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The latest Spider-Man casting rumour: is Hilary Duff set to appear in the upcoming reboot?

Given that the casting of Captain America earlier this year was done pretty much in the public glare, it’s interesting to see that another Marvel-based production, the Spider-Man reboot, is going about things in a much quieter way.

The manner in which Sony sprung the casting of Andrew Garfield in the title role was a surprise to pretty much everyone, Andrew Garfield included. And in terms of further casting announcements and news on who the villain is set to be, it’s all been very much under wraps.

It had been rumoured that six actresses were in talks a few weeks ago to star in the movie. However, it’s also been reported that the lead female role in the movie won’t be Mary Jane this time around. Apparently, Hilary Duff wasn’t on the list.

But what has been uncovered is that she seems to have the script for the new Spider-Man movie in her home. This information came about as part of a Globe and Mail piece that managed to slip in the presence of a Spider-Man script in a description of Duff’s home. The piece noted that “a script marked ‘Spiderman’ sits on the table, with lines for a character simply called ‘girl’ highlighted in yellow”.

So, let’s do a bit of speculating, then. Does this mean that Duff might be in line for a female role that’s not the outright lead actress part in the film? And does that mean that she might be playing either Mary Jane or Gwen Stacey, with a view to expand their presence in the movies as the new planned Spider-Man trilogy gets going?

We’ll bring you more news on this as we get it. What we do know is that Marc Webb is directing the film, and he’s shooting it beginning at the end of the year.

Pixar has released a collection of art from its abandoned project, Newt. We’ve got the art, and a look at what we knew about the film before it got the chop…

By our memory – which, we concede, isn’t the most reliable tool in the box – the cancellation of Pixar’s planned movie Newt is the first time that a publicly-announced project from the firm has been put into turnaround. And while Pixar never made a massive song and dance about it (its policy of letting its films pretty much speak for themselves remains an admirable one), it’s nonetheless kept details of any previous projects that have failed to make it to the big screen behind closed doors before.

Likewise, even though it’s inevitably got lots of productions in the works, there are only three features we officially know about: Cars 2, Brave, and Monsters, Inc 2.

Given the fact, however, that Pixar does tend to keep things mum (Newt‘s cancellation was, after all, rumoured for some time before it got any kind of official confirmation), it’s surprising, but intriguing, to see that it’s released a bunch of stills from Newt onto Facebook. In fact, it’s pretty much unheard of anyway, for so much art from a cancelled animation production to get to see the light of day.

Most of it is concept art from the film, and from what we can make of it, there’s a small element of the underappreciated A Bug’s Life to the look of the movie (or at least A Bug’s Life with the benefit of another decade or so of technological advances). Yet, this was nonetheless clearly a movie very much with an identity of its own.

There’s some lovely artwork from the film that’s been released, and we’ve put some of it together here for you. You can find the rest at Facebook right here.

As for what Newt was and why it was canned? The first part of the question is easier. Newt was originally announced back in 2008, with the idea being to release the movie in 2012. The story was set to be about the last two blue-footed newts on the planet, who have to come together and mate to ensure the survival of the species (given the joys of presenting ‘mating’ to a family audience, it’s probably wise that Pixar chose newts for the project).

Inevitably, the two aren’t the best of chums, and are very different characters. And you could probably map out where all this would have gone right now (although we’ll never get to see if we were right).

The movie was set to be the feature directorial debut of Gary Rydstrom (who, of course, has an army of sound design credits to his name, as well as having directed the Pixar short Lifted). Rydstrom is now understood to be working on alternative projects instead.

Truthfully, though, while Newt was a film we were keen to see, its outline did make it sound one of the less interesting Pixar productions. But we’re interested now if the reasons why the film didn’t make it to the screen will ever be revealed. We’d imagine it’s something as straightforward as the production simply not working, but it’d be interesting to find out more. As things stand, the only part of the project that made it to film was a brief visual reference in Toy Story 3.

For now, then, at least we’ve got this terrific selection of art, which we’ll leave you to gaze at and imagine the Pixar movie that ultimately never was.

Fans of The Expendables are in for a treat, as sequel hints arrive, and news of an extended DVD surfaces too…

It’s hardly surprising given that the film is on its way to $200m worldwide in box office takings, but Sylvester Stallone has nonetheless begun teasing a sequel to The Expendables using his new Twitter feed.

