan O'Neal and Shelley Long. Keep your eyes peeled for a young Sharon Stone. Or don't. (Fullscreen, trivia track)

Internet history was made on March 18, 2009. Lionsgate became the first studio to debut original content on Twitter, which means anyone who signs onto the social media network after this point is officially five minutes late. (Hooray! I made it under the wire.)

What was this content? Why, a Crank 2: High Voltage poster! It's very yellow and Jason Statham-y, for those missing his squint from the popping vein poster. I've put both in the gallery below. Maybe we'll get some shirtless pictures to pad it out in the next few weeks. (Hey, a girl can dream.)

But more important than the poster is where it appeared, and what this might mean for all of us. Many are applauding this new frontier of communication, while others say this is the beginning of the end -- the Re-Tweeting of posters, stills, and trailers could put us all out of work. For other media geeks, the Crank 2 poster means that Twitter is no longer cool, and is now just another tool of the corporate machine.

All I know is that Lionsgate is really lucky TwitPic was working, and didn't replace Statham with a Jason who uploaded his photo at the exact same time they did. That happened to me the other day, and boy was it embarrassing.

I know today's supposed to be alllll about Watchmen lunacy, but there's another new flick that's really piqued my interest, mainly because it's a horror film (and I love horror films), but also because it stars Dennis Quaid, and I'll always find time to watch a Dennis Quaid movie. Even a lame one. But in the case of this particular film, the distributor (one Lionsgate) is working overtime to make sure I don't see it.

Reliable sources like Filmjerk and BOM indicate that The Horsemen (or, if you're going by the poster, Horsemen) is opening today in 75 markets. Or 75 screens, I'm not sure on that. But I can't seem to track it down on Moviefone, and selling movie tickets is, like, their big thing! They WANT me to find a ticket! Ive spoken to a few pals, and it doesn't look like the film is playing anywhere near Philly, New York, Austin, Orlando, or Chicago. I can only assume it's playing all around Hollywood, right?

Now, it feels really strange for me to be defending a film directed by Jonas Akerlund, since I consider his FIRST film (Spun) to be a rat turd of the highest odor. But what's the deal with Lionsgate already? I certainly don't want to slap the hand that gave me a lot of great horror flicks over the past five years, but between their virtual burials of The Midnight Meat Train (102 theaters, $83,000 gross), Repo! The Genetic Opera (11 theaters(?), $146,000), The Horsemen, and The Burrowers (straight to DVD, and a damn fine movie), I'm starting to take this an affront to the fine horror geeks of the world. LG sure didn't mind scooping $51 million out of My Bloody Valentine a few months back, and they've got Saw 6 in the oven as we speak, so clearly they're not averse to ALL horror movies ... just the smaller ones. Nice.

Just the thing for Friday afternoon! The official Crank 2: High Voltage trailer has hit the net (in a far more "Safe for Work" form than the earlier one!) and ... well, it looks exactly like it should. Hilariously over the top, full of dubious science and medical treatments, and a rehash of the first Crank in all the right ways. You should be sold on it from that first glare from Jason Statham. (But then, that might be a girl thing.) When I heard they were doing Crank 2 and that it revolved around a robotic heart, I thought it was too stupid for words. But such is the power of Mark Neveldine and Brian Taylor -- the ridiculous not only makes sense here, it's insanely cool.

In fact, you might want to watch only the first thirty seconds or so, just enough to whet your appetite and get the concept, as I fear this trailer ruins an awful lot of the stunts and heart-starting gags. If you're going to spend the money to see Crank 2, then you should see it as unspoiled as possible -- consider that you're warning, and make your own choice, but IGN let us embedded it for you. Watch, laugh your ass off, and be glad there's some April action to look forward to.

Thanks to advancements in movie-going technology over the years, all one needs to view tomorrow's slasher remake, My Bloody Valentine, in three dimensions is a special pair of glasses. And according to Lionsgate's marketing department, all one needs in order to see the film in four dimensions is a set of beer goggles.

The above picture is of an online ad that I just came across while watching a video on YouTube. (Whether or not said video was a RickRoll, I'll neither confirm nor deny.) Apparently, the studio is so confident in the quality of their film that they hope young viewers over the age of 21 will stumble up to the ticket window before tossing their cookies mid-movie in an effort to create an interactive "splash zone" of sorts for some lucky viewers.

Finally, someone at the Punisher: War Zone premiere asked Lexi Alexander the big question -- what the hell was all that "taking your name off the film" talk? Give a hand to SciFi Wire for doing so.

Alexander's answer managed to confirm and deny the post-ComicCon drama that surrounded Punisher: War Zone. "No, no, I never was going to take my name off the film. Let me say this. Harry Knowles [of Ain't It Cool News] is one of the greatest people I know. He's a great supporter of mine. I'm his biggest fan, not because he supports filmmakers, [but] because I think he fights for film ... I think in this case, what happened is when the first trailers came out, I think he knew and he's been told there was kind of trouble. So he wrote, "F--k, they should have just let her do it, and she was pushed aside." [That is] true. He did write the right thing, and he stood up for me and for this film. I think that each Internet site that took it on brought it to a new level ... [What Knowles wrote] really is the correct thing. I was never fired, and I never wanted to take my name off. "

What Knowles wrote (if I have the right piece) was this: "Lexi Alexander has been kicked to the curb -- part of that treatment was her "honeymoon" from Comic Con. However, there's more totally awesome wedding gifts that Lionsgate has given the blushing bride. She's off the movie and wrapped up in a non-disclosure clause - so we won't be hearing from her anytime soon, UNLESS THINGS CHANGE RADICALLY." That explains the deafening silence -- though I'm curious how one can be "pushed aside," yet remain unfired. However that works, it's clear Alexander kicked ass, made the Punisher she wanted, and is getting rave reviews from the film geeks for her trouble. There's nothing like a happy ending.