It’s been pretty much confirmed that The Expendables 2 is in the works since the first film’s opening weekend numbers, and the first rumour was that the new movie would see Sly’s crew facing up against Arnold Schwarzenegger’s. However, and appreciating we’re filling in a few gaps here, Stallone has now admitted that his attention is on Bruce Willis. Sly wrote on Twitter that “Had dinner with Bruce Willis. I want him in ‘Expendables 2′ as a super villain”, which sounds like a mighty fine idea to us.

Furthermore, Stallone also said, “I am thinking what would be the most dangerous places in the world to set the sequel?” Given that he made up a fictional location for the first movie, we’re guessing this might not be the toughest conundrum he faces when penning the new script.

For those yearning for more of the first movie, though, there’s good news at hand. Stallone has revealed that he’s working on a director’s cut of the movie, which he says will be out in around six months. Presumably, we’ll get the cinematic cut this side of Christmas, and a second release next year.

He’s also revealed that we’ll be getting the documentary Inferno: The Making Of The Expendables, which we’re guessing will turn up on the first DVD. This is “hardcore” he tells us, and will include the scene where Stone Cold Steve Austin did damage to Stallone’s neck.

Stallone’s Twitter feed can be found here, and we’ll keep you posted when we know more!

Screenwriter Dennis Potter’s final works, Karaoke and Cold Lazarus, were a poignant examination of his life and future legacy. Cliff takes a look at their DVD editions…

A dying writer, haunted by his past creations and aware of how his legacy will be picked over by the media barons he so hates, writes about a dying writer, haunted by his past creations, and then how his legacy is picked over by the media barons.

Albert Finney is (and occasionally was) Daniel Feeld in these two dramas, but so is Dennis Potter. This duet is the ‘lastest last great work’ you’ll see, and there’s nothing really quite like it.

Or, perhaps there is, as throughout there are numerous homages to previous Potter productions, rarely subtle: Karaoke with all the hospital imagery of The Singing Detective and the moving Pennies From Heaven finale, Cold Lazarus even heavier, as the voyeurism of The Singing Detective, the adult-as-child young Daniel recalling Blue Remembered Hills, the oily Stiltz further oiled by two beautiful nurses.

Karaoke is the ‘fantasy drama’ half, Cold Lazarus the full-blooded science fiction sequel. Made at Potter’s request as a joint BBC/Channel 4 venture, both are (just about) standalone, but you wouldn’t really want to only see one or the other.

It begins with Feeld slowly realising and coming to terms with fatal illness, whilst lines from scripts keep popping up around him, people he meets are eerily familiar, and soon he finds himself trying to prevent the brutal murder he’s already written about.

Then, for Cold Lazarus, flash forward, four hundred years. Unsurprisingly, Feeld’s dead by now (we’ll see a bit of his death later on) and a team of scientists led by Emma Porlock (Frances de la Tour) are extracting memories, visualised on a virtual screen.

Meanwhile, an American oligarch competes with the president to control the project, the marketing of Feeld’s often harrowing memories their concern. But Feeld may not be as completely unaware of his situation as people realise.

The episodes are not always the paciest. That said, Potter wasn’t the paciest of writers, but the performances are, mostly, good enough, big enough or both to keep up interest, from a highly respectable company.

Albert Finney is excellent as Feeld across both, balancing weary bitterness with the nearest Potter gets to warmth early on, and all the fear and discomfort later on, never putting a twitch wrong even as a disembodied, frozen head. Karaoke is his showcase, while in Cold Lazarus he’s always the focus, but not the star.

In Karaoke, Roy Hudd’s constantly Spoonerisming agent doesn’t quite sell the over-egged dialogue he’s given, but I don’t know who could. Richard E Grant, with the barmy Balmer, revisits the obsessional Dennis from How To Get Ahead In Advertising, as he tries to get ahead in boiling bunnies for Keeley Hawes. ‘Pig’ Malion, the villain, is played with a more grounded menace by Hywell Bennett. Then there’s Anna Chancellor and Alison Steadman.

At times, it’s easy to drift from the story and just enjoy the images and actors doing their thing. Overall, the heightened reality, which makes an implied sense once you’ve seen all of Cold Lazarus, makes it a weirder watch than the conclusion. De la Tour and Ciar

With Joe Dante’s The Hole set to arrive in UK cinemas, we take a timely look back at one of the director’s less commonly appreciated films, 1987’s Innerspace…

Since his debut feature Piranha in 1978, director Joe Dante has carved a cinematic niche that is uniquely his own, with films such as Gremlins and The Howling a mixture of horror and wry, sometimes satirical humour.

In 1987, Dante directed Innerspace, a sci-fi comedy that updated the premise of 1966′s Fantastic Voyage, the enjoyably po-faced romp that saw Donald Pleasance, Raquel Welch and Stephen Boyd miniaturised and injected into the body of a stricken diplomat in order to remove a cerebral blood clot.

But where Fantastic Voyage had only limited resources with which to create the inside of a human body on a macrocosmic scale, Dante had a considerably larger studio budget to fall back on for Innerspace, which used the then cutting edge effects of Dennis Muren to depict the movie’s gooey interior world.

Radically different from the medical rescue mission plot of Fantastic Voyage, Innerspace instead concerned a miniaturisation experiment that, thanks to the intrusion of despicable arms dealer Mr Scrimshaw (Kevin McCarthy) and his goons, ends with maverick pilot Tuck Pendleton (Dennis Quaid) being injected into the backside of hypochondriac supermarket worker Jack Putter (Martin Short) instead of a laboratory rabbit.

Anxious to get at the enlargement chip now floating around inside Tucker’s body, Putter becomes the unwitting target of Scrimshaw and his henchman Mr. Igoe (Vernon Wells), a stern assassin of few words, whose distinguishing characteristic is a multi-purpose detachable hand that is capable of inflicting both pain and pleasure.

With Tuck’s pod rapidly running out of oxygen supplies, Putter enlists the help of Tuck’s estranged girlfriend Lydia (a fresh-faced Meg Ryan). Together, they concoct an impossibly farfetched plan to reclaim the lifesaving chip that Scrimshaw stole in the movie’s opening.

Looked at objectively, Innerspace isn’t in the major league of classic 80s genre movies like Raiders Of The Lost Ark, and it’s not quite the equal of Gremlins, but it’s nevertheless a hugely entertaining movie that holds up surprisingly well.

Its (Academy Award-winning) pre-digital effects are cunningly wrought, and Dante isn’t afraid to depict the inner workings of the human body as the icky, pulsing network of fleshy chasms and arteries it really is.

Fantastic Voyage‘s blood vessels had the psychedelic look of a lava lamp. Dante’s are coursing highways of crimson platelets racing through plasma.

To survive in this hostile inner world, Pendleton is forced to cling onto greasy artery walls with his submersible’s grappling hooks, make tiny incisions in the sides of veins with a laser cutter and, in one of the movie’s most memorable scenes, make use of the devastatingly caustic effects of stomach acid to dispatch a particularly tenacious enemy.

Innerspace is also distinguished by its fine script, which sparkles with a warped sense of wit. Incidental lines, such as Henry Gibson’s creepy store manager reassuring Putter that he has “a bright future ahead of him in retail marketing” are deliciously written and delivered.

The script also makes interesting use of the concerns of its era. Kevin McCarthy’s monologue about nuclear weapons: “everyone’s got ‘em. Everyone’s afraid to use ‘em” is an early hint that the Cold War paranoia of the previous decades is on the wane, only to be replaced by a newer, more subtle anxiety about the ubiquity of technology and how it could invade our bodies.

Certainly, the technology depicted within the film, in particular the GPS-like computer system that automatically maps the interior of Putter’s labyrinthine body, foreshadows some of the inventions we take for granted today, even if we haven’t quite found a way to miniaturise submersible pods just yet.

It’s odd, given the success of Gremlins and the involvement of Steven Spielberg as producer, that Innerspace was such a flop for Dante. Whether it was mis-marketed, released at a bad time, or the movie-going public simply wasn’t ready for miniaturisation comedy isn’t clear. Certainly, Disney had a far greater hit with the thematically similar, but less interesting Honey, I Shrunk The Kids two years later.

Whatever the reason, Innerspace is a film that deserves more attention, and certainly ranks among the more interesting entries in the voluminous number of family-friendly pictures that appeared throughout the 80s.

Inception is all set to appear on DVD and Blu-ray in December, with a limited edition version packed full of dream-like goodies…

We’ve said more than once that Christopher Nolan’s Inception is a film we’d happily watch several times, and with the announcement of the movie’s imminent arrival on Blu-ray, we’ll soon be able to.

The limited edition Blu-ray release, which also includes DVD and digital copies of the film, will come packaged in a rather fabulous looking briefcase, modelled on the ones in the film that house Cobb’s mysterious dream infiltration equipment.

Inside the aluminium case will be a wealth of goodies, including the now famous spinning totem, art cards, plus the movie itself and accompanying extras spread over three discs.

A full breakdown of the set’s contents can be found below, while the Inception set will be available from 6 December for

The new Judge Dredd movie gets its title, and there’s some fresh casting information too…

The wheels are very much turning with regards the brand new Judge Dredd movie, and a few more details about the second cinematic trip to Mega City One have been emerging.

We already knew that Karl Urban had signed up to play the legendary 2000AD lawman, and it’s also been confirmed that, unlike Sylvester Stallone’s take on the role back in 1995, his helmet won’t be coming off. Furthermore, the director’s chair is being filled by Pete Travis, who thus far has Vantage Point to his name.

What we now also know is that Judge Anderson will be appearing in the movie. And she’s going to be played by Olivia Thirlby, who was previously seen in the likes of Juno and Solitary Man.

Finally, for now, IM Global has revealed that the film is going to be called Dredd, and it’s also posted this overview of the movie:

“DREDD takes us to the wild streets of Mega City One, the lone oasis of quasi-civilization on Cursed Earth. Judge Dredd (Karl Urban) is the most feared of elite Street Judges, with the power to enforce the law, sentence offenders and execute them on the spot – if necessary. The endlessly inventive mind of writer Alex Garland and the frenetic vision of director Peter Travis bring DREDD to life as a futuristic neo-noir action film that returns the celebrated character to the dark, visceral incarnation from John Wagner and Carlos Ezquerra’s revered comic strip.”

More news on Dredd as we get it. In the meantime, you can find IM Global right here.

Fritz Lang’s 1927 classic Metropolis returns to the cinema in a newly restored, extended re-issue. Here’s our review of one of sci-fi’s key movies…

On paper, Fritz Lang’s 1927 silent film Metropolis must have read like the work of a madman. Here was a movie that lasted two-and-a-half hours in an era when films typically ran for less than 90 minutes. That employed almost 40,000 extras, required the building of vast sets, an entire city replicated in miniature, and a baroque robot out of materials never before used.

It was a film that, at a time when films often cost about as much to make as a theatrical production, swallowed an estimated budget of over 5 million reichsmarks, making it the most expensive feature yet made by a considerable margin.

Fritz Lang’s Metropolis was an insanely, audaciously inventive film, establishing the framework for science fiction cinema when such a genre barely even existed. Its depiction of a vast city of skyscrapers, monorails and neon set the template for filmmakers that followed, from Jean-Luc Godard’s Alphaville to Ridley Scott’s Blade Runner. The influence of its beautiful, almost sexy humanoid robot can be seen in the ungainly lines of Star Wars‘ C3PO, and the macho swagger of RoboCop.

Far from being a critical and financial success, Metropolis was hacked apart by editors after theatre owners complained about its excessive length, while some critics completely dismissed it,most notably, H.G. Wells, who described it as “foolishness”. (Ironically, Wells would later write the screenplay for a futuristic epic of his own, Things To Come, whose towering cities clearly owed a debt to Lang’s.)

For a film that has become an icon of sci-fi cinema, it’s remarkable to note that, in the eight decades since its release, only a handful of people have seen Metropolis in its original, uncut state. Chunks of lost footage have since been rediscovered and replaced, and the movie has been reissued several times, including the infamous 1984 version, which added a distracting synth score by Giorgio Moroder. But it’s only in the last two years that Metropolis has been restored to something approaching its initial form.

Thanks to a chance discovery of a severely damaged but complete 16mm print of the movie in Buenos Aires, the newly restored, 150 minute version of Metropolis now appearing in cinemas is the closest we currently have to the film Fritz Lang intended, complete with composer Gottfried Huppertz’s original score,

With Kick-Ass all set to arrive on DVD and Blu-ray, we take a timely second look at what is arguably one of the year’s greatest comic book adaptations…

Sometimes missing a film’s theatrical release isn’t such a bad thing. Freed from the weight of expectation, the rave reviews and the hype, you’re free to enjoy a film for what it really is. At least, this is my excuse for having missed the mighty Kick-Ass the first time around.

In a year that has seen a colossal glut of highly capable heroes take to the screen, it’s refreshing to see a movie that runs so counter to the Hollywood and comic book myth of the indestructible, caped protagonist.

In Kick-Ass, superheroes are, in several instances, exactly as you might expect them to be in real life: well meaning, but ultimately deluded vigilantes whose reach constantly exceeds their grasp.

Dave Lizewski (played with a seemingly flawless American drawl by the UK’s own Aaron Johnson) is one such clumsy hero, who decides to shake up his dull teenage existence by cobbling together a costume from a mail order catalogue and take to the mean streets as Kick-Ass.

One jarringly horrific botched crime fight later, and Kick-Ass is in hospital, his encounter with a mugger’s blade and a hit-and-run driver’s bonnet resulting in a remarkable inability to experience pain. Kick-Ass’ defining characteristic as a superhero is, therefore, that he can take protracted beatings without feeling anything, which is just as well, since director Matthew Vaughn and writers Jane Goldman and Mark Millar take great delight in beating the character to the ground at any given opportunity.

Also prowling the city are Big Daddy (Nic Cage) and his pint-sized assassin daughter, Hit Girl (Chloe Moretz), whose relationship plays out like a deranged version of Luc Besson’s Leon. Cage buys his young prot

George Clooney stars as a brooding assassin in Anton Corbijn’s slow burning thriller, The American. Here’s Ron’s review…

George Clooney has locked onto a certain career path. Given that he’s gray and in his 50s, he’s taking on a lot of roles where, well, he’s a man at a crossroads. Maybe he’s a businessman who realizes that he’s spent his lonely life on the road and now wants a family. Maybe he’s a career criminal whose brother breaks him out of jail to kill vampires and kidnap Harvey Keitel and steal his RV, only to realize that he wants a family.

Once again, George Clooney gets to play out his real life midlife crisis on screen in The American, only this time he gets to bed a beautiful Italian woman and drink a whole lot of watered-down espresso. Kind of like what he does every day, except this time George plays Jack/Edward, a multi-pseudonymous American assassin/secret agent kind of guy who is on the run from some Swedes who want to kill him.

Turning to an old handler/contact named Pavel (Johan Leysen), Jack finds himself hiding out in Italy, where he takes one last job to finance his retirement. Thus unfolds the web of intrigue as Jack procures a weapon for female assassin, Mathilde (Thekla Reuten), at Pavel’s request, all the while dodging men who want to kill him and suspecting everyone around him of potential threat, including the beautiful Italian prostitute he falls in love with, Clara (Violante Placido).

The American sounds like a no holds barred, kick-ass action thriller, right? Actually, it’s not. It’s actually a character study of a haunted and lonely man who wants nothing more than a way out, but finds himself constantly on the run from his past, in both literal and metaphorical senses.

George Clooney doesn’t have to say a lot in this movie. His brooding, haunted face does all the heavy lifting. In fact, no one in The American says a whole lot. Sometimes, bits of less than meaningful conversation are held off-screen, merely to be implied by the viewer.

The movie relies heavily on beautiful Italian scenery, the faces of the actors, body language, and brief outbursts of violence to communicate with the audience. In that sense, it’s very similar to a samurai film or spaghetti western (and indeed, one of Sergio Leone’s classics plays on the TV in a bar). It’s also one of the hardest things for an actor to pull off, and Clooney’s command of his facial expressions and body language is very impressive. He says so much with just the quirky tilt of a brow or a tightening of his jaw that words are unnecessary.

This movie is as tight as a drum. There’s not a single wasted shot in the whole of the film’s 95 minutes. The musical cues are very subtle, when they’re present. Director Anton Corbijn laces this movie together like the teeth of a clock, or like the winding narrow streets, courtyards, and corridors of the Italian hillside village where Clooney’s haunted assassin tries his damnedest to run from the people on his tail.

Every word of dialog in Rowan Joffe’s script, however terse, is loaded with meaning and conveys something. It all fits together, and to pay attention is to be rewarded.

Fortunately, Corbijn is a director that has no difficulty guiding the viewer’s eyes to the proper places, thanks to some wonderful shot framing from Corbijn and cinematographer Martin Ruhe. This is a beautiful movie, taking full advantage of the natural beauty of the Italian countryside, a film whose construction is as intricate as the plot, which is as simple and familiar as it is ethereal and potent.

While the movie isn’t for everyone, it’s an excellent film. To put it bluntly, the movie rewards viewers for being as paranoid as the main character, and that sense of danger lurking around every corner, of long stretches of silence broken up by the forceful assembly of an assault rifle or the sputtering backfire of a Vespa, is what really carries the movie through to the climax.

I just hope that most of the audience can make it that far, since there are no 10-minute car chases, special effects, or machine gun battles. There’s just brilliant performances to behold and impeccable craftsmanship on display.

US correspondent Ron Hogan is The American. That’s why he’s the US correspondent, not the Swaziland correspondent. That’d make him The African. Find more by Ron at his blog, Subtle Bluntness, and daily at Shaktronics and PopFi.

An enigmatic first poster drops in for Paul Haggis’ forthcoming thriller, The Next Three Days…

In a reversal of his usual tough guy image, Russell Crowe is set to appear as a mild-mannered family man in Paul Haggis’ forthcoming thriller, The Next Three Days.

As we saw in the trailer we brought to you a couple of weeks ago, the movie concerns Crowe’s fruitless efforts to prove the innocence of his wife (Elizabeth Banks) who is accused of murder, and his subsequent attempt to bust her out of jail.

The Next Three Days‘ first poster, seen before you here, works as a nifty riff on those mosaic movie promos we saw about ten years ago – The Truman Show and Thir13en Ghosts are but two examples – where a face is made up of several other images.

A more pretentious writer would also add that this technique has its roots in the 16 century work of Italian painter Giuseppe Arcimboldo, who came up with the quirky idea of producing portraits where the sitter’s features were composed of everyday objects such as fruit, tree roots and books.

The Next Three Days poster, meanwhile, works like a collage of Crowe’s meticulous jailbreak plan, with photographs, maps and marker pen lines creating the outline of a human face, which is presumably Cameron himself.

If you squint, it actually looks like David Cameron, glancing over his shoulder as he rides away on his pushbike. Or is that just us?

The Next Three Days is due for release on 19th November in the US, with a UK date still to be confirmed.

Looking forward to the arrival of Matthew Vaughn’s Kick-Ass on DVD and Blu-ray? Then step right this way for an exclusive making-of video…

In the run-up to the release of the magnificent Kick-Ass on Blu-ray and DVD on Monday, we have an exclusive behind-the-scenes video to share with you.

Detailing the costume designer Sammy Sheldon’s thinking behind the movie’s instantly recognisable Kick-Ass outfit, it explains the subtle differences between the design seen in John Romita’s comic book artwork and Michael Vaughn’s film.

It provides a taste of the DVD and Blu-ray’s making-of documentary, which charts in considerable detail Kick-Ass’ journey from writer Mark Millar’s mind to the big screen, and proves just what a labour of love the film was for all involved.

And that’s not the end of our Kick-Ass coverage. Next week, we’ll be bringing you interviews with artist John Romita and writer Mark Millar, and you’ll be able to find out what happened when Den Of Geek managed to get its hands on the original Kick-Ass costume for one glorious afternoon.

Just to pique your interest, here’s a brief sample of our very own Anthony Enticknap, kitted up and looking for some crime to fight on the mean streets of London. Sadly, Kick-Ass’ iron bars were not included…

Kick-Ass is released on DVD and Blu-ray in the UK on 6 September.

We can’t all afford to buy a posh frock and attend the Resident Evil: Afterlife premiere in Japan, but we can watch the live feed, presented right here…

If, like us, Japan’s just a little too far to travel for the premiere of Paul W.S. Anderson’s action horror sequel Resident Evil: Afterlife, we can at least offer you the next best thing.

Thanks to the magic of Internet technology, we bring you a live feed of the movie’s red carpet action as it happens, which should, barring any technical gremlins, begin at 5:30pm Tokyo time, equating to 9:30am in the UK.

The event is scheduled to last for around an hour and a half, and should feature plenty of posh clothes, clamouring photographers and interviews with Afterlife‘s stars before they’re whisked into the cinema to don their 3D specs.

If the cogs and pulleys are generously greased, you should also be able to chat in the box just below the live stream.

Resident Evil: Afterlife will be released in the UK on 10 September.

In an interview with Radio 5’s Richard Bacon, writer Mark Millar revealed that, thanks to strong DVD sales, a Kick-Ass sequel is definitely on its way…

Kick-Ass was a film that deserved to go down a storm at the box office. It had everything going for it: a perfectly selected cast, a sterling script, and the kind of tabloid denouncement that marketing can’t buy. But somehow, the movie never did the business everybody hoped it would, and even a strong critical reception failed to see it take off as expected.

In a BBC Radio 5 interview with Richard Bacon, writer Mark Millar admitted that Kick-Ass didn’t perform as he’d hoped in cinemas, and hinted that the film’s poster may have been part of the problem.

“Somebody pointed out that it was exactly the same as Kung-Fu Panda‘s poster, so a lot of people thought it looked like a kid’s film,” Millar said. “If you think about it, [Kick-Ass] had a twelve-year-old kid, and a sixteen-year-old lead, and they were all people you didn’t know yet. So, it looked like a children’s film, but you had to be 15 or 18 to go and see it, depending on what country it was. So, we kind of fell between two stools, I think.”

The film has, however, found a new lease of life on DVD, and Millar said that Kick-Ass‘ hugely positive word-of-mouth has seen small screen sales take off in the US, and revealed that this recent success will definitely mean a sequel is on the way.

“It was a hard film to market, but the word-of-mouth’s been amazing for us. The estimate is that it’ll do

As documentary-style horror The Last Exorcism heads to UK cinemas, Luke meets with director Daniel Stamm and producer Eil Roth to chat about making the perfect screen horror…

He’s ushered in a new wave of gore-filled horror, is best pals with Quentin Tarantino, and popped up in Piranha 3. Now, Eli Roth has donned his producer hat to bring us The Last Exorcism.

We caught up with him and the film’s director, Daniel Stamm, to talk comedy in horror, going ‘method’, and how you top The Exorcist? (Hint: you don’t.)

How did the film come about? The script came to you first, Eli, is that right?

Eli Roth: Well, actually it was producer Eric Newman who had the idea years ago. He wanted to do this documentary of an exorcism gone wrong. He developed the script at Strike Entertainment and Eric and I started a company called Arcade and we thought … Studio Canal had said if I was involved in the film, they would finance it.

And I read it and it was really one of the scariest scripts I had ever read. I thought it was so smart and I’ve always wanted to be involved in an exorcism movie. But I thought, “How do you make something scarier than The Exorcist?” The answer is you don’t. But that doesn’t mean you can’t make something that is original and interesting.

You know, if you look at vampires, it started with Dracula and it’s still going now with Twilight, True Blood and The Vampire Diaries. So, I just thought it was such a great project. I was so excited to get involved. And, originally, the writers were actually attached to direct it. And then right before we were starting production, their other movie, The Virginity Hit, got greenlit and they had to go direct that.

I was in Berlin filming Inglourious Basterds at the time and so we started this frantic search which wound up being one of the most wonderful happy accidents. You know, sometimes you have this tragedy which turns into an incredible opportunity, and we got so lucky with Daniel Stamm, who I think took what was already a great script and really elevated the material and made an incredible film.

And Daniel, your previous film, An Unnecessary Death, took a similar documentary-style approach. So, was that what got you in? Did that work as a kind of calling card for this?

Daniel Stamm: I think it was because it had won AFI Fest that year and that was how Strike Entertainment, the producers over there, saw it. Because they were working with a writer who I had studied with at AFI at the time, and he had heard that they were looking for a director and he said, “I know exactly the right guy. Here’s his film.” And they loved the film and they wanted exactly that style just for a horror movie. I think that very much is what got me on the film.

And, Eli, you mentioned loving the script, but when you read a script like that do you have an instant reaction of “I want to direct this”? Or “I want to help get this made”?

ER: Well, you know, I was reading it with the writers attached to direct and I loved their first film, Mail Order Wife, so I was reading it imagining them directing it. You know, I really wanted to branch out as a producer. I mean, I’ve produced all my own films but I have many ideas for movies and many films I want to make and I’m never going to be able to direct them all.